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Hershey • London • Melbourne • SingaporeIDEA GROUP PUBLISHINGComputer Graphics and Multimedia: Applications, Problems and Solutions John DiMarcoLong Island University, USA... Library of

Hershey • London • Melbourne • SingaporeIDEA GROUP PUBLISHING

Computer Graphics and Multimedia:

Applications, Problems

and Solutions

John DiMarcoLong Island University, USA

Acquisitions Editor: Mehdi Khosrow-Pour

Senior Managing Editor: Jan Travers

Managing Editor: Amanda Appicello

Development Editor: Michele Rossi

Copy Editor: Sharon Gable

Typesetter: Jennifer Wetzel

Cover Design: Lisa Tosheff

Printed at: Integrated Book Technology

Published in the United States of America by

Idea Group Publishing (an imprint of Idea Group Inc.)

701 E Chocolate Avenue, Suite 200

Hershey PA 17033

Tel: 717-533-8845

Fax: 717-533-8661

E-mail: cust@idea-group.com

Web site: http://www.idea-group.com

and in the United Kingdom by

Idea Group Publishing (an imprint of Idea Group Inc.)

Web site: http://www.eurospan.co.uk

Copyright © 2004 by Idea Group Inc All rights reserved No part of this book may be reproduced in any form or by any means, electronic or mechanical, including photocopy- ing, without written permission from the publisher.

Library of Congress Cataloging-in-Publication Data

Computer graphics and multimedia : applications, problems and

solutions / John DiMarco, editor.

p cm.

Includes bibliographical references and index.

ISBN 1-59140-196-8 (hardcover) ISBN 1-59140-197-6 (ebook)

1 Computer graphics 2 Multimedia systems I DiMarco, John,

1969- .

T385.C5725 2003

006.7 dc22 2003014943

British Cataloguing in Publication Data

A Cataloguing in Publication record for this book is available from the British Library All work contributed to this book is new, previously-unpublished material The views expressed in this book are those of the authors, but not necessarily of the publisher.

Computer Graphics and Multimedia:

Applications, Problems

and Solutions

Table of Contents

Preface vi

John DiMarco, Long Island University, USA

Section I: Digital Design

Chapter IV

How to Use Photoshop to Improve the Gestalt of an Image 54

Linda Emme, Art Center College of Design, USA

Section II: Computer Science

Chapter V

Adaptive Narrative Virtual Environments 72

Karl Steiner, University of North Texas, USA

Content-Based Video Indexing and Retrieval 110

Jianping Fan, University of North Carolina–Charlotte, USA Xingquan Zhu, Purdue University, USA

Jing Xiao, University of North Carolina–Charlotte, USA

Chapter VIII

Evaluating Graph Drawing Aesthetics: Defining and Exploring a New Empirical Research Area 145

Helen C Purchase, University of Glasgow, Scotland

Section III: Multimedia and New Media

Chapter XI

Analysis of Musical Content in Digital Audio 214

Simon Dixon, Austrian Research Institute for Artificial Intelligence, Austria

Chapter XII

Certain Aspects of Machine Vision in the Arts 236

Marc Böhlen, University at Buffalo, USA

About the Authors 257 Index 262

vi

Making sense of the extensive disciplines and sub-topics within puter graphics and multimedia is a lifelong challenge No one can be versed inall areas at once due to the vast amounts of information that exists on all thesubject areas and due to the dynamic nature of technology Inevitably, wespecialize Programmers create programs and artists create art Computerscientists are programmers and artists use computers to paint digitally andperform graphic design That’s the way it is today, is that not accurate? Noth-ing could be further from the truth In 1919, Bauhaus pioneer Wassily Kandinskystated, “And so the arts are encroaching upon one another, and from a properuse of this encroachment will rise the art that is truly monumental” (Packer, xv,2001) The emergence art that is truly monumental has not yet been seen Thesame can be said of technology and science Of course, time is marked byinfluential events that shape the history of the discipline, but one monumentalevent ultimately replaces another Looking back is essential to growth, butlooking forward to “the next big thing” is the prominent response to success.What has emerged on a superficial level is an artistic and technical society thathas ingrained disciplinary boundaries that often characterize researchers, schol-ars, and artists as one-dimensional practitioners that do not stray from theirgrass roots This notion has been changed with the growth of digital technol-ogy Technology has promoted interdisciplinary collaboration to become anintegral part of mainstream educational practice Academic programs that in-stitute interdisciplinary projects and exploration have begun to nurture a move-ment in collaboration that is genuine, exciting, and boundless This can beseen in distance education trends, interdisciplinary degree programs growth,

