DOCSLIB.ORG

The Foundation of Computational Visualistics

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
The Foundation of Computational Visualistics Variations and Application Conditions Of the Data Type »Image« The Foundation of Computational Visualistics Habilitationsschrift zur Erlangung der Venia legendi für Computervisualistik (computational visualistics) angenommen durch die Fakultät für Informatik der Otto-von-Guericke-Universität Magdeburg von: Dr. rer. nat. Jörg R.J. Schirra (Dipl.-Inform.) geb. am 03. August 1960 in Illingen (Saarland) Gutachter: Prof. Dr. Thomas Strothotte Prof. Dr. Wolfgang Wahlster Prof. Dr. Arno Ros Prof. Dr. Jerome A. Feldman Magdeburg, den 11. Mai 2005 THE FOUNDATION OF COMPUTATIONAL VISUALISTICS i A NOTE AHEAD This book is a map. It maps the landscapes of the country of digital images, or, as it was lately renamed, the realms of Computational Visualistics. Like any picture, a map – and hence this book – is a context builder: it allows the readers to ex- plore different paths in an abstract region, to connect many landmarks on several ways, and to establish their own distinctions of figures and backgrounds according to their proper interests. However, a text is bound to its linear progression of propositions woven into the digital fabric of argumentation that only mimics the true spatial quality of images. As an extended path, read- ing this text snakes through the map in the effort to systematically cover all of its regions: the map only appears in the reader’s mind. Not all of the details present may be integrated on first view. After all: a real map presents all its details simultaneously, but only those details are ac- tually “read” that are relevant for the reader’s present intentions. The map reveals its contents not on a single glance. That is to say: this text is explicitly written in order to be read more than one time. ii VARIATIONS AND APPLICATION CONDITIONS OF THE DATA TYPE »IMAGE« Concerning the sources of the ideas described: it is a valuable academic tradition to mention all means used, well observed by the bibliography at the end of this book. There is however a prob- lem in the strict application of this principle depending on the enormously extended medial ac- cess to the thoughts of others. It has actually become impossible to explicitly quote or even re- member everything that has contributed ideas to an ambitious academic work: apart from the classical form of scientific papers, books, talks, discussions, dialogues, and (long ago) lectures, which usually can be traced back easily, there have been documentaries in television, features in radio, articles in newspapers, fictional films and novels, comics and advertisements transmit- ting views effective in this book; from visits to exhibitions to web-browsing, many other kinds of mediated communication have provided arguments to the present text without the author being able to remember them in detail. Although I am not able to trace back all the “underground” elements not originated by the au- thor, and to list their sources: without them, this work would not have been possible. Magdeburg, October 2003 THE FOUNDATION OF COMPUTATIONAL VISUALISTICS iii Table of Content 1 IMAGES IN COMPUTER SCIENCE: CLARIFICATIONS REQUIRED 1 1.1 The Age of the Images 1 1.2 Toward Information Society 2 1.3 Images and Computers: The Digital Picture 3 1.4 Requirements for a Modern Computer Scientist 4 1.5 Determining the Goal 5 2 COMPUTATIONAL VISUALISTICS: SEEN FROM ITS ROOTS 7 2.1 Computer Science: Subject and Methodology 7 2.2 Visualistics and the Many Sciences