ArticlePDF Available

TEACHING COMPUTER GRAPHICS WITH VIRTUAL GROUPS AND VIRTUAL LABORATORIES

Authors:
  • INCDTIM Cluj-Napoca and „Vasile Goldis” Western University of Arad, Romania

Abstract

How to adapt the computer graphics course questions to nowadays tools and challenges? Our proposal is to use Web 2.0 tools, on-line graphic editors, digital photography, and virtual environments.
TEACHING COMPUTER GRAPHICS WITH VIRTUAL GROUPS AND VIRTUAL
LABORATORIES
Mihai JALOBEANU
Facultatea of Informatics, “Vasile Goldi” Western University, Bvd.Revoluiei, Arad, Romania
jalobeanu@uvvg.ro
Abstract: How to adapt the computer graphics course questions to nowadays tools and challenges?
Our proposal is to use Web 2.0 tools, on-line graphic editors, digital photography, and virtual
environments.
Keywords: Computer graphics, Computer Science, Virtual group, Web tools, On-line editor, Digital
Photography
I. INTRODUCTION
As an old pioneer in Computer Graphics domain between 1970-1978, after the 2007
recognition of his contribution [1], the author, as a professor of computer science, begun since 2008, to
deliver an undergraduate computer graphics course at the Faculty of Informatics, UVVG. Formally as
an introductory course in this field, delivered in the last semester before graduation. It was like a big
challenge to reconsider the topics in a way to attract our students (generally rejecting math tools),
when they already studied courses in modelling and simulation, visual programming, Web
technologies, an artificial intelligence. The author has studied the literature devoted to this chapter of
higher education, taking a top-down approach, with a strong connection with Web instruments,
looking for the best solution to a distance, web-delivery teaching. After the first more experimental
semester (March-June, 2008), the author's approach focused mainly to digital photography, to the
study of the digital photo devices as special and complex computer systems, and Web 2.0 tools for
image transform and publication.
The present paper resume the teaching ideas, experiences and result of such a computer
graphics course preparation and delivery. Following the idea that DE courses must be Web-based, and
taking into account author' previous experience from other courses, the proposed solution is based on
using a dedicated group (i.e. a well organized virtual group). The group being proper to cover the
continuous communication between students and teaching staff, without the usual divide. The
computer-graphics-group include all curse presentation files, i.e. the course prerequisites, course
topics, main references, suggested subjects and supplementary papers for projects, evaluation rules,
auto-evaluation questions, and a lot of course notes and texts. This virtual group assures also the
space for student' projects upload, as well as needed examples for image transformations, different
graphics tools presentations and guides, and so on.
At corresponding seminars, instead of using the local installed graphic applications (like
Adobe Photoshop, Gimp, Corel Paint, Inkscape, Xara, Krita), already discussed, with all inevitable
installing difficulties and main differences between computer operating systems (MS Windows,
Linux, or other platforms), a solution based on Internet connection and the use of one of numerous
graphics and image virtual laboratories, especially Picnik, Photoshop, Phixr, Splashup, was adopted.
II. DIFERENT APPROACHES OF THE COMPUTER GRAPHICS COURSES IN
COMPUTER SCIENCE IN THE WORLD UNIVERSITIES
2.1 How to teach a Computer Graphics course?
Since the beginning, from '80, when first courses have been delivered in this domain of using
computers for graphics and image processing, the topic of such a course became quite a controversial
subject. Partially due to the major interest for computer graphics from outside of computer sciences, a
lot of different approaches of computer graphics courses have been reported and discussed, especially
into the ACM Special Interest Groups for Computer Science Education (SIGCSE), and the ACM
Special Interest Group for Graphics (SIGGRAPH) [2, 3, 4, 5, 7].
Generally, Computer graphics deals with all aspects of creating images with a computer ,
namely with specific Hardware , Software, and Applications . And Computer graphics courses are
more or less connected with the rapid market evolution for all this specific parts. This evolution, with
successive analysis of corresponding educational questions of CG teaching are coordinated especially
by professor Steve Cunningham, through SIGCSE and SIGGRAPH dedicated events.