and the transformation of working individually on a project or being part of aspecialized team In academia, this collaborative approach is born from theneed for every scholar to define new applications for development within theirspecialization Secondly, the interdisciplinary approach fosters a new multi-tude of problems that incite exploration of multidimensional and often multi-disciplinary solutions

US VS THEM

Although collaboration is the goal, often artists and programmers strayfrom each other’s tools, techniques, and processes Therefore, the debatebegins Here is an example of a typical artist vs techie debate; What is better

to use in web design, HTML hand coding, or WYSIWYG software such asMacromedia Dreamweaver? Is HTML hand coding better than writing thecode transparently within an intuitive user interface? Does it truly matter? Theresult is the same — a web page Why the debate? Well, we all want to thinkthat our discipline and approach is a better solution One main cause for tech

vs art is the natural inclination of the masses to view technology as simply a

term for computers and peripherals When in fact, the Greek word technikos

means of art The word technical is also defined as: of or relating to

tech-nique In addition, the word also carries the meaning: having special edge of a mechanical or scientific subject Technology is defined by Merriam

knowl-Webster as: a manner of accomplishing a task using technical methods or

knowledge If the word technology is so scientific, where did it find its way

into art? Billy Kluver, a Swedish-born engineer in the late 1950s became achief catalyst for the art and technology movement in the 1960s Kulver was apioneering proponent in the marriage between art and technology Inspired byAristotle’s notion of Techne — in which there was no differentiation betweenthe practice of art and science Kluver was a crucial conduit in interdiscipli-nary collaboration between artists and scientists In a 1996 essay titled, “TheGreat Northwestern Power Failure,” Kluver states, “The artists work is likethat of a scientist It is an investigation which may or may not yield meaningfulresults; in many cases we only know many years later.” Kluver was a vision-ary who understood the value of technology as a gathering force in collabora-tion, not a obstacle The work Kluver accomplished with Robert Rauschenberg

in their founded group Experiments in Art and Technology (E.A.T.) was cal to today’s interdisciplinary collaborations E.A.T encouraged artists andengineers in interdisciplinary technology-based art projects (Packer, 2001)

SHARING WORDS

Highly shared words throughout many disciplines, computer graphics andmultimedia have become foundations for scholars to explore within their owncontexts The terms are found universally throughout many disciplines thatbear no resemblance to each other in purpose, process, and output It is ap-propriate that the digital scholar is to understand, embrace, and explore thecountless tributaries of opportunity that exist within computer graphics andmultimedia Within concentration areas, there exists a mountain of terms thathas an immeasurable amount of specialization and hybrids Each one is impor-tant in the unique function of a particular problem Engagement of unknownareas is critical to developing a true meaning for the word technology

BOOK ORGANIZATION

This book has a diverse authorship that spans several disciplines, tries, and levels Specifically, three main areas are focused on Section I is

coun-Digital Design Chapters in this section explore topics within digital design

education, production, culture, and techniques Section II is Computer

Sci-ence Chapters in this section provide extensive insight into computer science

research topics including 4d visualization, virtual environments, graph

aesthet-ics, and video indexing Section III is Multimedia and New Media This

section contains chapters that cross boundaries between digital design andcomputer science However, because the chapters engage multiple media andintegrate interactivity in the discussion, they are classified as multimedia ornew media chapters within this text The topic areas include Macromedia Flashprogramming, digital asset alignment and management, analysis of digital au-dio, and machine vision in the arts This diverse array of art, technology, andscience all come together to make up a small piece of the vast subject weknow as computer graphics and multimedia One major goal of this text is toenable the reader to open their minds to the extensive journeys that can betaken exploring merely one specialization in computer graphics and multime-dia This book also hopes to encourage artists to understand and embracecollaboration in science and technology And to encourage scientists, engi-neers, and techies to open the doors to collaborative interdisciplinary projectsallowing scientists and artists to come together as hybrid technologists whoshare the same vision and principles towards problem solving, but do notshare the same educational, experiential, and technical backgrounds