of Pictures / Images 10 2.3 Computational Visualistics and the Data Type »Image« 12 3 PRELIMINARY CLARIFICATIONS FROM VISUALISTICS 15 3.1 Pictures on the Border: Overlooking a Wide Kingdom 16 3.2 A Synthetic Proposal: Images as ”Perceptoid“ Signs 22 3.2.1 »Sign« as Genus Proximum for Pictures 22 3.2.2 »Perceptoid« as Differentia Specifica for Pictorial Signs 25 3.2.3 A Note on “Natural Images”, “Indices”, and “Icons” 27 3.3 Image and Object 29 3.3.1 The Naïve Approach to Resemblance 30 3.3.2 The Act-Theoretic Basis of the Concept »Resemblance« 31 3.3.3 Perception, Deception, and Primary Object Constitution 32 3.4 Image and Language 34 3.4.1 Assertions, Identity, and Contexts 34 3.4.2 Communication Among Pre-Object Creatures 36 3.4.3 Context Builders and Referential Anchoring 38 3.4.4 Secondary Object Constitution: Sortal Concepts & Geometry 40 3.4.5 Pictures as Context Builders: Resemblance Once More 43 3.5 Image and Image User 46 3.5.1 Reflection Modes of Dealing with Pictures 46 3.5.2 The Game of Picture Making 49 3.5.3 Who Is Communicating with Whom? 51 3.5.4 Indirect Resemblances & Rhetoric Derivations 53 3.5.5 Reflective Communication & Pictures of Art 59 3.6 Conclusions for Computational Visualistics 60 iv VARIATIONS AND APPLICATION CONDITIONS OF THE DATA TYPE »IMAGE« 4 THE GENERIC DATA TYPE »IMAGE«: GENERAL ASPECTS 63 4.1 The Organizational Principle of the Discussion 63 4.2 Syntactic Aspects 65 4.2.1 Pictorial Resolution and the Identity of Images 65 4.2.1.1 Density, Continuity, and Decidability 67 4.2.1.2 Syntactic Types of Pictures in Computers 67 4.2.2 Remarks on Compositionality 70 4.2.2.1 Composition of One Picture: Pictorial “Morphology” 71 4.2.2.2 Compositions With Pictures: Pictorial “Text Grammars” 74 4.2.3 Some Notes on Formalizing Color 76 4.2.4 Syntactic Transformations and Image Processing 77 4.2.5 The Limitations of Pictorial Syntax 79 4.3 Semantic Aspects 80 4.3.1 Computer Graphics, Spatial Objects, and Perspective 81 4.3.1.1 Sortal Objects and Geometric Models 82 4.3.1.2 Excursion into the Theory of Rational Argumentation 83 4.3.1.3 Reasoning with Spatial Objects 86 4.3.1.4 A Perspective on Perspectives 88 4.3.2 Two Levels of Computer Vision: An Example 90 4.3.2.1 Constructing Visual Gestalts – Or Finding Pixemes 90 4.3.2.2 Instantiating Object Schemata 94 4.3.2.3 Determining Configurations 96 4.3.2.4 Computer Vision and “Picture Understanding” 97 4.3.2.5 Reference Semantics and Pictorial Reference 99 4.3.3 Embedding Semantics in Pragmatics 102 4.4 Pragmatic Aspects 103 4.4.1 Interactive Systems as a New Type of Media 104 4.4.1.1 Media of Class IV 106 4.4.1.2 The Selection Problems: Content 108 4.4.1.3 The Selection Problems: Form 110 4.4.1.4 Combined Selection Problems for Choosing a Picture 113 4.4.2 Anticipating the Unknown Beholders 114 4.4.2.1 Remarks on the Purposes of Picture Uses 114 4.4.2.2 User Modeling for Pictures 118 4.4.2.3 Adaptation to the Pragmatics of Context-Building 123 4.4.3 Authenticity and Media of Class IV 125 4.4.3.1 Beholder Models and Authenticity 126 4.4.3.2 Authenticity as a Technical Problem: Syntactic Approaches 127 4.4.4 Information Visualization and the Rhetorics of Structural Pictures 130 4.4.4.1 On Source Domains and Target Domains 130 4.4.4.2 Finding Appropriate Visualization Parameters: An Overview 133 4.4.4.3 Interactive Visualizations 135 4.4.5 Remarks on the Pragmatics of Computer Art 136 4.4.5.1 Reflective Pictures and the Reflective Mode of Reception 137 4.4.5.2 Computer Art – Art with the Computer 138 4.4.5.3 Interactivity in Computer Art 141 THE FOUNDATION OF COMPUTATIONAL VISUALISTICS