DOCSLIB.ORG

Animated Presentation of Static Infographics with Infomotion

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Animated Presentation of Static Infographics with Infomotion Eurographics Conference on Visualization (EuroVis) 2021 Volume 40 (2021), Number 3 R. Borgo, G. E. Marai, and T. von Landesberger (Guest Editors) Animated Presentation of Static Infographics with InfoMotion Yun Wang1, Yi Gao1;2, Ray Huang1, Weiwei Cui1, Haidong Zhang1, and Dongmei Zhang1 1Microsoft Research Asia 2Nanjing University (a) 5% (b) time Element Animation effect Meats, sweets slice spin link wipe dot zoom 35% icon zoom 10% Whole grains, title zoom OliVer oil pasta, beans, description wipe whole grain bread Mediterranean Diet 20% 30% 30% Vegetables and fruits Fish, seafood, poultry, Vegetables and fruits dairy food, eggs Figure 1: (a) An example infographic design. (b) The animated presentations for this infographic show the start time, duration, and animation effects applied to the visual elements. InfoMotion automatically generates animated presentations of static infographics. Abstract By displaying visual elements logically in temporal order, animated infographics can help readers better understand layers of information expressed in an infographic. While many techniques and tools target the quick generation of static infographics, few support animation designs. We propose InfoMotion that automatically generates animated presentations of static infographics. We first conduct a survey to explore the design space of animated infographics. Based on this survey, InfoMotion extracts graphical properties of an infographic to analyze the underlying information structures; then, animation effects are applied to the visual elements in the infographic in temporal order to present the infographic. The generated animations can be used in data videos or presentations. We demonstrate the utility of InfoMotion with two example applications, including mixed-initiative animation authoring and animation recommendation. To further understand the quality of the generated animations, we conduct a user study to gather subjective feedback on the animations generated by InfoMotion. CCS Concepts • Human-centered computing ! Visualization design and evaluation methods; 1. Introduction ing an elaborate animated infographic involves multiple steps. One needs to carefully plan the timings and effects of animations. Combining diverse visual elements, infographics have become a per- Consider a hypothetical example in which a nutritionist, Diana, is vasive means of improving the comprehension of complex informa- preparing a presentation to illustrate Mediterranean diet (Figure1a). tion. Enhanced by well-crafted animations, infographics can present To leave a great impression to the audience, she goes through design contents progressively and narratively to facilitate perception of examples of animated infographics, and imagines an animation like information [Fis10]. In addition, creative animations can guide view- this: First, the central icon and title show. Then, every slice of the ers’ attention and improve user engagement [CRP∗16]. Professional donut spin clockwise one by one. When the slice is spinning in, designers and artists create animated infographics to expand the the links wipe in at the same time. For each slice, when the links influence of content. Non-experts such as marketers and government are completely shown, the icons, numbers, and descriptions should agencies also leverage animations to create informative, aesthetic, gradually appear one by one. To implement the animation design, compelling, and impressive presentations. However, the design of she needs to carefully draw out a timeline to arrange the start time animated infographics requires tremendous effort [ARL∗17]. Creat- points for each animation (Figure1b), and apply animation effects © 2021 The Author(s) Computer Graphics Forum © 2021 The Eurographics Association and John Wiley & Sons Ltd. Published by John Wiley & Sons Ltd. Yun Wang et al. / Animated Presentation of Static Infographics with InfoMotion to each visual element. If the resulting animation is not satisfactory structures so as to enable animation arrangement for static info- enough, she needs to repeat this process iteratively through trial and graphics. On a related note, Thompson et al. recently summarize the error. The entire process can be tedious and laborious. Non-expert design space of animated visualizations [TLLS20]. However, the users without an animation design background may not have clear study only focuses on summarizing low-level primitives of anima- animation designs in mind and be hindered by such complicated tion design. There is a lack of empirical studies to understand how settings. They may compromise by simply using a monotonous animation creators present infographics gradually to reveal informa- animation design, e.g., adopting the same effect and showing all the tion. To this end, we collect a dataset of animated infographics and elements at once, though they might intend to create more elaborated analyze the design space of presenting animated infographics. ones with abundant animation effects and carefully designed time Authoring tools and automated generation techniques have arrangements to display and convey their messages. been proposed to assist in creating more expressive visualizations Visual elements in an infographic compose information structures [WWS∗21]. For example, Data Illustrator [LTW∗18] and Charticula- implicitly. For example, in Figure1, an assembly of slice, percent- tor [RLB19] help with the design of bespoke visualizations through age, icon, etc., composes one repeating unit. With similar visual data binding applied to vector graphic properties. Researchers have representations, each