There are 12 chapters in this book They are fairly divided between tal design, computer science, and multimedia/new media Here is a brief de-scription of each chapter’s significance

digi-Section One: Digital Design

Chapter One, Teaching Computer Graphics and Multimedia: A

Prac-tical Overview, analyzes and identifies problems and solutions facing the digital

teaching professional The text develops a dialogue for new and existing structors to understand and utilize in their digital teaching The principles be-hind the chapter guide the reader into a practical understanding of rudimen-tary pitfalls, successful strategies, technology issues, and communication tech-niques that are imperative to teaching digital subject matter

in-Chapter Two, Digital Prepress: Issues and Solutions for the

Prepara-tion of Print Media, addresses the changes that have occurred in the print

design industry as a result of the digital revolution The text focuses on printmedia and its preparation in the world of digital technology This chapter high-lights common problems and concerns that are present in the design, produc-tion, and output of print media

Chapter Three, Screenspace, the author takes a fascinating journey

through Tokyo landscape to uncover the Screenspace and Cellspace that hasengulfed the lives of the Japanese Fully interactive cellphones and jumbo LEDdisplays have become commonplace in urban life This chapter crosses bound-aries into multimedia and ultimately describes the technical, virtual, and digitalre-design of a living environment and culture as a result of integrating technol-ogy into everyday life This text also places the screen into the true context itoccupies in real life

Chapter Four, How to Use Photoshop to Improve the Gestalt of an

Image, develops an understanding of visual communication through images.

The chapter discusses the composition of forms within the image having astructure, or Gestalt to carry the content through the end-user’s perceptionprocess to a state of understanding Discussions are included on the use ofAdobe Photoshop for cleaning up distracting visual trash such as dust, hair,scratches or unwanted objects Systematic directions and examples explainthe entire process

Section Two: Computer Science

Chapter Five, Adaptive Narrative Virtual Environments, will explore

the technologies and issues surrounding Adaptive Presentation Managementfor Narrative Virtual Environments Discussion will also examine the subject

in a broader context, with regards to plans for enhancements and future tems in order to make VE technology more accessible to a wider range ofapplications in areas such as education and training, visualization, and com-munication, and even to enable new types of entertainment and games Some

sys-ix

of the burden of managing the presentation should be lifted from the designerand the user, and placed on the computer.

Chapter Six, Isoluminance Contours: A Fast, Simple Model for 4D

Animated Visualization, presents important background information on 4d

visualization The chapter highlights the Isoluminance Contour Model that notonly provides a quick and easy method for generating images, but also dra-matically reduces the amount of work required by traditional computer graph-ics methods This chapter introduces the ICM for visualization, chroniclessuccessful research findings and presents tangible results

Chapter Seven, Content-Based Video Indexing and Retrieval,

pre-sents recent advances in digital video compression and networks Contentbased video retrieval systems are reviewed and a new framework called

ClassView is proposed to make some advancement towards more efficient

content-based video retrieval The chapter highlights several advances in videoretrieval The proposed framework includes efficient video content analysis, ahierarchical representation scheme, and a video database indexing structure

Chapter Eight, Evaluating Graph Drawing Aesthetics: Defining and

Exploring a New Empirical Research Area, describes a long-term project

to investigate the validity of the design principles on which many automaticgraph layout algorithms are based, not from the perspective of computationalefficiency, but from the perspective of human comprehension The chaptersummarizes all the empirical work the author has done on the effectiveness of2D graph drawing aesthetics It also describes the process of initiating a newexperimental research area, and of developing a framework for empirical stud-ies within the area, with specific reference to the experimental methodologyand statistical analysis issues involved

Section Three: Multimedia/New Media

Chapter Nine, Client and Server Side Programming Concepts

Incor-porating Macromedia Flash, explains that the motion graphics and authoring

package is more than a graphic arts program This application allows the signer to create a true and unique graphical user interface (GUI) This GUIcan be precisely programmed to support end user interactivity Flash is notlimited to the World Wide Web, however, it has found tremendous treatment

de-in this arena The general perspective of this chapter is to discuss MacromediaFlash as a tool for the delivery of multimedia content via the World WideWeb In addition, object oriented programming and server-side scripting willalso be addressed within and related to the context of this application Shorttutorials will reinforce the subject matter These will enhance the reader’s un-

x

derstanding in gaining a deeper perspective of Flash This chapter will alsoaddress Flash’s place in the many avenues and perplexities of web applica-tions.

