topical media & game development

talk show tell print

Æliens




{topical media & game development}


http://www.cs.vu.nl/~eliens/media

part i. digital convergence

more than the art of turning base metals into gold, alchemy is a system of cosmic symbolism

perfect solutions

chapters:

digital convergence


...



2

reading directives

In these first chapters, we will explore the notion of multimedia, look at it from a historical perspective and discuss in somewhat more detail the issue of convergence, the mix and interchange of media that has become possible in the digital era. In the second chapter, we will give a precise definition of information spaces, and an overview of the history of hypermedia.

Essential sections are section 1.2, which characterizes digital convergence in a more precise way, and sections 2.1 and 2.2, which respectively characterize information spaces and hypermedia. Section 2.3 may safely be skipped by readers not interested in the philosophy of media and creation.

perspectives

The topics treated in this part can be looked at from multiple perspectives. When you write a paper about any of these topics, as suggested in projects paragraph, you should be aware of from which perspective you tackle your subject.

In summary, we can in a non-exhaustive way, distinguish between the following perspectives:

perspectives -- digital convergence


  • historical -- media development timeline
  • sociological -- communication relations
  • psychological -- experience limits
  • aesthetical -- dynamics of creation
  • technical -- divergence & competition
  • philosophical -- re-mediation
  • commercial -- what is the economic model?
As an example, the psychological perspective deals with an interesting issue, namely how much information can we digest and what are the limits to our perceptual system that determines whether the experience offered by a virtual reality interface is really effective.

essay topics

The issues treated in these chapters may be used as topics for an essay. As a hint, here are a few titles:
  • digital convergence and the future of mobile multimedia
  • media @ home -- the windows media center
  • media art -- merging technology and aesthetics
For a first essay, I would suggest a paper no longer than 5 pages. If there are technical details that you do not want to omit, then consider an appendix of 2 to 3 pages. For hints on how to approach writing a paper, see appendix 5.

...



3

the artwork

  1. alchemy -- an illustration from a book about alchemy, from which also the quote is taken, the quote is explained in the afterthoughts.
  2. signs -- ancient chemical symbols,  [ van Rooijen (2003)], p. 171, 172.
  3. photographs -- Jaap Stahlie, from portrait series.

part ii. delivery & presentation

if you linger for a long time in one place you'd almost think there must be something there

wittgenstein

chapters:

delivery & presentation


...



2

reading directives

In this part we will look at the issues involved in delivery and presentation, primarily from a technical perspective. We will argue the importance of codecs (read compression), and we will discuss the criteria for selecting a particular codec, as well as the standards that have been developed for packaging multimedia content in an effective way. In chapter 4, we will discuss multimedia presentation platforms, and we will look at the Microsoft DirectX 9 platform in somewhat greater detail.

Essential sections are section 3.1, which introduces codecs, 3.2, which discusses the MPEG-4 and SMIL standards and section 4.1, with puts the development of high-end multimedia platforms in a historical perspective. Sections 3.3 and 4.3 can safely be skipped on first reading.

perspectives

As you can see below, the topics introduced in this part are not only relevant from a technical perspective. Other perspectives are equally valid:

perspectives -- delivery & presentation


  • technical -- codec selection
  • political -- market vs. consortium
  • sociological -- digital services
  • legal -- copyright protection
  • scientific -- experience design
  • computer science -- computational support
  • futuristic -- global & personal information
  • commercial -- WMV, Quicktime, RealONE
For example, the issues of copyrights and copyright protection are hot topics, since the rise of the internet is obviously a threat to the tradional industries of music and film distribution.

essay topics

Since many of the interesting topics will only be hinted, you may select on or more topics for further investigation and study. As essay titles I would suggest:
  • multimedia standards -- MPEG4
  • XML-based multimedia -- SMIL
  • multimedia technology -- the DirectX 9 toolbox
When you write the essay, then assess first from which perspective you will tackle the subject. When you approach the material from a technical perspective, then make sure that you do understand the technical issues in sufficient detail.

...