Eric Paquette, a Montreal based professor, into a 2005 paper[11] studies how Computer
Graphics is taught, analyzing more than 70 Computer Science curricula, from universities known for
their leadership in this domain, as well as mainstream universities. Analyzing also the difference
between introductory and advanced Computer Graphics courses. Through this analysis, professor
Paquette suggests that, “given the different types of universities and curricula, there should be more
alternative courses tailored to the needs of particular curricula. Developing such courses can be
difficult and time consuming, so a methodology is proposed to describe a course with information
useful for others who could be selecting it or who could be putting it in practice”[11]. Putting in
practice his methodology, he proposes an interesting unconventional course on bi-dimensional
Computer Graphics (and Image Processing) as an alternative to the traditional 3D Computer Graphics
course.
Consequently, the Computer Graphics course presented in this paper could be considered,
from the content point of view, as another application of Eric Paquette methodology and example,
even his paper has been read by author very recently, just in time of present paper preparation.
2.2 Another great examples
It is necessary to point out that at different top universities, there are different offers, even for
introductory courses in computer graphics. Particularly, at Stanford University, the Stanford Computer
Graphics Laboratory offer (for the academic year 2009-2010) 13 distinct courses (with at least 3
introductory ones), including:
CS 205A - Mathematical Methods for Computer Vision, Robotics, and Graphics
CS 148 - Introductory Computer Graphics
CS 348A - Computer Graphics: Geometric Modeling
CS 448B - Data Visualization
CS 448F - Image Processing for Photography and Vision
CS 248 - Interactive Computer Graphics
CS 223B - Introduction to Computer Vision
CS 448A - Computational Photography
CS 178 - Digital Photography
CS 164 - Computing with Physical Objects: Algorithms for Shape and Motion
CS 348B - Computer Graphics: Image Synthesis Techniques
Details available at http://www.graphics.stanford.edu/courses/ (consulted March, 2010)
2.3 An attempt of Computer Graphics course classification
The main approaches for an introductory course in Computer graphics, from different
Computer Science faculties over the world, could be grouped in the following categories:
The classical approach; it is based mainly on geometric representations into the paper, with
usual conventions for two, and three dimensional representations, projections on Cartesian,
polar, and spherical coordinates, with a lot of mathematical notions and formulas for
graphical transforms, with corresponding sampling and digitization conversion needed for
digital computers and their video or printing output devices. Examples like previous CS 148,
CS 205(A and B), courses following basic textbooks like , or courses yet delivered in
Romanian universities []
The programming approach; following the algorithms and programming language
implementations of graphic representations, in some cases using C, C++ , or C# languages, as
well Java, Flash, or OpenGL environments.[9, 10, 13] – it is an approach which is well
justified as a Computer Graphics Programming course, by S. Cunningham in [3].
The Computer Graphics and Image Processing (CGIP) user approach; more or less limited to
the use CGIP editors, mainly as courses of using Photoshop.
The engineering approach; insisting more on the hardware
aspects, on the graphics station
architectures, video interfaces, and all input-output graphics and video device, with
corresponding commands and video accepted formats.
The Web design connected approach; considering the W orld Wide Web facilities for picture
distance delivery of the course
s are vizualisation and interaction.
Due to
thesis, Frank Hanish [14] after an extended excellent review of the
e and more online courses in this field are announced, as, for example, a
and graphs publishing, discussing specific colour coding and accepted file formats, the role
and advantages of vector-graphics formats for zooming, insisting into the interactivity styles,
and to different Web 2.0 video and graphics facilities and applications, including the Web
programming aspects.
2.4 The question of
Since '80, computer graphics main principles and attraction
this characteristics it was used soon into different learning projects. Especially with earlier
promising of the World Wide Web, since 1994 the Web-based teaching and learning became the best
solution for distance education.
In a very interesting PhD
Desktop and the World Wide Web evolution, “as today’s representatives of hypermedia and graphical
user interfaces”, analyses their use for education. As “educational software today is Web-based
software, reflected, e.g., in SCORM’s (Sharable Content Object Reference Model, 2.3.4) assumption
of a Web-based infrastructure”[14], it seams natural to reconsider and rebuild as Web-based course all
computer science courses, and computer graphics especially. Even in his PhD thesis, in the last part,
with case studies (chapter 5) Hanish already discussed three different courses on Image Processing,
Image Communications, and Scientific Visualization, delivered by him since 1999 as interactive Web-
based courseware [14, 5.3]. In a 2005 paper coauthored with Reinhard Klein, and Wolfgang
Straßer,[9] Frank Hanisch constructively applies also his results to the structure and delivery style of a
Computer Graphics course.
