DOCSLIB.ORG

ACM SIGGRAPH Career Handbook

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
ACM SIGGRAPH Career Handbook Computer Graphics Career Handbook Ed Ferguson University of Maine Laura Carey Halas Innovative Software Solutions Catherine Shadden Keith Design Department, Alameda County Stephan R. Keith Sterling Software Bob Powell Island Graphics Corporation acm ii iii ACM SIGGRAPH Education Committee The Association for Computing Machinery, Inc. 11 West 42nd Street New York, New York 10036 Copyright © 1991 and 1988 by the Association for Computing Machinery, Inc. Copying without fee is permitted provided that the copies are not made or distributed for direct commercial advantage and credit to the source is given. Abstracting with credit is permitted. For permission to republish write to: Director of Publications, Association for Computing Machinery. To copy otherwise, or republish, requires a fee and/or specific permission. The SIGGRAPH Education Committee is sponsored by the Association for Computing Machinery's Special Interest Group on Computer Graphics. ORDERING INFORMATION To request price information and order copies, contact: ACM Order Department P.O. Box 64145 Baltimore, Maryland 21264 (301) 528-4261 SIGGRAPH member price: Non-member price: ACM Order Number: 429-891 For SIGGRAPH membership information, contact: ACM 11 West 42nd Street New York, New York 10036 (212) 869-7440 For SIGGRAPH annual conference information, contact: SIGGRAPH Conference Office 111 East Wacker Drive Chicago, Illinois 60601 (312) 644-6610 ACM ISBN 0-89791-313-2 ACM ISSN 0097-8930 iv Disclaimer The Selected Readings presented throughout this document are representative examples of many publications addressing the various elements of computer graphics and career issues. These publications are listed alphabetically by title in each section of the handbook. Listing of any specific publication does not imply ACM or SIGGRAPH endorsement. The information presented in Section 5, "Company Statistics", was compiled from a questionnaire mailed to all of the SIGGRAPH '89 conference exhibitors and prior contributors. Listing any specific company does not imply ACM SIGGRAPH endorsement. ACM SIGGRAPH is not responsible for the accuracy of the information provided by respondents to the questionnaire. The opinions expressed in this handbook are not necessarily those of ACM or SIGGRAPH. v Acknowledgements This material is based upon work supported by ACM SIGGRAPH. We would like to thank Maxine Brown and Sara Bly, former SIGGRAPH Vice Chairs for Operations, and Tom DeFanti, former SIGGRAPH Chair, for their very early, active support of this project, and Richard J. Beach, ACM SIGGRAPH, Editor-in-Chief. We would also like to thank all of the SIGGRAPH Executive Committee members, especially Judith R. Brown, SIGGRAPH Vice Chair for Operations and former Computer Graphics Career Handbook Chair, Dr. Steve Cunningham, former Education Committee Chair, and Scott Owen, Education Committee Chair, for their enthusiastic support of this and other Education Committee activities. vi CONTENTS ACKNOWLEDGEMENTS iv INTRODUCTION ix CAREERS IN COMPUTER GRAPHICS 6 NO "COMPUTER GRAPHICS" JOBS IN THE CLASSIFIEDS 12 CATEGORIES 2.0 INTRODUCTION 18 2.1 ART/ANIMATION 23 2.2 CAD/CAM/CAE 27 2.3 PRESENTATION GRAPHICS 31 2.4 SIMULATION 35 2.5 IMAGE PROCESSING 39 2.6 SYSTEMS DESIGN, SYSTEMS HARDWARE, AND SYSTEMS SOFTWARE 43 2.7 SCIENTIFIC VISUALIZATION 49 CAREER PROFILES 3.0 CHRISTINE BARTON 54 Computer Graphics Project Manager 3.1 KEVIN BJORKE 56 Technical Director for Animation 3.2 KELLOGG S. BOOTH 58 Academic 3.3 JUDITH R. BROWN 61 Visualization Consultant CONTENTS CAREER PROFILES 3.4 ANNETTE BURR COAN 63 Employer Needs: Computer Graphics in Advertising and Design 3.5 STEVE CUNNINGHAM 69 Undergraduate Computer Graphics Instructor in Computer Science 3.6 LARRY ELIN 71 Computer Graphics Management in Advertising 3.7 GEOFFREY Y. GARDNER 73 Computer Image Generation in Aerospace 3.8 HANK GREBE 75 "A Bridge Between Two Worlds" 3.9 D.E. HEARD 78 Technical Training Manager 3.10 HOLLIDAY R. HORTON 80 An Artist in a Science Environment 3.11 STEPHAN R. KEITH 83 Scientific Visualization 3.12 CARL MACHOVER 87 Computer Graphics Consultant 3.13 AARON MARCUS 89 Independent Computer Graphics Consultant 3.14 MIKE MC CULLEY 92 Art Director 3.15 THERESA-MARIE RHYNE 95 Portrait of a Computer Artist 3.16 TIM SKELLY 97 