3

the artwork

  1. logo -- a drawing by Soutine, it is (almost) my personal logo, and also decorates the cover of  [Eliens (2000)].
  2. signs -- property marks,  [ van Rooijen (2003)], p. 76, 77.
  3. photographs -- Jaap Stahlie, commissioned work.

part iii. multimedia information retrieval

.. my history might well be your future ...

ted nelson

chapters:

information retrieval


...



2

reading directives

In the following chapters we will discuss how we can make the various media formats, including text, images, audio and video amenable to search, either by analyzing content or by providing explicit meta information. For video, in particular, we develop a simple annotation logic that captures both the story line and the actors, that is persons and objects, that figure in it.

Essential sections are section 5.1, that characterizes scenarios for information retrieval, section 5.3, that introduces standard information retrieval concepts stemming from text search, section 6.4, that defines the aforementioned annotation logic, and section 7.2, that gives an outline of an abstract multimedia data format.

Section 6.3 is rather technical and may safely be skipped. Also sections 5.2, 6.1 and 7.3 may be skipped on first reading.

perspectives

Apart from the many technical issues in information retrieval, perhaps the human interaction issues are the most urgent. As possible perspectives to look at these issues. consider:

perspectives -- multimedia information retrieval


  • application(s) -- digital dossier
  • psychological -- focus
  • experimental -- user interaction
  • algorithmic -- (information) access
  • system -- unified presentation space
  • presentation -- embodied agents
  • search -- semantic annotation
  • commercial -- future systems
As you will see in the research directions given for each section, there are many proposals to improve interaction, for example the use of 3D virtual environments as an alternative way of presenting information.

essay topics

For further study you may want to look at algorithms for analyzing content, annotation schemes for pareticular application domains, or the presentation issues mentioned before. Possible essay titles are:

  • searching the web -- searching for images, video and sound
  • finding a tune -- mobile music search services
Since the retrieval problem seems to be rather intractable in a general fashion, you should limit your discussion to a specific domain, for example retrieval in the domain of cultural heritage, and relate technical issues to the requirements of users in that particular domain.

...



3

the artwork

  1. kata -- japanese martial arts picture.
  2. signs -- japanese coats of arms,  [ van Rooijen (2003)], p. 140, 141.
  3. photographs -- Jaap Stahlie, two early experiments (left, and right)

part iv. applications & tools

a journey of a thousand miles begins with the first step

chinese/japanese proverb

chapters:

applications & tools


...



2

reading directives

In this part we will look in more detail at virtual environments as an interface to complex multimedia information spaces. In chapters 9 and 10, we will consider the issues that come into focus when creating digital content, and more in general, when developing a multimedia application. In chapter 10, the final chapter, we will look at some examples of multimedia application development.

Essential sections are section 8.1, which argues how virtual reality interfaces may be relevant, and sections 9.2 and 10.2, which provide examples of multimedia application development. Dependent on your experience you may skip sections 9.1 and 10.1, which provide rules of thumb for respectively content creation and application development.

perspectives

Even in a more practical sense there are many perspectives that may characterize your academic stance. Design and application development, obviously, does not only consist of aesthetic or technical issues. So, non-exhaustively, you may look at such issues from the following perspectives:

perspectives -- multimedia applications


  • technical -- algorithmic effects
  • sociological -- stakeholders and teamwork
  • tool selection -- Maya vd 3DSMAX
  • political -- negotiating support
  • scientific -- experience design
  • computer science -- tools and technologies
  • artistic -- portfolio as a design product
For example, the issues you may come across in an actual project may have to do more with people then any thing else, in other words may be more of a political nature, than of an aesthetic nature.

essay topics

Even when you are primarily interested in the practice of developing digital content, it might well pay of to reflect on more theoretical issues. For example, consider writing an essay about:

  • 2D vs 3D aesthetics animation -- stills, sequences and stories
  • elements of style -- diversity and confluence
  • models of creativity -- a critical evaluation
In writing about such issues you should always beware of the risk of abstract speculation. So, look for examples in the domain of art, design or street culture to demonstrate your point.

...