In the last years mor
course entitled Digital photography: creating and sharing better images at Open University, UK, a
ten-week online course to develop the student' ability to create and share digital images.
http://www3.open.ac.uk/study/undergraduate/course/t189.htm (consulted March, 2010).
An online, or Web-based course needs an extended course presence into a Web server, with
general presentations, course notes, exercises, and referenced textbooks, usually with a public part,
and a controlled access for registered students. At least in this special case of Computer Graphics and
Image Processing courses, the interactivity part is very important. The usual course forum available on
the different virtual learning environments like Blackboard, or Moodle, do not assure enough
interactivity and proper space for image visualization, nor graphics editors. Consequently, for the
collaborative work, inside a course, there are some interesting examples using wikis infrastructure
like at https://graphics.stanford.edu/wikis/cs148-09-fall .
In a online course, usually there are pointers to the online versions of papers, included as
reference, and students are expected to download (and print eventually), and read these papers
themselves. Counting that pictures included into the online documents are not reproduced well when
copied. Some university assure for their students a free access to the ACM and IEEE Digital Libraries,
really great resources.
III. THE NEW COMPUTER GRAPHICS COURSE AT UVVG
3.1 The Computer Graphics in the faculty curricula
In the Faculty of Informatics (“Vasile Goldiş” Western University, Romania) curricula the
Computer Graphics is a required discipline, in the last semester before graduation (in the 3rd year of
study). It is a 6 credits 12 months course, with 26 teaching hours, 18 seminar hours, and 8 laboratory
hours.
Formally it is an introductory course, even the students already studied courses in visual
programming, modeling and simulation, Web technologies. Consequently the main objectives of the
course are:
to provide overview of computer graphics and image processing.
provide understanding of basic concepts, mathematical models, techniques, and algorithms
used in computer graphics and image processing,
exercise theoretical knowledge application by graphics programming, and computational
photography, transforming and uploading photos into Web2.0 services.
There are very few books in Romanian language, so the resources [16 - 22] have been added step by
step. The last ones [19-22], describing new advanced graphics programming language called
Processing, for the graphics programming purposes, as a great substitution to C-based languages
programming, even OpenGL.
3.2 A new attempt
The author main idea for a modern interactive and online version of the computer graphics
course, started from the present situation: all students own at least a photo device, in the worst case a
mobile phone including photo camera, and they like to take pictures. Consequently, beginning the
course from the digital photography chapter, and analyzing the digital photo-device as a special and
powerful computing system.
Having concrete digital photographies as examples, all specific computer graphics notions and
tools like the image file structures, raster imaging, and color space coding could be naturally entered,
as well as digital image transformations, and vector graphics. All these topics have been threated
mainly using online graphics editors, as virtual laboratories for computer graphics. This way the
student' computing platform dependence, and a lot of difficulties in assurance of a proper equipped
laboratory are escaped. For graphical programming the Processing language [19, 20, 21, 22] is
preferred, as a very new, specially building tool, and a challenging attempt. The last part of the course
include some Web scientific data visualization questions, and other new graphic Web applications
[23].
As a course room, for online learning purpose, we use a dedicated Google group, as a proper
space for teaching and learning activities, with conversations, files, and Web pages distinct spaces and
management. It is a virtual space without distinctions between members, excepting the owner or
moderator obligations. The main difficulty of such a course management is connected with the huge
amount of messages; this can be a challenge the professor.
3.3 First year taught results
In the first year of the experiment, in 2008, the students response was quite acceptable. The
course was taught at the base faculty in the city of Arad, as well in North faculty section, in Satu-
Mare.
There were 67 students registered into the virtual group. 135 files uploaded, 539 messages in
100 subjects. 30 students had a remarkable participation, with more than 7 interventions (with a
maximum of 54), 24 students wrote occasionally (as 1-3 messages), while there were 13 complete
silent students. 28 students uploaded themselves between 1-9 project files, images, and solutions.
The course was highly evaluated by students.
It must underline that the group activity continued after student graduations, eight students ask
moderator for permission to remain group members for next year.
3.4 Second year taught results
In the second year, in 2009, with an accentuated top-down style of the course, using online
graphics editors from the beginning, implied the students attraction to digital photographies. An effort
to stimulate the students imagination and creativity, together with their curiosity regarding device
performances, and possible changes to final image. The class explanations alternate with group
discussions mobilize good students to the image universe discovery. Some difficulties of English text
understanding, also in comments of other' work. Finally, the students response was unexpectedly
high, mainly from Arad based students.