v 5 CASE STUDIES: USING THE DATA TYPE »IMAGE« 151 5.1 Semantic Requests to Image Databases in IRIS 151 5.1.1 Image Retrieval for Information Systems 152 5.1.2 Results and Queries 155 5.2 Rhetorically Enriched Pictures 156 5.2.1 Descibing Style Parameters 158 5.2.2 The Heuristics of Predicative Naturalism 159 5.2.3 Example Application of the Heuristics 160 5.3 A Border Line Case: Immersion 161 5.3.1 Virtual Architectur: The Atmosphere Projekt 163 5.3.2 Types of Use of Virtual Architecture 169 5.3.3 The Virtual Institute of Image Science 174 5.3.4 Conclusions 179 5.4 Another Border Line Case: Mental Images 179 5.4.1 An Example Task: Understanding Reports From Absent Spatial Events 180 5.4.2 On the Cognitive Function of Mental Images 182 5.4.3 Building a Computer Model 184 5.4.4 Conclusions: The Data Type »Image« and Explaining Mental Images 188 6 CONCLUSIONS – PERSPECTIVES 191 6.1 The Components of »Image« as Basis of Computational Visualistics 191 6.2 Computational Visualistics in Education 193 6.2.1 An Example: Structure of Computational Visualistics in Magdeburg 194 6.2.2 Mental Imagery as a Preview Criterion for Study Success 194 6.2.3 An Empirical Investigation 196 6.3 The Future of an Institutional Computational Visualistics 197 APPENDICES 201 A References 201 B List of Figures 210 C List of Tables 214 D Overview in German 215 vi VARIATIONS AND APPLICATION CONDITIONS OF THE DATA TYPE »IMAGE« THE FOUNDATION OF COMPUTATIONAL VISUALISTICS 1 1 Images in Computer Science: Clarifications Required 1.1 The Age of the Images Images take a rather prominent place in contemporary life in the western societies. Together with language, they have been connected to human culture from the very beginning. Recently – that is, after several millennia of written word’s dominance – their part is increasing again remarkably. Can’t we even characterize the 20th century as the century of pictures? Photography and film have reached a heyday barely anticipated when they were invented at the end of the 19th century.
Load more

Recommended publications
  • Proceedings of the Toronto TEAM/ACES Workshop
    Distribution Category; Magnetic Fusion Energy (UC-U2Q) ANL/FPP/TH—254 DE91 011348 ANL/FPP/TM-251 ARGONNE NATIONAL LABORATORY 9700 South Cass Avenue Argonne, Illinois 60439-4801 PROCEEDINGS OF THE TORONTO TEAN/ACES WORKSHOP AT ONTARIO HYDRO 25 AND 26 OCTOBER 1990 Larry R. Turner Editor March 1991 Work supported by Office of Fusion Energy U.S. Department of Energy Under Contract W-31-1G9-Eng-38 MASTER TABLE OP CONTENTS Page ABSTRACT 1 1. INTRODUCTION - L. Turner 2 2. SUMMARY - N.J. Diserens 3 3. ACES WELCOMING hEMABKS - D. Stein 10 4. PRESENTATIONS ON ACES PROBLEM 1 - H. Sabbagh 13 5. PRESENTATION ON TEAM 8 PROBLEM - H. Sabbagh 23 6. PRESENTATION ON TEAM PROBLEM 9 - N. Ida 36 7. PRESENTATION ON TEAM PROBLEM 13 - A. Bossavit JJ9 8- PRESENTATION ON TEAM PROBLEM 1H - 0. Biro 59 9. SUGGESTIONS FOR NEW TEST PROBLEMS 9.1 Wire Grid Model of Antennas - A. Leoni and V. Bernasconi ... 79 9.2 Suggested ACES Problems - H. Sabbagh 8«* APPENDIX A.I WORKSHOP PARTICIPANTS 91* iii PROCEEDINGS OF THE TORONTO TEAM/ACES UORKSHOP AT ONTARIO HYDRO 25 AND 26 OCTOBER 1990 Larry R. Turner Editor ABSTRACT The third TEAM workshop of the third series was held at Ontario Hydro in Toronto, 25-16 October 1990. There were ^5 participants from ten countries, making it the largest North American workshop to date. It was also the first joint ACES/TEAM workshop. Presentations were made on ACES Problem 1 and TEAM Problems 8, 9, 13, and 1*1. The proceedings contain presentations on those problems, a summary by N.J.