3

the artwork

  1. walking figure -- sculpture by Alberto Giacometti,  [Hohl (1971)].
  2. signs -- meteorological symbols,  [ van Rooijen (2003)], p. 214, 215.
  3. photographs -- Jaap Stahlie, commissioned work, using traditional non-digital techniques.

part v. game development

man is a playful animal

johan huizinga

chapters:

game development


...



2

reading directives

In the final two chapters of this book, we will look at game development, with an emphasis on both implementation and design. In particular, we will discuss the motivation for using game technology to develop serious application, which in summary may be characterized as the requirement to allow for immersion, understood as experiental involvement of the user.

Essential sections are 11.2, in which we describe the development of VU-Life using the Source Half-Life 2 SDK, and 12.1, which presents a semi-formal game model, that may serve as a reference for designing more complex games.

perspectives

Game development is essentially teamwork, and generally involves both artists as well as more technical developers. In addition, with to the commercial impact of games, many factors influence the design and implementation of games. As a consequence, we may look at game development from (among others) the following perspectives:

perspectives -- game development


  • artistic -- plot, narrative, style
  • technical -- choice of game engine (SDK)
  • sociological -- sharing within game communities
  • tool selection -- supporting the workflow
  • commercial -- success factors
  • management -- teamwork
It is only very recently that game development became a topic with academic credibility. From an academic perspective, game technology may be regarded as enabling technology, that is related to many areas of computer science, including graphics, computer organization, distributed systems and software engineering.

essay topics

In accordance with the variety of perspectives, an essay may focus on the commercial aspects of games, or, for example, software engineering aspects, or the design of community games. Consider writing an essay about:

  • the success of games -- criteria for comparison
  • game engine architecture -- options for extensibility
  • community games -- models for sharing information
When writing, make sure that you provide enough information about the actual history of games. And, remind that games require real-time performance, whereas the movies that may have triggered your phantasy may get away with effects that require many hours of processing. Afterall, games are about interaction!

...



3

the artwork

  1. manuscript -- used as a desktop by my favorite student.
  2. signs -- abstract symbols,  [ van Rooijen (2003)], p. 214, 215.
  3. photographs -- Jaap Stahlie, commissioned work.

print / present / tag(s)

afterthought(s)

The world of multimedia may be looked at in many ways. In fact, the phrase multimedia is too generic to be meaningful in any way. Nevertheless, multimedia has become a subject of interest for academia. This book has been written from an academic perspective. Let me clarify this perspective, to provide you with some context that might help you in understanding this book and use it more effectively in either education, research, or even your artistic endeavors.

As a starting point, let's look (again) at the media equation, quoted in the research directions of section 9.1:

media equation(s) 1/4


We regularly exploit the media equation for enjoyment by the willing suspension of our critical faculties. Theatre is the projection of a story through the window of a stage, and typically the audience gets immersed in the story as if it was real.

This suspension of our critical faculties seems opposed to what we are used to in academic practice. And, indeed, there is an often noted conflict between the arts and the sciences, a conflict that the introduction of multimedia in the academic curriculum cannot resolve.

If we try to delineate the 'meaning' of multimedia more precisely, we might come up with pseudo-equation such as the following.

multimedia equation(s) 2/4


multimedia = presentation + context

where presentation includes the sensory and aesthetic part and context everything else. Now, at the risk of getting too much involved in 'funny mathematics' we might define context by another series of pseudo-equations

multimedia equation(s) 3/4


  • context = convergence + information + architecture

where

multimedia equation(s) 4/4


  • convergence = data +platform + distribution
  • information = storage and retrieval
  • architecture = compression + components + connectivity
Clearly, and this is exactly what this exercise in funny mathematics intended to illustrate, this book is about the contextual aspects of multimedia. Contextual aspects that may be the subject of academic research.

Is there any hope to include the presentational or aesthetic aspects in the academic curriculum? Based on a thought experiment, that explored the possibility of algorithmic art and aesthetics,  [Eliens (1988)], I would say no. And as a matter of fact, I strongly disagree with a recipe-based approach to developing multimedia presentations, as seems to be popular in a number of the academic multimedia courses.