There were 322 messages in 127 subjects. 80 of the teacher, with 8 students counting between
9 and 19 messages each, and 11 silent students. 92 new files (44 uploaded by moderator, 48 by
students). At least 50 photo albums, 4 well done software tool guides.
As a main result it was a nice photo exhibition called The Digital Spring, with 48 20x30
photos. Also two student participated with papers into the student conference, and a well prepared
graduation paper was presented with the fractal graphics topic.
The students evaluated high the course.
IV. Conclusions
Teaching computer science to nowadays students, in Romania, is quite difficult due to their
very low curiosity and reduced reading acceptance. With such a Computer Graphics course it seams
that their participation and interest grow, with an improve of their creativity, as well. The use of the
Google group, with Google accounts, gives also a lot of advantages for students, like a PicasaWeb
access for albums, as well as an easy access to all Google services (google books, google maps,...).
References
[1] Kunsthalle Bremen, “Ex Machina – Fruhe Computergrafik bis 1979, Die Sammlungen Franke and weitere
Stiftungen in der Kunsthalle Bremen. Herbert W.Franke zum 80. Geburtstag”, Deutscher Kunstverlag, ISBN 978-
3-472-06689-2
[2] Steve Cunningham, Judith R. Brown, Robert P. Burton, Mark Ohlson "Varieties of computer graphics courses in
computer science", SIGCSE '88: Proceedings of the nineteenth SIGCSE technical symposium on Computer science
education, 1988, ACM.
[3] Steve Cunningham "Powers of 10: the case for changing the first course in computer graphics", SIGCSE '00:
Proceedings of the thirty-first SIGCSE technical symposium on Computer science education, 2000 , ACM.
[4] Steve Cunningham, Werner Hansmann, Cary Laxer, Jiaoying Shi, „The Beginning computer graphics course in
computer science”, SIGGRAPH Computer Graphics , Volume 38 Issue 4 , 2004, ACM.
[5] Steve Cunningham "Computer graphics in context: an approach to a first course in computer graphics",
SIGGRAPH Asia '08: SIGGRAPH ASIA 2008 educators programme, ACM.
[6] Dino Schweitzer "Designing computer graphics courses for distance learning", SIGGRAPH 2005
Educators program, ACM.
[7] Zhigang Xiang "A nontraditional computer graphics course for computer science students", SIGGRAPH Computer
Graphics , Volume 28 Issue 3 1994, ACM.
[8] Reinhard Klein, Frank Hanisch, Wolfgang Straßer "Web-based teaching of computer graphics: concepts and
realization of an interactive online course", SIGGRAPH 98 Conference abstracts and applications, 1998, ACM.
[9] Kevin R. Burger "Teaching two-dimensional array concepts in Java with image processing examples", ACM
SIGCSE Bulletin, 35, 1, 2003, ACM.
[10] Daniel C. Cliburn "Teaching an introductory computer graphics course using OpenGL", Journal of Computing
Sciences in Colleges , Volume 19 Issue 1, 2003, Publisher: Consortium for Computing Sciences in Colleges.
[11] Eric Paquette "Computer Graphics education in different curricula: analysis and proposal for courses", Computers
and Graphics, Volume 29, Issue 2, 2005, pg.245-255
[12] . Rick Parent "Computer Animation: Algorithms and Techniques", 2nd Edition, Morgan-Kauffman , 2008.
[13] Edward Angel "Interactive Computer Graphics: A Top-Down Approach Using OpenGL", Fifth Edition, Pearson
2008 (4-th edition, Addison-Wesley, 2005, First edition since 1996).
[14] Frank Hanish "Highly Interactive Web-Based Courseware", PhD Disertation, Eberhard-Karls-Universität
Tübingen, 2004, http://deposit.ddb.de/cgi-bin/dokserv?idn=970804148&dok_var=d1&dok_ext=pdf&filename=
970804148.pdf (accessed March, 2010).
[15] Mark Levoy "CS 178 - Digital Photography", Spring 2010, Stanford University, Stanford Computer Graphics
Laboratory http://graphics.stanford.edu/courses/cs178-10/ (accessed March, 2010).
[16] Mark Galer, Les Horvat, "Digital imaging: Essential Skills", Elsevier Science, Elsevier Ltd., 2004 (with a
translation in Romanian of D.C.Bărboi, at AdLibri).