Art Director 3.17 STEPHEN R. SPENCER 100 Supercomputer Graphics Research Specialist 3.18 JAMES J. THOMAS 102 Lead Scientist CONTENTS CAREER PROFILES 3.19 KATHY WOLFINGER 105 Technical Writer 3.20 THOMAS WRIGHT 108 Graphics Systems Software Professional COLLEGES AND UNIVERSITIES 4.0 USING THE DIRECTORY 112 4.1 COMPUTER GRAPHICS CONCEPTS AND SYSTEMS 114 4.2 COMPUTER GRAPHICS IN ENGINEERING, CAD/CAM AND DRAFTING 152 4.3 COMPUTER GRAPHICS IN THE ARTS, ARCHITECTURE, AND DESIGN 161 4.4 COMPUTER GRAPHICS IN GEOGRAPHY AND GEOLOGY 181 4.5 OTHER COMPUTER GRAPHICS APPLICATIONS 185 4.6 COMPUTER GRAPHICS BIBLIOGRAPHY 186 COMPANY STATISTICS 189 THE JOB SEARCH PROCESS 6.0 INTRODUCTION 225 6.1 EMPLOYMENT OPPORTUNITIES 225 College Placement Centers Classified Ads Networking Job Fairs Placement Agencies Conferences 6.2 LETTERS OF INTRODUCTION AND RESUMES 227 Letters of Introduction Resumes References CONTENTS THE JOB SEARCH PROCESS 6.3 PORTFOLIOS 228 6.4 INTERVIEWS 228 Peparing for the Interview Following Up 6.5 IN CLOSING 229 6.6 SELECTED READINGS 229 APPENDICES A.O IMAGE CREDITS 230 B.0 HANDBOOK CREDITS 236 INTRODUCTION INTRODUCTION INTRODUCTION INTRODUCTION This handbook provides computer graphics career data for those individuals who wish to begin a career in one of the many computer graphics career categories. It is targeted for students who wish to enter the field, educators who need to answer career guidance questions, and professionals wishing to make a career change. It should answer the three basic questions asked by those who are interested in computer graphics careers: • What are the career opportunities in computer graphics? • What kind of training is needed to qualify for these careers? • Where can I get the training for these careers? The handbook presents an overview of computer graphics, adapted from an earlier article in the SIGGRAPH publication, Computer Graphics, and the results of two Education Committee surveys. These surveys have provided us with some insights into Computer Graphics careers and trends within the various career categories. One survey examined the skills necessary for a career in the various categories of computer graphics. The other identified computer graphics companies and the kinds of opportunities in each. A Computer Graphics Education Directory provides a listing of colleges and universities offering courses in computer graphics. This directory outlines classes, subjects and institution contact data. The directory is regularly updated and published in the SIGGRAPH publication, Computer Graphics. A brief overview of the job search process is presented. It is intended as an introduction to the job search process for the novice, and as a review for the professional. CAREERS IN COMPUTER GRAPHICS SECTION 1 CAREERS IN COMPUTER GRAPHICS WHAT IS COMPUTER GRAPHICS 6 NO "COMPUTER GRAPHICS" JOBS IN THE CLASSIFIEDS 12 SIGGRAPH CAREER HANDBOOK page 6 CAREERS IN COMPUTER GRAPHICS Judith R. Brown ACM SIGGRAPH Vice-Chair for Operations What Is Computer Graphics? For something to be considered “computer graphics", the image must be created on, or enhanced with, a computer. From this point, the definition is vague, somewhat on the order of “What is, or is not, art?” In general, you think of the computer graphic as being a picture rather than text. However, the quickly growing field of desktop publishing relies on the computer for page design and layout of predominantly textual information. Also, text can be used very creatively in graphic design. The computer graphic is created through the use of a computer, but how the computer is used differs widely. The image may be entirely created through mathematical formulas. Or, it might be created through a traditional means, such as photography, and enhanced with the computer. Fields of image processing and multi-media art rely on such combinations of techniques. Computer graphics are not created “by” the computer, however. The computer is merely a tool, and the creativity comes from the programmer or user. Careers in Computer Graphics Information is unquestionably today’s most important commodity. Computer graphics, as a means of expressing that information, now appears in virtually every application area, no matter how seemingly obscure. For example, techniques similar to those used a few years ago to chart the surface of the moon are now being used in a Skin Imaging Computer to select