There is another shade of meaning that may be attributed to the notion of context, namely context of application. Evidently, multimedia has become a natural ingredient of almost any application you can think of. In 1998, I organized a course on multimedia for Ph.D. students, entitled Multimedia in Context. This course dealt with some of the issues in distributed multimedia and multimedia information retrieval, as well as applications in the publishing industry, travel advertisement and medical diagnosis. To announce the course, I used an image from medieval alchemy, see part I, and a phrase characterizing 'perfect solutions'.

perfect solutions


Much more than the art of turning base metals into gold, alchemy is a system of cosmic symbolism. The alchemist learns how to create within a sealed vessel a Model of the Universe in which the opposing complementary forces of Male and Female, Earth and Air, Fire and Water attain the perfect synthesis of which gold is the emblem.

Risking obscurity at this point, I wish to equate multimedia with alchemy, to emphasize that the engineering of multimedia is an art that takes a lifetime to master. Repeating the quote from section 9.1:

multimedia engineering


"engineering is the art of moulding materials we do not wholly understand ... in such a way that the community at large has no reason to suspect the extent of our ignorance."

multimedia in context

Originally the book, that is chapters 1-7, were written for the Multimedia and Culture curriculum at the Vrije Universiteit, Amsterdam, that started in 2001. In particular, the book contains the course notes for the first year course introduction multimedia.

Then I constructed four follow-up courses:

multimedia courses


  • multimedia authoring -- Web3D/VRML
  • intelligent multimedia technology -- Virtual Environments
  • visual design -- digital content creation
  • multimedia casus -- digital dossier(s)
The first of these courses deals with the technology for creating 3D scenes and worlds see appendix B, whereas the second is about providing intelligent services in virtual environments, as discussed in chapter 8 and appendix E. In addition, Multimedia and Culture students are required to take a course in visual design and to work on a multimedia casus to bring what they learned into practice. The structure and content of these courses are reflected in chapters 9 and 10.

Due to faculty politics, the Multimedia and Culture curriculum was reduced to a minor in Information Science, which made it less appealing, both for students and staff, including me. Over time, all the course mentioned above were re-purposed for the newly created specialisation multimedia in Computer Science, which attracts more technically oriented students, with better skills for actual multimedia and game application development. Although not technical in nature, chapters 11 and 12 were written with these students in mind. And very likely, or hopefully, the specialisation multimedia will soon become multimedia and game development.

Faculty politics is not a nice topic, but unfortunately has an effect on daily life, even to the extent that I sometimes regret that I gave up the, within an academic environment, relatively safe and simple discipline of software engineering and object-oriented software development. The truth of the matter is that, whatever the reasons, multimedia and game development does not fit in well in the standard academic context of computer science. Although liked by students, it is certainly not well accepted, and for that matter understood, by the senior staff. But although anecdotes about the many conflicts about research directions and scientific merit would be interesting for those who like gossip, the sad fact is that the multidisciplinary background of multimedia and game development would require an intellectually and artistically more rich environment than a department of computer science can offer.

explorative development

From the perspective of research, the situation is not much better. It is my strong belief, right or wrong, that relevant research in the area of multimedia and game development requires explorative development, that is the design and implementation of prototype applications that embody the realization of an idea, as with our research on the digital dossier(s), an idea that includes technical as well as cultural and presentational aspects. But how hard it is to perform such multi-disciplinary research in an environment that is by tradition pre-dominantly mono-disciplinary.