    [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]
  • Emergent Learning and Design Using Collaborative Virtual Worlds
    Ratava’s Line: Emergent Learning and Design Using Collaborative Virtual Worlds Steve DiPaola Daria Dorosh Galen Brandt Simon Fraser University Fashion Institute of Technology Digital Space Commons [email protected] [email protected] [email protected] Abstract Ratava's Line is an online, 3D virtual world fashion and interactive narrative project created collaboratively by students at both the Fashion Institute of Technology (FIT) in New York City and at Interactive Arts at Simon Fraser University (SFU) in Vancouver, Canada, using emergent, collaborative 2D and 3D systems. This distance learning project, developed over two months and culminating in an online event in multiple, remote locations, integrated three key design elements: the translation of original 2D fashion designs from FIT students into 3D avatar space; exhibits of artwork of student and professional artists from New York City and Vancouver in virtual galleries; and creation of an interactive narrative "fashion cyber-mystery" for online users to participate in and solve in a culminating, cyber-physical event. The overall project goal was to explore how online collaboration systems and virtual environments can be used practically for distance learning, fashion and virtual worlds design, development of new marketing tools including virtual portfolios, and creation of cross cultural Figure 1. One of several 3D 'virtual fashion-cyber mystery online/physical events. The result of this process was an show' spaces, here before the virtual crowds arrived. These interdisciplinary, cross-institutional, international effort in models “wearing” original fashion designs are click-able, collaborative design in virtual environments, and a successful revealing additional 3D galleries of the designers’ work.
    [Show full text]
  • Reduktion, Identität Und Abstraktion1
    1 e-Journal REDUKTION, IDENTITÄT UND ABSTRAKTION Philosophie der Bemerkungen zur Diskussion um die These von der Identität physischer und Psychologie psychischer Phänomene von Arno Ros (Magdeburg) 1. Einleitung Diskussionen um die Berechtigung reduktionistischer Positionen sind ein schwieriges Unterfangen. Die Gründe für hier auftretende Schwierigkeiten sind häufig inhaltlicher Natur, können aber auch von ungelösten Problemen allgemein methodologischer Art herrühren. So ist zum Beispiel in vielen Fällen bereits unklar, woraus der genauere Sinn der Behauptungen besteht, mit denen ein Vertreter einer reduktionistischen Position seiner Auffassung Ausdruck verleihen könnte – um von den Schwierigkeiten, welche sich beim Versuch zur Bestimmung der korrekten Form der Begründung solcher Behauptungen stellen, ganz zu schweigen. Besonders anschauliche Exempel für methodologische Schwierigkeiten dieser Art lassen sich der Auseinandersetzung entnehmen, die innerhalb der Analytischen Philosophie im Zusammenhang mit der These von der Identität psychischer und neurophysiologischer beziehungsweise letztlich physischer Phänomene geführt worden ist2 – einer These, die speziell Ende der fünfziger Jahre Autoren wie H. Feigl, U. T. Place, J. J. C. Smart und D. M. Armstrong formuliert und zu verteidigen versucht haben3. Der heute innerhalb der Analytischen Philosophie gemeinhin zu findenden Auffassung nach gilt die These von der Identität psychischer und physischer Phänomene – im Folgenden kurz als "Identitätsthese" bezeichnet – allerdings als überholt. Der
    [Show full text]
  • J. Andrew Coombs (SBN 123881) [email protected] Annie S
    Case 4:09-cv-01089-CW Document 15 Filed 06/11/09 Page 1 of 13 1 J. Andrew Coombs (SBN 123881) [email protected] 2 Annie S. Wang (SBN 243027) [email protected] 3 J. Andrew Coombs, A Prof. Corp. 517 East Wilson Avenue, Suite 202 4 Glendale, California 91206 Telephone: (818) 500-3200 5 Facsimile: (818) 500-3201 6 Attorneys for Plaintiff Adobe Systems Incorporated 7 Kimbra Lee Baker a/k/a Kim Baker 8 16173 Suffolk Dr. Spring Lake, MI 49456 9 Defendant, in pro se 10 UNITED STATES DISTRICT COURT 11 NORTHERN DISTRICT OF CALIFORNIA (OAKLAND) 12 Adobe Systems Incorporated, ) Case No. C09-01089 CW 13 ) Plaintiff, ) PERMANENT INJUNCTION AND 14 v. ) DISMISSAL WITH PREJUDICE ) 15 Margie Clark, Kimbra Lee Baker a/k/a Kim ) Baker, and Does 2 – 10, inclusive, ) 16 ) Defendants. ) 17 18 The Court, having read and considered the Joint Stipulation for Permanent Injunction and Dismissal with Prejudice that has been executed by Plaintiff Adobe Systems Incorporated 19 (“Plaintiff”) and Defendant Kimbra Lee Baker a/k/a Kim Baker (“Defendant”) in this action, and 20 good cause appearing therefore, hereby: 21 ORDERS that based on the Parties’ stipulation and only as to Defendant, her successors, 22 heirs, and assignees, this Injunction shall be and is hereby entered in the within action as follows: 23 1) This Court has jurisdiction over the parties to this action and over the subject matter hereof 24 pursuant to 17 U.S.C. § 101 et seq., 15 U.S.C. § 1051, et seq., 15 U.S.C. § 1121, and 28 U.S.C.