[17] Luiz Velho, Alejandro C. Frery. Jonas Gomes "Image Processing for Computer Graphics and Vision", Texts in
Computer Science, 2-nd edition, 462pg., 2009, available online at SpringerLink-Book
http://www.springerlink.com/content/978-1-84800-192-3 (accessed March, 2010).
[18] Ben Fry "Visualizing Data", O'Reilly and Associates, 2007.
[19] Joshua Noble "Programming Interactivity: A Designer's Guide to Processing, Arduino, and open Frameworks",
O'Reilly, 2009.
[20] Daniel Shiffman "Learning Processing: A Beginner's Guide to Programming Images, Animation, and Interaction",
Morgan Kaufmann. 2008 (http://www.learningprocessing.com).
[21] Casey Reas, Ben Fry "Processing: A Programming Handbook for Visual Designers and Artists", Published 2007,
MIT Press, 736 pg.
[22] *** "The Processing Development Environment", http://processing.org/learning (accessed March, 2010).
[23] Shelley Powers "Painting the Web", O'Reilly Media, Inc., 2008, 656 pg.
... In 1975 Benoit Mandelbrot, at IBM, introduces fractals, and Ed Catmull publishes a curved surface rendering algorithm [5]. ...
... Also there are two reference books: Artist and Calculator by Ruth Leavitt, and Mathematical Basics of Computer Graphics by David Rogers. Jim Clark publishes the hierarchical pattern for visible surfaces detection [6] and Jim Blinn sets up another important algorithm for creating images in virtual reality, which he will publish in 1977 [5]. ...
... It has become my first course in virtual laboratories, and we have been using virtual groups on other courses [5,6]. Namely delivering a 'Computer graphics and Image Processing' course. ...
Article
Full-text available
The paper reveals some valuable insights into “Albina Bank” history from a journalistic lens. This study is based on digital resources, in particular, the Economic Review journal “Revista economica” taking into consideration 20 years (1899-1918). Using a qualitative research method based on narrative inquiry and research techniques correlated to the type of data used, our study resorted to documentary research, historiography or the critical review of the business literature, and discourse analysis. In the analyzed period, the numerous mentions done by Economic Review Journal reveals the prolific activities of Albina Bank, helped and sustained the Romanian spirit and economic initiative. A new attempt of reconstructing the Romanian banking system’s activity of Transylvania was necessary due to the tracing of new possibilities to valorize both sources and a new effort, to achieve its framing within Austro-Hungary’s socio-economic and financial context. Albina Bank should be considered as a prototype, an innovation, as the successful introduction of an idea, perceived as new, into a given social system.
Book
Full-text available
Image processing is concerned with the analysis and manipulation of images by computer. Providing a thorough treatment of image processing, with an emphasis on those aspects most used in computer graphics and vision, this fully revised second edition concentrates on describing and analyzing the underlying concepts of this subject. As befits a modern introduction to this topic, a good balance is struck between discussing the underlying mathematics and the main topics of signal processing, data discretization, the theory of color and different color systems, operations in images, dithering and half-toning, warping and morphing, and image processing. Significantly expanded and revised, this easy-to-follow text/reference reflects recent trends in science and technology that exploit image processing in computer graphics and vision applications. Stochastic image models and statistical methods for image processing are covered, as is probability theory for image processing, and a focus on applications in image analysis and computer vision. Features: Includes 5 new chapters and major changes throughout Adopts a conceptual approach with emphasis on the mathematical concepts and their applications Introduces an abstraction paradigm that relates mathematical models with image processing techniques and implementation methods - used throughout to help understanding of the mathematical theory and its practical use Motivates through an elementary presentation, opting for an intuitive description where needed Contains adopted innovative formulations whenever necessary for clarity of exposition Provides numerous examples and illustrations, as an aid to understanding Focuses on the aspects of image processing that have importance in computer graphics and vision applications Offers a comprehensive introductory chapter for instructors This comprehensive text imparts a good conceptual understanding of the topic, as a basis for further study, and is suitable both as a textbook and a professional reference. The current extended edition is a must-have resource and guide for all studying or interested in this field.