Back to the book, apart from providing an introduction to a number of issues and research areas in the world of multimedia, this book also defines, in an implicit way, a research program that concerns the development and use of

virtual reality interfaces for multimedia information systems

All aspect covered in this book contribute, one way or another, to that (implicit) research program that may be classified under the heading of intelligent multimedia, of which a tentative definition is given in appendix C. And, admittedly, there are many aspects that are not covered, in particular those that are related to more advanced multimedia, virtual reality technology, and artificial inteligence.

the skill(s) of relevance

At this stage you may still wonder why I chose to name the book topical media & game development. Let me explain. The phrase topical, as an adjective, has the following meanings:

topical


  1. designed for involving local application (as an anesthetic),
  2. relating to, or arranged by, topics,
  3. referring to the topics of the day or place.
Although certainly not meant as an anesthetic, and even though it is arranged by, or at least refers to, topics, the intended meaning is due to the motivation to write a book that is relevant for the topics of (interest of) todays world. And, although it may not teach you the actual skills necessary to survive in todays world of multimedia and game development, it is certainly meant to help you in acquiring the skill of relevance, see  [Bruner (1972)], in this area, a skill that you will need to find your proper place and direction, anytime, anywhere.

Amsterdam, 2/9/2007

A. Eliëns

appendix

title(s) / web3d


select:

references

[Role] Adams J. (2002),
Programming Role Playing Games with DirectX, Premier Press
[Animation] Adams J. (2003),
Advanced Animation with DirectX, Premier Press
[Perspective] Alberti L.B. (1435),
On painting and on sculpture, Phaidon, edited by C. Grayson, 1972
[Multiplayer] Alexander T., ed. (2005),
Massively Multiplayer Game Development 2, Charles River Media
[Cyberspace] Anders P. (1999),
Envisioning Cyberspace -- Designing 3D Electronic Spaces, McGraw-Hill
[Angel] Angel E. (1997),
Interactive Computer Graphics -- A top-down approach with OpenGL, Addison-Wesley
[Film] Arnheim R. (1957),
Film as Art, The University of California Press
[Collada] Arnaud R, and Barnes M.C. (2006),
Collada -- sailing the gulf of 3D digital content creation, A.K. Peters Ltd.
[Enhancement] Astleneir H. (2000),
Designing emotionally sound instruction: the FEASP approach, Instructional Science 28, pp. 169-198
[Framework] Atanasova T., Nern H.J., Dziech A. (2007),
Framework Approach for Search and Meta-Data Handling of AV Objects in Digital TV Cycles, Workshop on Digital Television, Proc. EUROMEDIA 2007, Delft, Netherlands
[Glass] Auster P. (2004),
City of Glass, Faber and Faber, adaptation by Karasik P. and Mazzucchelli D.
[PAR] Badler N., Bindiginavale R., Bourne J., Palmer M., Shi J., Schuler W. (1998),
A Parameterized Action Representation for Virtual Human Agents, Workshop on Embodied Conversational Characters, WECC98, Lake Tahoe, CA,Oct 12-15, 1998.
[IR] Baeza-Yates R. and Ribeiro-Neto B. (1999),
Modern Information Retrieval, Addison-Wesley, 1999
[Query] Ballegooij A. van and Eliens A. (2001),
Navigation by Query in Virtual Worlds, Web3D 2001 Conference, Paderborn, Germany, 19-22 Feb 2001
[Archeology] Barcelo S.A., Forte M., Sanders D.H., eds. (2000),
Virtual Reality in Archeology, Bar International Series 843, 2000
[Strategy] Barron T. (2003),
Strategy Game Programming with DirectX 9.0, Wordware Publishing
[Impasto] Baxter W., Wendt J., and Lin M. (2004),
IMPaSTo: A Realistic, Interactive Model for Paint, Proc. of NPAR 2004, The 3rd Int. Symp. on Non-Photorealistic Animation and Rendering. June 7-9 2004, Annecy, France. pp. 45--56.
[Reproduction] Benjamin W. (1936),
The Work of Art in the Age of Mechanical Reproduction, Online Archive -- http://www.marxists.org
[Web] Berners-Lee T., Hendler J., Lassila O. (2001),
The semantic web, Scientific American, may 2001, pp. 28-37
[GamePatterns] Björk S. and Holopainen J. (2005),
Patterns in Game Design, Charles River Media
[Flat] Betsky A. with Eeuwens A. (2004),
False Flat -- Why Dutch Design is so Good, Phaidon
[Vox] Bocconi S. (2006),
Vox Populi: generating video documentation from semantically annotated data repositories, Ph.D. Thesis SIKS 2006-27
[Remediation] Bolter J.D and Grusin R. (2000),
Remediation -- Understanding New Media, MIT Press
[Monet] Boncz P.A. and Kersten M.L. (1995),
Monet -- an impressionist sketch of an advanced database system, In Proc. BIWIT95
[Interactivation] Bongers B. (2006),
Interactivation -- Towards an e-cology of people, our environment, and the arts, Ph.D. Thesis, Vrije Universiteit
[FilmTheory] Bordwell D. and Thomson K. (2003),
Film art, an introduction, McGraw-Hill, 7th edn.
[History] Briggs A. and Burke P. (2001),
A social history of the media -- from Gutenberg to the Internet , Polity Press
[Environments] Broll W. (1996),
VRML and the Web: A basis for Multi-user Virtual Environments on the Internet, In Proceedings of WebNet96, H. Maurer (ed.), AACE, Charlottesville, VA (1996), 51-56.
[Angelic] Broll W., Shäfer L., Höllerer T., Bowman D. (2001),
Interface with Angels: the future of VR and AR interfaces, IEEE Computer Graphics, November/December 2001, pp. 14-17
[Education] Bruner J.S. (1972),
Relevance of Education, Penguin Education
[Avantgarde] Burger P. (1981),
Theorie de Avantgarde, Edition Suhrkamp
[Bush] Bush V. (1945),
As we may think, Atlantic Monthly, July 1945
[Next] CACM 44:3 (2001),
The next 1000 years, Communications of the ACM, March 2001, 44:3
[ Capin T.K., Pandzic I.S., Magnenat-Thalmann N., Thalman D. (1999),
Avatars in Networked Virtual Environments, Wiley
[Annotated] Carey R. and Bell G. (1997),
The Annotated VRML 2.0 Reference Manual, Addison-Wesley
[Prediction] Cesa-Bianchi N. and Lugosi G. (2006),
Prediction, Learning, and Games, Cambridge University Press
[Spaces] Chang S.C. and Costabile M.F. (1997),
Visual Interfaces to Multimedia Databases, In [_Handbook]
[Chapman1] Chapman N. and Chapman J. (2004a),
Digital Multimedia, Wiley, 2nd edn.
[Chapman2] Chapman N. and Chapman J. (2004b),
Digital Media Tools, Wiley, 2nd edn.
[Beauty] Cheng F. (2006),
Five meditations on beauty (in french), Editions Albin Michel