cosmetic supplies. The most important distinction in computer graphics careers is between working in the computer graphics industry and using computer graphics as a tool in an occupation whose main focus is not computer graphics. By “working in the computer graphics industry,” we mean the jobs of researching, designing and marketing graphics equipment, researching and writing graphics languages, libraries, and application software, preparing documentation, consulting on graphics hardware and software, and teaching graphics courses. Careers in these areas require more extensive knowledge of computers in general and computer graphics in particular than do careers involving applications which use graphics work stations. In both cases, however, some specialty is required in addition to computer graphics experience. The Graphics Industry As we suggest above, the facets of
Load more

Recommended publications
  • Audiosity= Audio+ Radiosity
    AUDIOSITY = AUDIO + RADIOSITY A THESIS SUBMITTED TO THE FACULTY OF GRADUATE STUDIES AND RESEARCH IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF MASTER OF SCIENCE IN COMPUTER SCIENCE UNIVERSITY OF REGINA By Hao Li Regina, Saskatchewan September 2009 © Copyright 2009: Hao Li Library and Archives Bibliotheque et 1*1 Canada Archives Canada Published Heritage Direction du Branch Patrimoine de I'edition 395 Wellington Street 395, rue Wellington Ottawa ON K1A 0N4 Ottawa ON K1A 0N4 Canada Canada Your file Votre reference ISBN: 978-0-494-65704-1 Our file Notre reference ISBN: 978-0-494-65704-1 NOTICE: AVIS: The author has granted a non­ L'auteur a accorde une licence non exclusive exclusive license allowing Library and permettant a la Bibliotheque et Archives Archives Canada to reproduce, Canada de reproduire, publier, archiver, publish, archive, preserve, conserve, sauvegarder, conserver, transmettre au public communicate to the public by par telecommunication ou par I'lntemet, preter, telecommunication or on the Internet, distribuer et vendre des theses partout dans le loan, distribute and sell theses monde, a des fins commerciales ou autres, sur worldwide, for commercial or non­ support microforme, papier, electronique et/ou commercial purposes, in microform, autres formats. paper, electronic and/or any other formats. The author retains copyright L'auteur conserve la propriete du droit d'auteur ownership and moral rights in this et des droits moraux qui protege cette these. Ni thesis. Neither the thesis nor la these ni des extraits substantiels de celle-ci substantial extracts from it may be ne doivent etre imprimes ou autrement printed or otherwise reproduced reproduits sans son autorisation.
    [Show full text]
  • A Study on Development and Current Application of Motion Graphic in Taiwan’S Popular Music
    PEOPLE: International Journal of Social Sciences ISSN 2454-5899 Chen & Chang, 2019 Volume 5 Issue 1, pp. 124-134 Date of Publication: 23rd March 2019 DOI-https://dx.doi.org/10.20319/pijss.2019.51.124134 This paper can be cited as: Chen, C. M., & Chang. Y. J., (2019). A Study on Development and Current Application of Motion Graphic in Taiwan’s Popular Music. PEOPLE: International Journal of Social Sciences, 5(1), 124-134. This work is licensed under the Creative Commons Attribution-Non Commercial 4.0 International License. To view a copy of this license, visit http://creativecommons.org/licenses/by-nc/4.0/ or send a letter to Creative Commons, PO Box 1866, Mountain View, CA 94042, USA. A STUDY ON DEVELOPMENT AND CURRENT APPLICATION OF MOTION GRAPHIC IN TAIWAN’S POPULAR MUSIC Chia Min Chen Department of Graphic Arts and Communications, National Taiwan Normal University, Taipei, Taiwan [email protected] Yen Jung Chang Department of Graphic Arts and Communications, National Taiwan Normal University, Taipei, Taiwan [email protected] Abstract With the advances in technology, the way of communications has become more diverse. Motion graphic combines graphic design, animation design, and film languages. Motion graphic is a new industry with intense performance styles and can be used in different media and platforms, such as commercials, music videos, film and television titles, web pages, and various display screen sizes, etc. Because motion graphic is a non-narrative time-based media, mostly it combines with music. The Taiwan 25th Golden Melody Awards introduced motion graphic design for the first time in 2014.