    [Show full text]
  • National Historic Landmark Nomination Northwestern
    NATIONAL HISTORIC LANDMARK NOMINATION NPS Form 10-900 USDI/NPS NRHP Registration Form (Rev. 8-86) OMB No. 1024-0018 NORTHWESTERN BRANCH, NHDVS Page 1 United States Department of the Interior, National Park Service National Register of Historic Places Registration Form 1. NAME OF PROPERTY Historic Name: Northwestern Branch, National Home for Disabled Volunteer Soldiers Other Name/Site Number: Northwestern Branch, National Home for Disabled Volunteer Soldiers Historic District; National Soldiers Home Historic District; Clement J. Zablocki Medical Center, Department of Veterans Affairs 2. LOCATION Street & Number: 5000 West National Avenue Not for publication: City/Town: Milwaukee Vicinity: State: WI County: Milwaukee Code: 079 Zip Code: 53295 3. CLASSIFICATION Ownership of Property Category of Property Private: X Building(s): ___ Public-Local: District: _X_ Public-State: ___ Site: ___ Public-Federal: ___ Structure: ___ Object: _X_ Number of Resources within Property Contributing Noncontributing 23 16 buildings 3 sites 2 2 structures 2 1 objects 30 19 Total Number of Contributing Resources Previously Listed in the National Register: 31 Name of Related Multiple Property Listing: DRAFT NPS Form 10-900 USDI/NPS NRHP Registration Form (Rev. 8-86) OMB No. 1024-0018 NORTHWESTERN BRANCH, NHDVS Page 2 United States Department of the Interior, National Park Service National Register of Historic Places Registration Form 4. STATE/FEDERAL AGENCY CERTIFICATION As the designated authority under the National Historic Preservation Act of 1966, as amended, I hereby certify that this ____ nomination ____ request for determination of eligibility meets the documentation standards for registering properties in the National Register of Historic Places and meets the procedural and professional requirements set forth in 36 CFR Part 60.
    [Show full text]
  • IDC Marketscape Names Accenture a Digital Strategy Leader | Accenture
    IDC MarketScape IDC MarketScape: Worldwide Digital Strategy Consulting Services 2021 Vendor Assessment Douglas Hayward IDC MARKETSCAPE FIGURE FIGURE 1 IDC MarketScape Worldwide Digital Strategy Consulting Services Vendor Assessment Source: IDC, 2021 June 2021, IDC #US46766521 Please see the Appendix for detailed methodology, market definition, and scoring criteria. IDC OPINION This study represents the vendor assessment model called IDC MarketScape. This research is a quantitative and qualitative assessment of the characteristics that explain a vendor's current and future success in the digital strategy consulting services marketplace. This study assesses the capabilities and business strategies of 13 prominent digital strategy consulting services vendors. This evaluation is based on a comprehensive framework and a set of parameters expected to be most conducive to success in providing digital strategy consultancy. A significant component of this evaluation is the inclusion of digital strategy consulting buyers' perception of both the key characteristics and the capabilities of these providers. This client input was provided primarily from the vendors' clients, supplemented with a worldwide survey. Key findings include: . Consultancies are getting the basics right. Reference clients that IDC spoke with were impressed by the quality of the people from the leading digital strategy consultancies. On average, reference clients gave consultancies highest scores for people quality, action orientation, and client-specific insight. This indicates that digital strategy consultancies are getting the basics right — they are recruiting smart and empathetic people and are training and developing them well, they are getting to know their clients inside out, and they are producing very useful advice as a result. Clients want to be challenged more than ever by their digital strategy consultants.