unit presents a single part of the whole story, also proposed design tools for expressive infographics with im- and at the same time, they are combined to tell the whole story. By ages, icons, and hand-drawn shapes. For example, DDG [KSL∗17], manually coding of 965 infographics, researchers [LWL∗20] find DataInk [XHRC∗18], and InfoNice [WZH∗18] enable data bind- the majority (64.1%) of infographics contain clear narrative flows. ing with custom shapes, hand-drawn shapes, and icons, images, People inject visual hints to imply narrative flows and relations of and texts, respectively. Automated approaches are also explored to visual elements. One step further, we aim to infer semantic roles generate infographic data stories, e.g., organizing data facts into of each visual element in these static infographics and organizing fact sheets [WSZ∗20], generating infographics from natural lan- them into information structures, so that we can arrange animation guage statements [CZW∗20], or extracting timeline templates from sequences and effects accordingly. infographic images [CWW∗19]. While the authoring of static info- graphics is well-studied, there is no existing technique or tool that In this paper, we propose an automatic approach of animation supports the animating of expressive visualizations or infographics design, InfoMotion, that recognizes underlying structures of static with rich design elements such as icons and embellishments. In our infographics and further applies animation sequences and effects, work, we propose InfoMotion to generate animated presentation of based on the underlying information structures, to enhance presen- static infographics. tations of infographics. First, we conduct a survey on real-world designs of animated infographics and summarize the design of an- imation into design primitives to compose information structures. 2.2. Animation Design in Visualization Then, we propose InfoMotion, a technique that generates animated Animations are commonplace in visualization and have been re- information presentations of static infographics. InfoMotion infers searched for a long time. Early work by Tversky et a. [TMB02] structure from a static infographic by analyzing visual properties of finds although animations might not be effective for data analysis, the elements; presentation orders and animation effects are arranged they are attractive in presentations. Animations can serve a wide vari- to animate the visual elements. We report quantitative evaluations ety of purposes in presentations, such as revealing data relationships, of our structure inference on 120 infographic examples. We demon- helping with orientation, catching attention, etc [CRP∗16, BS90]. strate the utility of InfoMotion with two example applications, i.e., In the context of visual analytics, animated transition techniques mixed-initiative animation authoring and animation recommenda- have been adopted to keep users oriented during changes and manip- tion. We further conduct a user study to gather subjective feedback ulations of complex datasets, such as dynamic networks [BPF14], on the animations generated by InfoMotion and understand the dif- streaming data [HVF13], multidimensional data [EDF08], and doc- ferences between auto-generated animations and animations crafted ument histories [CDBF10]. To improve the tracking of moving by designers. Participants shown no preference on the 12/18 anima- objects, researchers have explored animation strategies such as stag- tion pairs generated by InfoMotion and crafted by designers. ing [CRP∗20], trajectory bundling [DCZL15], and temporal distor- tion [DBJ∗11]. Described as visually pleasing and engaging, anima- 2. Related Work tion is also an effective method of vividly telling stories to improve understandability and enhance user experience [HR07, ARL∗15]. 2.1. Infographics For example, Ruchikachorn et al. [RM15] propose teaching visu- alizations by
Load more

Recommended publications
  • ARTG-2306-CRN-11966-Graphic Design I Computer Graphics
    Course Information Graphic Design 1: Computer Graphics ARTG 2306, CRN 11966, Section 001 FALL 2019 Class Hours: 1:30 pm - 4:20 pm, MW, Room LART 411 Instructor Contact Information Instructor: Nabil Gonzalez E-mail: [email protected] Office: Office Hours: Instructor Information Nabil Gonzalez is your instructor for this course. She holds an Associate of Arts degree from El Paso Community College, a double BFA degree in Graphic Design and Printmaking from the University of Texas at El Paso and an MFA degree in Printmaking from the Rhode Island School of Design. As a studio artist, Nabil’s work has been focused on social and political views affecting the borderland as well as the exploration of identity, repetition and erasure. Her work has been shown throughout the United State, Mexico, Colombia and China. Her artist books and prints are included in museum collections in the United States. Course Description Graphic Design 1: Computer Graphics is an introduction to graphics, illustration, and page layout software on Macintosh computers. Students scan, generate, import, process, and combine images and text in black and white and in color. Industry standard desktop publishing software and imaging programs are used. The essential applications taught in this course are: Adobe Illustrator, Adobe Photoshop and Adobe InDesign. Course Prerequisite Information Course prerequisites include ARTF 1301, ARTF 1302, and ARTF 1304 each with a grade of “C” or better. Students are required to have a foundational understanding of the elements of design, the principles of composition, style, and content. Additionally, students must have developed fundamental drawing skills. These skills and knowledge sets are provided through the Department of Art’s Foundational Courses.