Article
Full-text available
Why did we have to wait so long for this marvelous gem? It is, indeed, rare to find a technical book of such clarity and insight and especially so in books concerning computer programming. I have grappled with many programming books over the years in an effort to teach myself programming and none come close to Processing: A Programming Handbook for Visual Designers and Artists. Casey Reas and Ben Fry are to be congratulated on two counts. Firstly, for writing this 710-page comprehensive book, and secondly for producing the associated open-source programming language software, also called Processing, which is a companion to the book, so to speak. The reader is directed on page 9 to go to the Processing website < www.processing.org/download > to download the software. After so many frustrating attempts in the past to download so-called “free” software, I approached the web with trepidation and cynicism. I thought at this stage, “Doesn’t matter how good the book is, if the software is hard to obtain and install it will be pretty much useless.” My fears were completely unfounded. Within 15 minutes I had downloaded the 32 megabyte package for Windows (it is available for Mac and Linux as well) and installed it effortlessly. After a further 10 minutes I had my first program, as per instructions in the book, up and running. The Processing language was written specifically for visual artists and designers, whether they be interested in producing still images, animation or interactivity using their own programming efforts, rather than relying on commercially available software applications. For those artists who use computers in their work and like to have control at a fundamental level this book will be a revelation and worth every cent it costs. I was stunned at how few lines of code are required to produce complex images, for example a color wheel. The software comes loaded with numerous examples of what can be achieved with Processing using existing modules of code. Processing was created in the spirit of the open-source software movement, which not only results in free programs but also encourages social networking and users’ play and experimentation. For the few who do not know what open-source is (you must have been holidaying on Mars for the past 10 years), do a search on the net and be prepared to be amazed. Artists need to be mindful not to forsake their final artistic creations in the wake of becoming absorbed or obsessed in writing code. This can quite easily happen in the arduous and lengthy task of learning the more complex languages such as C++. Processing gets results fast, seems to be naturally intuitive and, due to Reas and Fry’s brilliance, easy to learn. As the back cover states, “Tutorial units make up the bulk of the book and introduce the syntax and concepts of software (including variables, functions, and object-oriented programming).” “More advanced professional projects from such domains as animation, performance, and typography are discussed in interviews with their creators.” For artists interested in creating programs that run devices in an artistic installation there is an introductory section on electronics (Extension 8, pp. 633–659), which provides enough basic knowledge to get you started in micro-controllers, basic robotics and sensors to control motion, sound and lighting. This section includes examples of code and types of controllers to purchase. There are chapters specifically on mobile software applications, networking, creating 3D applications, printing and, of great importance to my own work, high-resolution file exporting. This book is so well thought out and referenced it is quite astonishing. For example, there is a general Index and a Code Index. Numerous appendices cover such basic, though important, topics as code comparisons, reserved code words and programming languages. There is even a table of contents, then a Contents by Category and, further, an Extended Contents section. These sections enable readers to quickly find exactly what they are looking for without plowing through the whole book sequentially. Processing has numerous illustrations, both black-and-white and color. The smaller images accompany examples of code-text to illustrate what the code produces on the screen. Larger images...
Book
Enormous quantities of data go unused or underused today, simply because people can't visualize the quantities and relationships in it. Using a downloadable programming environment developed by the author, Visualizing Data demonstrates methods for representing data accurately on the Web and elsewhere, complete with user interaction, animation, and more. How do the 3.1 billion A, C, G and T letters of the human genome compare to those of a chimp or a mouse? What do the paths that millions of visitors take through a web site look like? With Visualizing Data, you learn how to answer complex questions like these with thoroughly interactive displays. We're not talking about cookie-cutter charts and graphs. This book teaches you how to design entire interfaces around large, complex data sets with the help of a powerful new design and prototyping tool called "Processing". Used by many researchers and companies to convey specific data in a clear and understandable manner, the Processing beta is available free. With this tool and Visualizing Data as a guide, you'll learn basic visualization principles, how to choose the right kind of display for your purposes, and how to provide interactive features that will bring users to your site over and over. This book teaches you: The seven stages of visualizing data -- acquire, parse, filter, mine, represent, refine, and interact How all data problems begin with a question and end with a narrative construct that provides a clear answer without extraneous details Several example projects with the code to make them work Positive and negative points of each representation discussed. The focus is on customization so that each one best suits what you want to convey about your data set The book does not provide ready-made "visualizations" that can be plugged into any data set. Instead, with chapters divided by types of data rather than types of display, you'll learn how each visualization conveys the unique properties of the data it represents -- why the data was collected, what's interesting about it, and what stories it can tell. Visualizing Data teaches you how to answer questions, not simply display information.