    [Show full text]
  • Aristocratic Identities in the Roman Senate from the Social War to the Flavian Dynasty
    Aristocratic Identities in the Roman Senate From the Social War to the Flavian Dynasty By Jessica J. Stephens A dissertation submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy (Greek and Roman History) in the University of Michigan 2016 Doctoral Committee: Professor David Potter, chair Professor Bruce W. Frier Professor Richard Janko Professor Nicola Terrenato [Type text] [Type text] © Jessica J. Stephens 2016 Dedication To those of us who do not hesitate to take the long and winding road, who are stars in someone else’s sky, and who walk the hillside in the sweet summer sun. ii [Type text] [Type text] Acknowledgements I owe my deep gratitude to many people whose intellectual, emotional, and financial support made my journey possible. Without Dr. T., Eric, Jay, and Maryanne, my academic career would have never begun and I will forever be grateful for the opportunities they gave me. At Michigan, guidance in negotiating the administrative side of the PhD given by Kathleen and Michelle has been invaluable, and I have treasured the conversations I have had with them and Terre, Diana, and Molly about gardening and travelling. The network of gardeners at Project Grow has provided me with hundreds of hours of joy and a respite from the stress of the academy. I owe many thanks to my fellow graduate students, not only for attending the brown bags and Three Field Talks I gave that helped shape this project, but also for their astute feedback, wonderful camaraderie, and constant support over our many years together. Due particular recognition for reading chapters, lengthy discussions, office friendships, and hours of good company are the following: Michael McOsker, Karen Acton, Beth Platte, Trevor Kilgore, Patrick Parker, Anna Whittington, Gene Cassedy, Ryan Hughes, Ananda Burra, Tim Hart, Matt Naglak, Garrett Ryan, and Ellen Cole Lee.
    [Show full text]
  • Arno Ros: Materie Und Geist
    1 Materie und Geist. Eine philosophische Untersuchung. [Matter and Mind. A Philosophi- cal Investigation]. Arno Ros. Paderborn, Germany: Mentis, 2005, 686 pages, € 84 paperback. Reviewed by Jörg R.J. Schirra, Illingen, Germany Among the many fascinating questions that have driven our kind to perform science and philosophy, the question of the nature of the mind (or in an older terminology: the soul) is cer- tainly the most exciting one. The reason is, for once, that having a mind is a rather widespread and well-known phenomenon: after all, everyone able to read this review or to join a discus- sion on its subject has – in the colloquial view – a mind. On the other hand, so many aspects of the concept »mind« are thoroughly unclear: a number of quite serious scientists and phi- losophers have even concluded that we, as humans, are not at all able to gain a distinct under- standing in that matter. What are the relations between physical and mental events? Do ani- mals have a mind? Do we have a free will or are all our actions just determined by neuro- physiologic mechanisms? These types of questions are not yet answered in a satisfying way. Quite obviously, a lot of social, juridical, and political institutions structuring our daily lives depend on the answers of these questions. They are still heavily debated to this date. Particularly in the light of new empirical methods in neuro-physiology, many contempo- rary authors think it possible to answer those questions anew – and with better hope of an adequate solution. In the words of Arno Ros (p.
    [Show full text]
  • J. Andrew Coombs (SBN 123881) [email protected] 2 Nicole L
    Case 4:08-cv-02430-SBA Document 21 Filed 09/24/08 Page 1 of 11 1 J. Andrew Coombs (SBN 123881) [email protected] 2 Nicole L. Drey (SBN 250235) [email protected] 3 J. Andrew Coombs, A Prof. Corp. 517 East Wilson Avenue, Suite 202 4 Glendale, California 91206 Telephone: (818) 500-3200 5 Facsimile: (818) 500-3201 6 Attorneys for Plaintiff Adobe Systems Incorporated 7 Matthew Sanchez 8 [email protected] 2739 South Avenue 9 Niagara Falls, New York 14305 Telephone: (716) 297-8870 10 Defendant, in pro se 11 12 UNITED STATES DISTRICT COURT 13 NORTHERN DISTRICT OF CALIFORNIA (OAKLAND) 14 ) Adobe Systems Incorporated, ) Case No. C08-2430 SBA 15 ) Plaintiff, ) PERMANENT INJUNCTION AND 16 v. ) DISMISSAL WITH PREJUDICE ) 17 Guy Vinette, Matthew Sanchez and Does 1 – 10, ) inclusive, ) 18 ) Defendants. ) 19 20 The Court, having read and considered the Joint Stipulation for Permanent Injunction and 21 Dismissal with Prejudice that has been executed by Plaintiff Adobe Systems Incorporated 22 (“Plaintiff”) and Defendant Matthew Sanchez (“Defendant”) in this action, and good cause 23 appearing therefore, hereby: 24 ORDERS that based on the Parties’ stipulation and only as to Defendant, his successors, 25 heirs, and assignees, this Injunction shall be and is hereby entered in the within action as follows: 26 1) This Court has jurisdiction over the parties to this action and over the subject matter hereof 27 pursuant to 17 U.S.C. § 101 et seq., 15 U.S.C. § 1051, et seq., 15 U.S.C. § 1121, and 28 U.S.C. §§ 28 1331 and 1338.