    [Show full text]
  • Central Library National Institute of Technology Tiruchirappalli
    1 CENTRAL LIBRARY NATIONAL INSTITUTE OF TECHNOLOGY TIRUCHIRAPPALLI TAMIL NADU-62001 1 i CENTRAL LIBRARY CIRCULATION PROCEDURE Books and other publications can be checked out from the circulation counter. The barrowing rights of various members are tabled with lending period respectively. Books can be called back during the loan period, if there is demand from another user. Consecutive renewals of any particular copy of a bound journal by the same borrower over a long period of time may not be allowed. However, a book may be re- issued to a borrower if there is no demand for it from other members. The library generally issues overdue notices, but failure to receive such a notice is not sufficient reason for non-return of overdue books or journals etc. Additionally, through Book Bank Service SC, ST, Scholarship, and rank holder students are eligible for borrowing 5 books per semester over and above the listed eligibility. Member Type Number of books can Lending Period barrowed UG/ PG Students 6 30 Days PhD, MS & Research Scholars 6 30 Days Faculty 10 180 Days Temp Faculty and PDF 8 180 Days Group A Staff 5 180 Days Staff 4 180 Days External Member/ Alumni 2 30 Days Borrowing Rules: 1. The reader should check the books thoroughly for missing pages, chapters, etc while getting them issued. 2. The overdue fine of Rs.1.00 will be charged per day after the due date for the books. 3. Absence from the Institute will not be allowed as an excuse for the delay in the return of books.
    [Show full text]
  • Blender Instructions a Summary
    BLENDER INSTRUCTIONS A SUMMARY Attention all Mac users The first step for all Mac users who don’t have a three button mouse and/or a thumb wheel on the mouse is: 1.! Go under Edit menu 2.! Choose Preferences 3.! Click the Input tab 4.! Make sure there is a tick in the check boxes for “Emulate 3 Button Mouse” and “Continuous Grab”. 5.! Click the “Save As Default” button. This will allow you to navigate 3D space and move objects with a trackpad or one-mouse button and the keyboard. Also, if you prefer (but not critical as you do have the View menu to perform the same functions), you can emulate the numpad (the extra numbers on the right of extended keyboard devices). It means the numbers across the top of the standard keyboard will function the same way as the numpad. 1.! Go under Edit menu 2.! Choose Preferences 3. Click the Input tab 4.! Make sure there is a tick in the check box for “Emulate Numpad”. 5.! Click the “Save As Default” button. BLENDER BASIC SHORTCUT KEYS OBJECT MODE SHORTCUT KEYS EDIT MODE SHORTCUT KEYS The Interface The interface of Blender (version 2.8 and higher), is comprised of: 1. The Viewport This is the 3D scene showing you a default 3D object called a cube and a large mesh-like grid called the plane for helping you to visualize the X, Y and Z directions in space. And to save time, in Blender 2.8, the camera (left) and light (right in the distance) has been added to the viewport as default.