Book
It has been more than twenty years since desktop publishing reinvented design, and it's clear that there is a growing need for designers and artists to learn programming skills to fill the widening gap between their ideas and the capability of their purchased software. This book is an introduction to the concepts of computer programming within the context of the visual arts. It offers a comprehensive reference and text for Processing (www.processing.org), an open-source programming language that can be used by students, artists, designers, architects, researchers, and anyone who wants to program images, animation, and interactivity. The ideas in Processing have been tested in classrooms, workshops, and arts institutions, including UCLA, Carnegie Mellon, New York University, and Harvard University. Tutorial units make up the bulk of the book and introduce the syntax and concepts of software (including variables, functions, and object-oriented programming), cover such topics as photography and drawing in relation to software, and feature many short, prototypical example programs with related images and explanations. More advanced professional projects from such domains as animation, performance, and typography are discussed in interviews with their creators. "Extensions" present concise introductions to further areas of investigation, including computer vision, sound, and electronics. Appendixes, references to other material, and a glossary contain additional technical details. Processing can be used by reading each unit in order, or by following each category from the beginning of the book to the end. The Processing software and all of the code presented can be downloaded and run for future exploration. With essays by: Alexander R. Galloway, Golan Levin, R. Luke DuBois, Simon Greenwold, Francis Li, and Hernando Barragán and interviews with Jared Tarbell, Martin Wattenberg, James Paterson, Erik van Blockland, Ed Burton, Josh On, Jürg Lehni, Auriea Harvey and Michaël Samyn, Mathew Cullen and Grady Hall, Bob Sabiston, Jennifer Steinkamp, Ruth Jarman and Joseph Gerhardt, Sue Costabile, Chris Csikszentmihályi, Golan Levin and Zachary Lieberman, and Mark Hansen.
Article
The recent theoretical and technological advancement in computer graphics has brought not only exciting changes to the computing field but also new challenges to computer science educators. One of the challenges is effective teaching of computer graphics to computer science students. Several speakers at the SIGGRAPH "91 educators' program addressed various aspects of this theme (Owen, 1991; Schweitzer, 1991; Clevenger, 1991). A SIGGRAPH '92 panel consisting of representatives from academia and industry exchanged ideas and viewpoints on issues ranging from syllabus to the role of graphics in a computer science curriculum. I had the pleasure of being a member of that panel and this paper is a further elaboration of my brief statement in the conference proceedings (Schaller, 1992, 1993).The Department of Computer Science at Queens College offers computer graphics as an elective at the senior level for undergraduate students. The department also offers computer graphics at the graduate level. Since the majority of our graduate students have had no prior training in computer graphics, the two courses do not constitute a one-year sequence and the following considerations are applicable to both cases.The traditional way of teaching computer graphics to computer science students places an emphasis on vector graphics. After some general introduction, discussion typically proceeds to graphical primitives and their attributes, then windowing and geometric transformations, followed by segments and interactive techniques, leading to the use of a standard library such as GKS. Additional 3-D topics may include representation, transformation, projection and hidden surface removal algorithms. Color, and especially shading models, are not discussed until near the end of the semester.While this traditional approach has made invaluable contributions to computer graphics education, it needs to be improved in order to keep up with the rapid growth of the field over the last several years. In the next section, I present a nontraditional syllabus along with a detailed explanation. Sample assignments are in section 3. A comparison of the two syllabi and concluding remarks are in section 4.The computer graphics course described in this paper is quite similar to the course taught by Scott Owen (Owen, 1994).
Article
A methodology for Web-based application development is presented. The methodology serves as a road map to guide student project development. Project development proceeds in three phases: structural design, detailed design, and implementation. Structural ...
Article
This contribution presents interdisciplinary approaches to develop, interlink, and modify Web-based learning content with special regard to highly interactive content. We describe how we base development of virtual ex- periments on a toolkit of reusable software components. For proper embedding into courseware we further pro- vide a scripting interface. Authors may create and modify scripts online by using online wizards. Content is or- ganized in databases and rated, annotated, or extended by authors and readers, respectively by the 'community'. We give show cases in the field of Computer Graphics and Visualization.
Article
A report from the working group on computer graphics in computer science 2004 SIGGRAPH/Eurographics Computer Graphics Education workshop, Zhejiang University, Hangzhou, China, June 2-6, 2004.