    [Show full text]
  • Evolution of the Infographic
    EVOLUTION OF THE INFOGRAPHIC: Then, now, and future-now. EVOLUTION People have been using images and data to tell stories for ages—long before the days of the Internet, smartphones, and Excel. In fact, the history of infographics pre-dates the web by more than 30,000 years with the earliest forms of these visuals being cave paintings that helped early humans find food, resources, and shelter. But as technology has advanced, so has our ability to tell meaningful stories. Here’s a look into the evolution of modern infographics—where they’ve been, how they’ve evolved, and where they’re headed. Then: Printed, static infographics The 20th Century introduced the infographic—a staple for how we communicate, visualize, and share information today. Early on, these print graphics married illustration and data to communicate information in a revolutionary way. ADVANTAGE Design elements enable people to quickly absorb information previously confined to long paragraphs of text. LIMITATION Static infographics didn’t allow for deeper dives into the data to explore granularities. Hoping to drill down for more detail or context? Tough luck—what you see is what you get. Source: http://www.wired.co.uk/news/archive/2012-01/16/painting- by-numbers-at-london-transport-museum INFOGRAPHICS THROUGH THE AGES DOMO 03 Now: Web-based, interactive infographics While the first wave of modern infographics made complex data more consumable, web-based, interactive infographics made data more explorable. These are everywhere today. ADVANTAGE Everyone looking to make data an asset, from executives to graphic designers, are now building interactive data stories that deliver additional context and value.
    [Show full text]
  • The Use and Potential Misuse of Data in Higher Education: a Compilation of Examples
    IHE Research Projects Series IHE Research in Progress Series 2019-001 Submitted to series: April 5, 2019 The Use and Potential Misuse of Data in Higher Education: A Compilation of Examples Karen L. Webber Institute of Higher Education, University of Georgia, [email protected] Find this research paper and other faculty works at: https://ihe.uga.edu/rps Webber, K.L. “The Use and Potential Misuse of Data in Higher Education: A Compilation of Examples” (2019). IHE Research Projects Series 2019-001. Available at: https://ihe.uga.edu/rps/2019_001 The Use and Potential Misuse of Data in Higher Education A Compilation of Examples Karen L. Webber, Ph.D. RAPID INCREASES IN TECHNOLOGY have led to a heightened demand for and use of data collection and data visualization software. There are a number of data analyses or visualisations that, when presented without the proper context or that do not follow principles of good graphic design, have resulted in inaccurate conclusions. Principles of cognition and good graphic design are available a number of scholars, including Amos Tversky, Daniel Kahneman, Edward Tufte, Stephen Kosslyn, and Alberto Cairo. In addition to good graphic design, context is critical for correct interpretation, as there are many questions around the legitimacy, intentionality, and even the ideology of data use within higher education (Calderon 2015). Inaccurate conclusions can lead to incorrect discussions for possible program development and/or policy changes. You may wish to read more detail from several important scholars; see references at the end of this document. Below are some examples found in books or on the internet that may help you see the possibility of misrepresentation or misunderstanding.
    [Show full text]
  • 4.3 Discovering Fractal Geometry in CAAD
    4.3 Discovering Fractal Geometry in CAAD Francisco Garcia, Angel Fernandez*, Javier Barrallo* Facultad de Informatica. Universidad de Deusto Bilbao. SPAIN E.T.S. de Arquitectura. Universidad del Pais Vasco. San Sebastian. SPAIN * Fractal geometry provides a powerful tool to explore the world of non-integer dimensions. Very short programs, easily comprehensible, can generate an extensive range of shapes and colors that can help us to understand the world we are living. This shapes are specially interesting in the simulation of plants, mountains, clouds and any kind of landscape, from deserts to rain-forests. The environment design, aleatory or conditioned, is one of the most important contributions of fractal geometry to CAAD. On a small scale, the design of fractal textures makes possible the simulation, in a very concise way, of wood, vegetation, water, minerals and a long list of materials very useful in photorealistic modeling. Introduction Fractal Geometry constitutes today one of the most fertile areas of investigation nowadays. Practically all the branches of scientific knowledge, like biology, mathematics, geology, chemistry, engineering, medicine, etc. have applied fractals to simulate and explain behaviors difficult to understand through traditional methods. Also in the world of computer aided design, fractal sets have shown up with strength, with numerous software applications using design tools based on fractal techniques. These techniques basically allow the effective and realistic reproduction of any kind of forms and textures that appear in nature: trees and plants, rocks and minerals, clouds, water, etc. For modern computer graphics, the access to these techniques, combined with ray tracing allow to create incredible landscapes and effects.