    [Show full text]
  • The Uses of Animation 1
    The Uses of Animation 1 1 The Uses of Animation ANIMATION Animation is the process of making the illusion of motion and change by means of the rapid display of a sequence of static images that minimally differ from each other. The illusion—as in motion pictures in general—is thought to rely on the phi phenomenon. Animators are artists who specialize in the creation of animation. Animation can be recorded with either analogue media, a flip book, motion picture film, video tape,digital media, including formats with animated GIF, Flash animation and digital video. To display animation, a digital camera, computer, or projector are used along with new technologies that are produced. Animation creation methods include the traditional animation creation method and those involving stop motion animation of two and three-dimensional objects, paper cutouts, puppets and clay figures. Images are displayed in a rapid succession, usually 24, 25, 30, or 60 frames per second. THE MOST COMMON USES OF ANIMATION Cartoons The most common use of animation, and perhaps the origin of it, is cartoons. Cartoons appear all the time on television and the cinema and can be used for entertainment, advertising, 2 Aspects of Animation: Steps to Learn Animated Cartoons presentations and many more applications that are only limited by the imagination of the designer. The most important factor about making cartoons on a computer is reusability and flexibility. The system that will actually do the animation needs to be such that all the actions that are going to be performed can be repeated easily, without much fuss from the side of the animator.
    [Show full text]
  • TV/Series, 9 | 2016, « Guerres En Séries (I) » [En Ligne], Mis En Ligne Le 01 Mars 2016, Consulté Le 18 Mai 2021
    TV/Series 9 | 2016 Guerres en séries (I) Séries et guerre contre la terreur TV series and war on terror Marjolaine Boutet (dir.) Édition électronique URL : https://journals.openedition.org/tvseries/617 DOI : 10.4000/tvseries.617 ISSN : 2266-0909 Éditeur GRIC - Groupe de recherche Identités et Cultures Référence électronique Marjolaine Boutet (dir.), TV/Series, 9 | 2016, « Guerres en séries (I) » [En ligne], mis en ligne le 01 mars 2016, consulté le 18 mai 2021. URL : https://journals.openedition.org/tvseries/617 ; DOI : https:// doi.org/10.4000/tvseries.617 Ce document a été généré automatiquement le 18 mai 2021. TV/Series est mis à disposition selon les termes de la licence Creative Commons Attribution - Pas d'Utilisation Commerciale - Pas de Modification 4.0 International. 1 Ce numéro explore de façon transdisciplinaire comment les séries américaines ont représenté les multiples aspects de la lutte contre le terrorisme et ses conséquences militaires, politiques, morales et sociales depuis le 11 septembre 2001. TV/Series, 9 | 2016 2 SOMMAIRE Préface. Les séries télévisées américaines et la guerre contre la terreur Marjolaine Boutet Détours visuels et narratifs Conflits, filtres et stratégies d’évitement : la représentation du 11 septembre et de ses conséquences dans deux séries d’Aaron Sorkin, The West Wing (NBC, 1999-2006) et The Newsroom (HBO, 2012-2014) Vanessa Loubet-Poëtte « Tu n’as rien vu [en Irak] » : Logistique de l’aperception dans Generation Kill Sébastien Lefait Between Unsanitized Depiction and ‘Sensory Overload’: The Deliberate Ambiguities of Generation Kill (HBO, 2008) Monica Michlin Les maux de la guerre à travers les mots du pilote Alex dans la série In Treatment (HBO, 2008-2010) Sarah Hatchuel 24 heures chrono et Homeland : séries emblématiques et ambigües 24 heures chrono : enfermement spatio-temporel, nœud d’intrigues, piège idéologique ? Monica Michlin Contre le split-screen.
