Dr. David G. Stork is the co-editor of the first three proceedings volumes on computer vision and image analysis of fine art.

Dr. David G. Stork is a graduate in physics of the Massachusetts Institute of Technology and the University of Maryland at College Park. He studied art history at Wellesley College, was Artist-in-Residence through the New York State Council of the Arts and is a Fellow of the International Association for Pattern Recognition, a Fellow of the International Academic, Research and Industry Association, and a Fellow of SPIE, of IEEE, of the Society for Imaging Science and Technology, and a Fellow of the Optical Society of America, in part for his work on computer image analysis of art. He has published eight books/proceedings volumes and has one forthcoming, including Seeing the Light: Optics in nature, photography, color, vision and holography (Wiley), Computer image analysis in the study of art (SPIE), Pattern Classification (2nd ed., Wiley), and HAL's Legacy: 2001's computer as dream and reality (MIT).

Dr. David G. Stork has held academic appointments in four departments at Stanford University over the last two decades. The breadth of his interests and contributions is revealed through the academic departments and programs in which he has held faculty positions in leading liberal arts colleges and research universities: Physics, Mathematics, Electrical Engineering, Statistics, Computer Science, Neuroscience, Psychology, and Art and Art History. He is a Fellow of the International Association for Pattern Recognition, for "...the application of computer vision to the study of art," a Fellow of the International Academic, Research and Industry Association, Fellow of SPIE, and Fellow of IEEE ("For contributions to pattern recognition and image analysis"), the Optical Society of America, the Society for Imaging Science and Technology, Senior Member of the Association for Computing Machinery (ACM) and was Chair of IAPR's Technical Committee on Computer Vision in Cultural Heritage Applications. He has published eight books/proceedings volumes, including Seeing the Light: Optics in nature, photography, color, vision and holography (Wiley), the leading textbook on optics in the arts, Computer image analysis in the study of art (SPIE), Computer vision and image analysis of art Iand Computer vision and image analysis in the study of art II, the first three volume in this discipline, Pattern Classification (2nd ed., Wiley), the world's all-time best-selling textbook in the field, translated into three languages and used in courses in over 290 universites worldwide, and HAL's Legacy: 2001's computer as dream and reality (MIT), the source of his PBS television documentary 2001: HAL's Legacy. A graduate in physics of the Massachusetts Institute of Technology and the University of Maryland at College Park, he also studied Art History at Wellesley College and was Artist-in-Residence through the New York State Council of the Arts. He has performed research and taught courses such as "Light, color and visual phenomena," "The physics of aesthetics and perception," "Optics, perspective and Renaissance painting," and "Computer vision and image analysis in the study of art" over the last quarter century variously at leading liberal arts and research universities such as Wellesley and Swarthmore Colleges, Clark, Boston and Stanford Universities, as well as short courses on computer analysis of art at major international conferences. He holds 51 US patents and has published numerous technical papers on human and machine learning and perception of patterns, physiological optics, image understanding, concurrency theory, theoretical mechanics, optics, image processing. He has served on the editorial boards of five international journals and has delivered over 60 plenary, invited or distinguished lectures at universities and conferences (atop over 250 traditional invited colloquia and seminars). His past schedule includes over 260 scholarly presentations on computer analysis of art in 20 countries. He was one of four scientists invited to comment on David Hockney's theory at the December 2001 "Art and Optics" Symposium at the New York Institute for the Humanities and one of two scientists invited to present a lecture in the symposium exploring the possible use of optics by early Renaissance painters at the Optical Society of America's Annual Meeting in Rochester, NY, October 2004.