    [Show full text]
  • State Infographic: Using Infographics to Visually Represent Data
    Lesson/Activity Title: STATE INFOGRAPHIC: USING INFOGRAPHICS TO VISUALLY REPRESENT DATA Time: 1 class period for Teach/Model and Guided Practice; several class periods or homework nights for Independent Practice; 1 class period for Closure and Extend/Enrich Instructional Goals: • The student will use the PebbleGo Next State Studies and American Indian History database to research statistical information on a state in the United States of America. • The student will navigate an online database to locate needed information. • The student will use other information sources (such as nonfiction books and websites) to locate additional information, as needed. • The student will analyze data to determine the best way to visually represent that data. • The student will create an infographic that illustrates the state information discovered. Materials/Resources: • PebbleGo Next online database • Additional information sources, such as the U.S. Census Bureau’s “State amd County Quick Facts” website (quickfacts.census.gov) • Free app or website for creating infographics (search for “free infographic app” online or in applicable app store) or paper, markers, and pencils for hand-drawing an infographic • Example infographic (available online by searching “infographics for kids” or in a nonfiction book from the Infographics series by Chris Oxlade, Raintree, ©2014) • Text-based source (such as a nonfiction book or magazine article) presenting similar information as found in the example infographic, for comparison purposes • Note-taking graphic organizer, such as State Infographic Notes handout Procedures/Lesson Activities: Focus 1. Show students an age-appropriate infographic from the Infographic series by Chris Oxlade or one found on the Internet. Show them similar information provided in a text-based format.
    [Show full text]
  • Volume Rendering
    Volume Rendering 1.1. Introduction Rapid advances in hardware have been transforming revolutionary approaches in computer graphics into reality. One typical example is the raster graphics that took place in the seventies, when hardware innovations enabled the transition from vector graphics to raster graphics. Another example which has a similar potential is currently shaping up in the field of volume graphics. This trend is rooted in the extensive research and development effort in scientific visualization in general and in volume visualization in particular. Visualization is the usage of computer-supported, interactive, visual representations of data to amplify cognition. Scientific visualization is the visualization of physically based data. Volume visualization is a method of extracting meaningful information from volumetric datasets through the use of interactive graphics and imaging, and is concerned with the representation, manipulation, and rendering of volumetric datasets. Its objective is to provide mechanisms for peering inside volumetric datasets and to enhance the visual understanding. Traditional 3D graphics is based on surface representation. Most common form is polygon-based surfaces for which affordable special-purpose rendering hardware have been developed in the recent years. Volume graphics has the potential to greatly advance the field of 3D graphics by offering a comprehensive alternative to conventional surface representation methods. The object of this thesis is to examine the existing methods for volume visualization and to find a way of efficiently rendering scientific data with commercially available hardware, like PC’s, without requiring dedicated systems. 1.2. Volume Rendering Our display screens are composed of a two-dimensional array of pixels each representing a unit area.
    [Show full text]
  • Mapping Deforestation Deforestation Has Caused the Destruction of Millions of Acres of Forest Habitat
    Mapping deforestation Deforestation has caused the destruction of millions of acres of forest habitat. But what is driving people to cut down so much forested land? And can reforestation efforts help rebuild what has been lost? Part 1: Global Forest Watch Map Directions: Global Forest Watch, a non-profit that monitors deforestation across the planet, has an interactive map that shows how forests have been cut down and expanded since 2000. Go to their website and click on the map (or go to https://www.globalforestwatch.org/map). To the left of the screen, there is a tool (Figure 1) that will allow you to see the change in tree cover gain (blue) and tree cover loss (pink) with unchanged forest (green). Click on the “play” button towards the bottom of the screen to see how each factor has changed since the year 2000 (Figure 1). As the simulation runs, observe different parts of the world and how their forests have changed. 1. What continents saw the most tree cover loss? ____________________________________________ 2. What continents saw the most tree cover gain? ____________________________________________ Part 2: Change in tree cover by country Deforestation has not been evenly distributed across the Earth, some countries have seen a lot of their forests cut down while other have preserved and even expanded their natural habitats. Directions: Select a country by either using the search tool at the bottom left of the screen or by clicking on that country on the map. Once you have selected your country, click analyze (Figure 2) which will show that country’s forested area.