    [Show full text]
  • After Effects Duration: 3 Days Fundamentals
    AFTER EFFECTS DURATION: 3 DAYS FUNDAMENTALS COURSE DESCRIPTION Adobe After Effects is a powerful program used for creating motion graphics and special effects for video and animation projects. In this beginner’s workshop you will learn tools and skills to effectively use this powerful program. This hands-on course is suitable for beginners and will teach you how to use After Effects for video editing, motion editing, adding special effects and compositing. This class is aimed at graphic and video professionals who need an essential understanding of motion graphics, title animation, plus powerful effects compositing. Experienced users will also benefit from many hands-on projects and tricks learned in the class. Live face-to-face instructor - still the best way to learn! DETAILED COURSE OUTLINE GETTING TO KNOW AFTER EFFECTS UNIT 2: WORKING WITH MASKS UNIT 5: AFTER EFFECTS DYNAMIC WORKFLOWS | | After Effects: What it is (and is not) Alpha channels, Masks, mattes, and keys - | | The After Effects enterprise workflow oh my! Packaging, prepping, and importing | | The power of Creative Cloud Creating Masks with the vector Shape and Illustrator files | | Leveraging your Creative Cloud subscription Pen Tools Working with Illustrator layers | | | Integrating After Effects with other file Creating Bezier Masks Packaging, prepping, and importing | formats Editing corner and smooth points Photoshop files | | | Linked media: Organizing your Projects Feathering the edges of a Mask Managing Photoshop layers | | | Tips and best practices for After Effects
    [Show full text]
  • Magisterarbeit 24
    „Tell me where the bomb is or I’ll kill your son“– Folter in der TV-Serie „24“ und ihr Einfluss auf die aktuelle Folterdebatte in den Vereinigten Staaten Zur Erlangung des Grades eines Magister Artium der Philosophischen Fakultät der Westfälischen Wilhelms-Universität Münster, Westfalen vorgelegt von Jens Wiesner aus Dissen a.T.W. 2008 Inhaltsverzeichnis Inhaltsverzeichnis Inhaltsverzeichnis ......................................................................................................... 1 1 Einleitung .................................................................................................................. 2 1.1. Problemstellung und Relevanz der Forschungsfragen...................................... 5 1.2. Aufbau der Arbeit ............................................................................................ 13 2 Theoretische Grundlage: Folter ............................................................................. 14 2.1. Zur Definition von Folter ................................................................................. 14 2.1.1. Die Folter als Rechtsmittel ....................................................................... 16 2.1.2. Folter – eine rechtswissenschaftliche Definition ..................................... 18 2.1.3. Natur der Folter ........................................................................................ 19 2.1.4. Ziel der Folter ........................................................................................... 21 2.1.5. Folter - ein rein öffentlicher Akt?
    [Show full text]
  • Interpretation of Molecule Conformations from Drawn Diagrams” by Dana Tenneson, Ph.D., Brown University, May 2008
    Abstract of \Interpretation of Molecule Conformations from Drawn Diagrams" by Dana Tenneson, Ph.D., Brown University, May 2008. In chemistry, molecules are drawn on paper and chalkboards as diagrams consisting of lines, letters, and symbols which represent not only the atoms and bonds in the molecules but concisely encode cues to the 3D geometry of the molecules. Recent efforts into pen-based input methods for chemistry software have made progress at allowing chemists to input 2D diagrams of molecules into a computer simply by drawing them on a digitizer tablet. However, the task of interpreting these parsed sketches into proper 3D models has been largely unsolved due to the difficulty in making the models satisfy both the natural properties of molecule structure and the geometric cues made explicit in the drawing. This dissertation presents a set of techniques developed to solve this model construction problem within the context of an educational application for chemistry students. Our primary contribution is a framework for combining molecular structure knowledge and molecule diagram understanding via augmenting molecular mechanics equations to include drawing-based penalty terms. Additionally, we present an algorithm for generating molecule models from drawn diagrams which leverages domain- specific and diagram-driven heuristics. These heuristics make our process fast and accurate enough for molecule diagram drawing to be used as an interactive technique for model construction on modern Tablet PC computers. Interpretation of Molecule Conformations
    [Show full text]
  • CS 144-01 Syllabus [Pdf]
    San José State University Department of Computer Science CS-144, Advanced C++ Programming, Section 1, Spring 2018 Course and Contact Information Instructor: Michael Loceff Office Location: Online in the Canvas Portal Telephone: (We’ll use SJSU Zoom Meetings for Voice/Video) Email: [email protected] Office Hours: Daily in the course management system (“Canvas”), with typical response time < 4 hours, or by arrangement. Class Days/Time: Flexible 3-4 times/week at student convenience Classroom: Fully On-line using SJSU’s Canvas portal Prerequisites: CS 46B and CS 49C (with a grade of C- or better in each), or equivalent knowledge of object-oriented programming and (C or Java or Python), or instructor consent. Course Format: Fully online using SJSU Canvas login. (No in-person meetings.) There will be assigned readings, programming labs and/or quizzes due at specific days each week, but you can read the course content at times the fit your schedule. All work, including programming assignments and exams, will be submitted and graded online in Canvas. Regular instructor interaction will be available in class forums and/or optional live Zoom video chat. Additional Online Course Requirements This course adopts a fully online delivery format using Canvas. You will need Internet connectivity and a laptop or desktop computer on which to install a C++ compiler and visit the lecture, assignment, exam and submission pages. A smart-phone or tablet is not adequate for doing programming and cannot be substituted for a personal computer. Full instructions for installing compilers and submitting all work will be found in your first week reading at the Canvas course site.