    [Show full text]
  • Emergent Learning and Design Using Collaborative Virtual Worlds
    Ratava’s Line: Emergent Learning and Design Using Collaborative Virtual Worlds Steve DiPaola Daria Dorosh Galen Brandt Simon Fraser University Fashion Institute of Technology Digital Space Commons [email protected] [email protected] [email protected] Abstract Ratava's Line is an online, 3D virtual world fashion and interactive narrative project created collaboratively by students at both the Fashion Institute of Technology (FIT) in New York City and at Interactive Arts at Simon Fraser University (SFU) in Vancouver, Canada, using emergent, collaborative 2D and 3D systems. This distance learning project, developed over two months and culminating in an online event in multiple, remote locations, integrated three key design elements: the translation of original 2D fashion designs from FIT students into 3D avatar space; exhibits of artwork of student and professional artists from New York City and Vancouver in virtual galleries; and creation of an interactive narrative "fashion cyber-mystery" for online users to participate in and solve in a culminating, cyber-physical event. The overall project goal was to explore how online collaboration systems and virtual environments can be used practically for distance learning, fashion and virtual worlds design, development of new marketing tools including virtual portfolios, and creation of cross cultural online/physical events. The result of this process was an Figure 1. One of several 3D 'virtual fashion-cyber mystery interdisciplinary, cross-institutional, international effort in show' spaces, here before the virtual crowds arrived. These collaborative design in virtual environments, and a successful models “wearing” original fashion designs are click-able, exercise in emergent, collaborative distance learning. revealing additional 3D galleries of the designers’ work.
    [Show full text]
  • Google Adquiere Motorola Mobility * Las Tablets PC Y Su Alcance * Synergy 1.3.1 * Circuito Impreso Al Instante * Proyecto GIMP-Es
    Google adquiere Motorola Mobility * Las Tablets PC y su alcance * Synergy 1.3.1 * Circuito impreso al instante * Proyecto GIMP-Es El vocero . 5 Premio Concurso 24 Aniversario de Joven Club Editorial Por Ernesto Rodríguez Joven Club, vivió el verano 2011 junto a ti 6 Aniversario 24 de los Joven Club La mirada de TINO . Cumple TINO 4 años de Los usuarios no comprueba los enlaces antes de abrirlos existencia en este septiembre, el sueño que vió 7 Un fallo en Facebook permite apropiarse de páginas creadas la luz en el 2007 es hoy toda una realidad con- Google adquiere Motorola Mobility vertida en proeza. Esfuerzo, tesón y duro bre- gar ha acompañado cada día a esta Revista que El escritorio . ha sabido crecerse en sí misma y superar obs- 8 Las Tablets PC y su alcance táculos y dificultades propias del diario de cur- 11 Propuesta de herramientas libre para el diseño de sitios Web sar. Un colectivo de colaboración joven, entu- 14 Joven Club, Infocomunidad y las TIC siasta y emprendedor –bajo la magistral con- 18 Un vistazo a la Informática forense ducción de Raymond- ha sabido mantener y El laboratorio . desarrollar este proyecto, fruto del trabajo y la profesionalidad de quienes convergen en él. 24 PlayOnLinux TINO acumula innegables resultados en estos 25 KMPlayer 2.9.2.1200 años. Más de 350 000 visitas, un volumen apre- 26 Synergy 1.3.1 ciable de descargas y suscripciones, servicios 27 imgSeek 0.8.6 estos que ha ido incorporando, pero por enci- El entrevistado . ma de todo está el agradecimiento de muchos 28 Hilda Arribas Robaina por su existencia, por sus consejos, su oportu- na información, su diálogo fácil y directo, su uti- El taller .
    [Show full text]