    [Show full text]
  • Information Graphics Design Challenges and Workflow Management Marco Giardina, University of Neuchâtel, Switzerland, Pablo Medi
    Online Journal of Communication and Media Technologies Volume: 3 – Issue: 1 – January - 2013 Information Graphics Design Challenges and Workflow Management Marco Giardina, University of Neuchâtel, Switzerland, Pablo Medina, Sensiel Research, Switzerland Abstract Infographics, though still in its infancy in the digital world, may offer an opportunity for media companies to enhance their business processes and value creation activities. This paper describes research about the influence of infographics production and dissemination on media companies’ workflow management. Drawing on infographics examples from New York Times print and online version, this contribution empirically explores the evolution from static to interactive multimedia infographics, the possibilities and design challenges of this journalistic emerging field and its impact on media companies’ activities in relation to technology changes and media-use patterns. Findings highlight some explorative ideas about the required workflow and journalism activities for a successful inception of infographics into online news dissemination practices of media companies. Conclusions suggest that delivering infographics represents a yet not fully tapped opportunity for media companies, but its successful inception on news production routines requires skilled professionals in audiovisual journalism and revised business models. Keywords: newspapers, visual communication, infographics, digital media technology © Online Journal of Communication and Media Technologies 108 Online Journal of Communication and Media Technologies Volume: 3 – Issue: 1 – January - 2013 During this time of unprecedented change in journalism, media practitioners and scholars find themselves mired in a new debate on the storytelling potential of data visualization narratives. News organization including the New York Times, Washington Post and The Guardian are at the fore of innovation and experimentation and regularly incorporate dynamic graphics into their journalism products (Segel, 2011).
    [Show full text]
  • Inviwo — a Visualization System with Usage Abstraction Levels
    IEEE TRANSACTIONS ON VISUALIZATION AND COMPUTER GRAPHICS, VOL X, NO. Y, MAY 2019 1 Inviwo — A Visualization System with Usage Abstraction Levels Daniel Jonsson,¨ Peter Steneteg, Erik Sunden,´ Rickard Englund, Sathish Kottravel, Martin Falk, Member, IEEE, Anders Ynnerman, Ingrid Hotz, and Timo Ropinski Member, IEEE, Abstract—The complexity of today’s visualization applications demands specific visualization systems tailored for the development of these applications. Frequently, such systems utilize levels of abstraction to improve the application development process, for instance by providing a data flow network editor. Unfortunately, these abstractions result in several issues, which need to be circumvented through an abstraction-centered system design. Often, a high level of abstraction hides low level details, which makes it difficult to directly access the underlying computing platform, which would be important to achieve an optimal performance. Therefore, we propose a layer structure developed for modern and sustainable visualization systems allowing developers to interact with all contained abstraction levels. We refer to this interaction capabilities as usage abstraction levels, since we target application developers with various levels of experience. We formulate the requirements for such a system, derive the desired architecture, and present how the concepts have been exemplary realized within the Inviwo visualization system. Furthermore, we address several specific challenges that arise during the realization of such a layered architecture, such as communication between different computing platforms, performance centered encapsulation, as well as layer-independent development by supporting cross layer documentation and debugging capabilities. Index Terms—Visualization systems, data visualization, visual analytics, data analysis, computer graphics, image processing. F 1 INTRODUCTION The field of visualization is maturing, and a shift can be employing different layers of abstraction.
    [Show full text]
  • An Online System for Classifying Computer Graphics Images from Natural Photographs
    An Online System for Classifying Computer Graphics Images from Natural Photographs Tian-Tsong Ng and Shih-Fu Chang fttng,[email protected] Department of Electrical Engineering Columbia University New York, USA ABSTRACT We describe an online system for classifying computer generated images and camera-captured photographic images, as part of our effort in building a complete passive-blind system for image tampering detection (project website at http: //www.ee.columbia.edu/trustfoto). Users are able to submit any image from a local or an online source to the system and get classification results with confidence scores. Our system has implemented three different algorithms from the state of the art based on the geometry, the wavelet, and the cartoon features. We describe the important algorithmic issues involved for achieving satisfactory performances in both speed and accuracy as well as the capability to handle diverse types of input images. We studied the effects of image size reduction on classification accuracy and speed, and found different size reduction methods worked best for different classification methods. In addition, we incorporated machine learning techniques, such as fusion and subclass-based bagging, in order to counter the effect of performance degradation caused by image size reduction. With all these improvements, we are able to speed up the classification speed by more than two times while keeping the classification accuracy almost intact at about 82%. Keywords: Computer graphics, photograph, classification, online system, geometry features, classifier fusion 1. INTRODUCTION The level of photorealism capable by today’s computer graphics makes distinguishing photographic and computer graphic images difficult.