Chapter Ten, Everything That Can Communicate Will: Aspects of

Digital Asset Alignment and Management, deals with the concept of

align-ing and managalign-ing digital assets as a reaction to the evolution of digital tion and digital networks This chapter highlights digital asset management as

produc-it relates to value and importance in the roles of digproduc-ital liquidproduc-ity, digproduc-ital nuity, and digital viability

conti-Chapter Eleven, Analysis of Musical Content in Digital Audio,

dis-cusses how automatic analysis of digital audio with musical content is a cult but important task for various applications in computer music, audio com-pression and music information retrieval This chapter contains a brief review

diffi-of audio analysis as it relates to music, followed by three case studies diffi-of cently developed systems that analyze specific aspects of music

re-Chapter Twelve, Certain Aspects of Machine Vision in the Arts,

at-tempts to consider the consequences of machine vision technologies for therole of the image in the visual arts After a short introduction to the topic, thetext gives a practical overview of image processing techniques that are rel-evant in surveillance, installation and information art practice Example work

by practitioners in the field contextualizes these more technical descriptionsand shows how computational approaches to digital imagery can radicallyexpand the use of the image in the arts

Packer, R., & Jordan, K (2001) Multimedia: From Wagner to Virtual

Re-ality (pp xv, xvii, 17, 33, 34) W W Norton & Company, Inc.

xi

I would like to thank several groups of special people who have beeninspirational and vital to the success of this project

To the editorial staff: Initially I must thank the superb staff at Idea

Group Inc for their invaluable support throughout this process MehdiKhosrow-Pour, Jan Travers, Michele Rossi, Amanda Appicello and JenniferSundstrom were tremendous at helping to develop and deliver this project

To the reviewers: I would like to sincerely thank the following

review-ers for their valuable time, expertise, and constructive solutions during thereview process: Dr Eun Jung Holden and Mr Sam Yeates of the University ofWestern Australia, Professor John Fekner of Long Island University, Profes-sor Kevin Jones of University of Oregon, Dr Karl Steiner of the University ofNorth Texas, Dr Marion Cottingham of the University of Western Australia,

Dr Mark Snyder of Clemson University, Dr Robert Barone of Buffalo StateCollege, Dr Fan and Dr Xiao of the University of North Carolina, ProfessorRichard Del Rosso of Long Island, and Professor Tom Emmerson of AGSMedia Corp and Nassau Community College

To my colleagues: My appreciation and gratitude runs deep for the

important people who have helped me in my professional career They areJohn Fekner, Lynn Croton, Richard Mills, Dr Najarian, Ali Atieh, JasonGorman, Kathy Yanatos, Tom Alma and Denise DiGiovanni

To my family and friends: I would need more space than allowed if I

was to thank all the important people close to me First I want to thank mygreat friends Steve, Debbie, Joey and Laura, Alex, Joe, Brad, Huck, Dav,Napoli, and Ferrari for giving me the gift of laughter throughout my life

xii

My parents, John and Frances DiMarco must be gratefully thanked forproviding me the opportunities to succeed and to explore my dreams Momand Dad, I am sincerely grateful for your love and support I also need toacknowledge my great family: Roseann, Margaret, Jerry, Joseph, Alexis, Gina,and my godmother Dorothy Flammia In addition, I would like to acknowl-edge the Borowski family and Florence Borowski Also, let me thank Karen,Paul, Paulie, Ginger, Brianna, and Tori Lawrence, my new family: thanks forletting me marry Kimberly.

And lastly, I have to say a very meaningful thank you to my partner, mylove, and my life, my incredible wife Kimberly Thanks for letting me spendcountless nights in the office and for giving me help and inspiration in life Toyou, I am truly thankful

John DiMarco

Assistant Professor

Long Island University, C.W Post

xiii

SECTION I

DIGITAL DESIGN