    [Show full text]
  • 2018 - Straini DACIN SARA
    Repartitie aferenta trimestrului IV - 2018 - straini DACIN SARA TITLU TITLU ORIGINAL AN TARA R1 R2 R3 R4 R5 R6 R7 S1 S2 S3 S4 S5 S6 S7 S8 S9 13 13 2010 US Gela Babluani Gela Babluani Greg Pruss - Gregory Pruss 1000 de intamplari mortale - 1000 ways to die - season 1, sez.01, ep.001 episode 1 2008 US Thom Beers Will Raee Philip David Segal Will Raee Tom McMahon 1000 de intamplari mortale - 1000 ways to die - season 1, sez.01, ep.002 episode 2 2008 US Will Raee Tom McMahon 1000 de intamplari mortale - 1000 ways to die - season 1, sez.01, ep.003 episode 3 2008 US Will Raee Tom McMahon 1000 de intamplari mortale - 1000 ways to die - season 1, sez.01, ep.004 episode 4 2008 US Will Raee Tom McMahon 1000 de intamplari mortale - 1000 ways to die - season 1, sez.01, ep.005 episode 5 2008 US Will Raee Tom McMahon 1000 de intamplari mortale - 1000 ways to die - season 1, sez.01, ep.006 episode 6 2008 US Tom McMahon Tom McMahon 1000 de intamplari mortale - 1000 ways to die - season 1, sez.01, ep.007 episode 7 2008 US Tom McMahon Tom McMahon 1000 de intamplari mortale - 1000 ways to die - season 1, sez.01, ep.008 episode 8 2008 US Tom McMahon Tom McMahon 1000 de intamplari mortale - 1000 ways to die - season 1, sez.01, ep.009 episode 9 2008 US Thom Beers Tom McMahon 1000 de intamplari mortale - 1000 ways to die - season 1, sez.01, ep.010 episode 10 2008 US Thom Beers Tom McMahon 1000 de intamplari mortale - 1000 ways to die - season 1, sez.01, ep.011 episode 11 2008 US Tom McMahon Tom McMahon 1000 de intamplari mortale - 1000 ways to die - season
    [Show full text]
  • Computer Science Engineering Bsc
    FACULTY OF INFORMATICS 4028 Debrecen, Kassai út 26., 4002 Debrecen, P.O.Box 400. (36) 52/518-630, [email protected] COMPUTER SCIENCE ENGINEERING BSC Mode: Full-time training Program Coordinator: Dr. István Oniga ([email protected]) Mentor: Dr. Attila Kuki ([email protected]) Specialization: - General requirements of the diploma are regulated by The Rules and Regulations of The University of Debrecen. Diploma credit requirements Natural Science 44 credits Human and Economic Knowledge 15 credits Compulsory topics 96 credits Differentiated knowledge topics 30 credits Thesis 15 credits Free choise 10 credits Work and fire safety training 0 credit Physical Education (2 semesters) 0 credit Total (number of credits required to obtain degree) 210 credits 1 Natural Science – needed 44 credits Type and number Cre- Asses- Semes- Code Subject name practice Prerequisites Period dit lec. ment ter sem. lab Algorithms and INBMA0101G Basics of 2 2 PM 1 1 Programming INBMA0102E Electronics 6 2 2 PM 1 1 INBMA0102L INBMA0103E E Physics 6 2 2 1 1 INBMA0103L S INBMA0104E E Calculus 6 2 2 1 1 INBMA0104G S INBMA0105E Mathematics for 6 2 2 PM 1 1 INBMA0105L Engineers 1 INBMA0207E Data Structures E 6 2 2 2 2 INBMA0207G and Algorithms S INBMA0208E Mathematics for E INBMA0104 6 2 2 2 2 INBMA0208L Engineers 2 S INBMA0105 Probability INBMA0313E Theory and INBMA0104 6 2 2 PM 1 3 INBMA0313L Mathematical INBMA0105 Statistics Human and Economic Knowledge – needed 15 credits Type and number Cre- Asses- Semes- Code Subject name practice Prerequisites Period dit lec. ment ter sem.
    [Show full text]