    [Show full text]
  • Introduction Infographics 3D Computer Graphics
    Planetary Science Multimedia Animated Infographics for Scientific Education and Public Outreach INTRODUCTION INFOGRAPHICS 3D COMPUTER GRAPHICS Visual and graphic representation of scientific knowledge is one of the most effective ways to present The production of infographics are made by using software creation and manipulation of vector The 3D computer graphics are modeled in CAD software like Blender, 3DSMax and Bryce and then complex scientific information in a clear and fast way. Furthermore, the use of animated infographics, graphics, such as Adobe Illustrator, CorelDraw and Inkscape. These programs generate SVG files to be rendered with plugins like Vray, Maxwell and Flamingo for a photorealistic finish. Terrain models are video and computerized graphics becomes a vital tool for education in Planetary Science. Using viewed in the multimedia. taken directly from DTM (Digital Terrain Models) data available of Solar System objects in various infographics resources arouse the interest of new generations of scientists, engineers and general official sources as NASA, ESA, JAXA, USGS, Google Mars and Google Moon. The DTM can also be raised public, and if it visually represents the concepts and data with high scientific rigor, outreach of from topographic maps available online from the same sources, using GIS tools like ArcScene, ArcMap infographics resources multiplies exponentially and Planetary Science will be broadcast with a precise and Global Mapper. conceptualization and interest generated and it will benefit immensely the ability to stimulate the formation of new scientists, engineers and researchers. This multimedia work mixes animated infographics, 3D computer graphics and video with vfx, with the goal of making an introduction to the Planetary Science and its basic concepts.
    [Show full text]
  • Tempe AZ 85281 | 480-965-5005
    Institute for Social Science Research Seed Grant Awards Executive Summary February 4, 2019 Director: H. Russell Bernard Associate Director: Elizabeth Wentz, Dean of Social Sciences, The College Operations: Sherry Thurston Seed Grant Cycle: Once per semester, 7 cycles completed Semester break down: Fall 2015 11 Investigators $61,000 ISSR awards $1,577,102 external funding received Spring 2016 15 Investigators $80,625 ISSR awards $574,697 external funding received Fall 2016 15 Investigators $86,290 ISSR awards $2,724,909 external funding received Spring 2017 14 Investigators $89,821 ISSR awards $672,805 external funding received Fall 2017 15 Investigators $94,121 ISSR awards Spring 2018 20 Investigators $144,723 ISSR awards Fall 2018 9 Investigators $64,380 ISSR awards ASU Units represented ISSR Awards ISSR Total Funds External Funding College of Health Solutions 8 $54,206 College of Integrated Science and Arts 1 $6,875 College of Nursing and Health Innovation 13 $89,975 $534,697 Department of Psychology 7 $41,100 $60,000 Herberger Institute for Design and the Arts 1 $3,000 Hugh Downs School of Human Communication 4 $24,350 Mary Lou Fulton Teachers College 9 $56,279 School for the Future of Innovation in Society 3 $11,522 $300,000 School for the Science of Health Care Delivery 1 $8000 School of Biological and Health Systems Engineering 1 $3850 School of Community Resources & Development 3 $22,387 School of Computing, Informatics, and Decision Systems Engineering 1 $8000 $623,000 School of Criminology & Criminal Justice 2 $11,982 $659,454 School of Geographical Sciences and Urban Planning 7 $37,992 $3,099,909 School of Human Evolution and Social Change 6 $40,599 School of Life Sciences 1 $4000 School of Mathematical and Natural Sciences 1 $8000 School of Public Affairs 1 $4500 School of Social and Behavioral Sciences 5 $33,098 School of Social Transformation 2 $15,000 $19,648 School of Social Work 4 $23,750 School of Sustainability 7 $45,400 $40,000 The Sanford School of Social and Family Dynamics 2 $13,000 W.
    [Show full text]