[Video] Christel, M., Olligschlaeger, A., Huang, C. (2000),
Interactive maps for digital video, IEEE Multimedia 7(1), pp. 60-67
[Collaborative] Churchill E.F., Snowdon D.N. and Munro A.J., eds. (2001),
Collaborative Virtual Environments -- Digital Places and Spaces for Interaction, Springer
[Modeling] Conger D. (2004),
Physics Modeling, Thomson
[Hypertext] Conklin J. (1987),
Hypertext: An Introduction and Survey, IEEE Computer 20(9), pp. 17-41
[Design] Danaher S. (2004),
Digital 3D Design, Thomson
[DTV] Daskalova H. and Atanasova T. (2007),
Web Services and Tools for their Composition considering Aspects of Digital TV Workflow, Workshop on Digital Television, Proc. EUROMEDIA 2007, Delft, Netherlands
[Entertainment] Davenport G.(2000),
Your own virtual story world, Scientific American, november 2000, pp. 61-64
[Survey] Davison A. (1993),
A survey of Logic Programming-based Object-Oriented Languages, In Research Directions on Concurrent Object-Oriented programming, G. Agha, P. Wegner, A. Yonezawa (eds.), MIT Press (1993)
[Scripts] Davison A. (2001),
Enhancing VRML97 Scripting, Euromedia\'2001, Valencia, Spain, April 18-20. available from: http://fivedots.coe.psu.ac.th/~ad
[Logic] Davison A. (2001b),
Logic Programming Languages for the Internet, Chapter in Computational Logic: From Logic Programming into the Future, Antonis Kakas, Fariba Sadri (eds.), Springer Verlag (2001). available from: http://fivedots.coe.psu.ac.th/~ad
[Pragmatics] Dewey J. (1931),
Art as Experience, Ref ???
[Vasarely] Diehl G. (1973),
Vasarely, Crown Publishers Inc.
[Distributed] Diehl S. (2001),
Distributed Virtual Worlds -- Foundations and Implementation Techniques using VRML, Java and Corba, Springer
[Reactions] Dijkstra K., Zwaan R. Graesser A.and J. Magliano (1994),
Character and reader emotions in literary texts, Poetics 23, pp. 139-157
[Dix] Dix A., Finlay J., Abowd G., Beale R. (1998),
Human-Computer Interaction (1998), Prentice Hall, 2nd edn.
[Maps] Dodge M. and Kitchin R. (2000),
Mapping Cyberspace, Routledge
[Atlas] Dodge M. and Kitchin R. (2002),
Atlas of Cyberspace, Addison-Wesley
[Humour] Dormann C., Barr P. and Biddle R. (2007),
Humour Theory and Videogames: Laughter in the Slaughter, to appear in XXX
[Virtual] Earnshaw R. and Vince J., eds. (2002),
Intelligent Agents for Mobile and Virtual Media, Springer
[Engine] Eberly D.H. (2001),
3D Game Engine Design, Morgan Kaufmann Publishers
[Physics] Eberly D.H. (2004),
Game Physics, Morgan Kaufmann Publishers
[Eco] Eco U. (1994),
Six walks in the fictional woods, Harvard University Press
[Creativity] Eliens A. (1979),
Creativity: reflection and involvement, Ninth Int Conf of Aesthetics, Dubrovnic, August 1979
[Art] Eliens A. (1988),
Computational Art, First Int Symposium on Electronic Art, Leonardo Supplementary Issue, Pergamon Press 1988, pp. 21-26
[DLP] Eliens A. (1992),
DLP -- A language for Distributed Logic Programming, Wiley
[Workshop] Eliens A. (1996),
workshop: Logic Programming and the Web, \\ http://www.cs.vu.nl/~eliens/online/workshops/www6
[Jamming] Eliens A., Welie M. van, Ossenbruggen J. van and Schonhage S.P.C (1997) ,
Jamming (on) the Web, In: Proceedings of the 6th International World Wide Web Conference --- Everone, Everything Connected, O\'Reilly and Associates, Inc. April 1997, pp. 419-426
[Simulate] Eliens A., Niessink F., Schonhage S.P.C., van Ossenbruggen J.R., Nash P. (1996),
Support for BPR -- simulation, hypermedia and the Web, Proceedings Euromedia\'96, Euromedia, London 1996
[OO] Eliens A. (2000),
Principles of Object-Oriented Software Development, Addison-Wesley Longman, 2nd edn.
[IMVU] Eliens A. (2002),
intelligent multimedia @ VU, http://www.cs.vu.nl/~eliens/research
[Platform] Eliens A., Huang Z., and Visser C. (2002),
A platform for Embodied Conversational Agents based on Distributed Logic Programming, AAMAS Workshop -- Embodied conversational agents - let\'s specify and evaluate them!, Bologna 17/7/2002
[TIDSE] Eliens A., Dormann C., Huang Z. and Visser C. (2003),
A framework for mixed media -- emotive dialogs, rich media and virtual environments, Proc. TIDSE03, 1st Int. Conf. on Technologies for Interactive Digital Storytelling and Entertainment, Göobel S. Braun N.,n Spierling U., Dechau J. and Diener H. (eds>), Fraunhofer IRB Verlag, Darmstadt Germany, March 24-26, 2003
[Slides] Eliens A., Huang Z., Visser C. (2005),
Presentational VR -- What is the secret of the slides?, in preparation
[Navigate] Eliens A., van Riel C., Wang Y. (2006),
Navigating media-rich information spaces using concept graphs -- the abramovic dossier, accepted for: International Conference on Multidisciplinay Information Sciences and Technologies (InSciT2006) October, 25-28th 2006, Merida, Spain www.instac.es/inscit2006
[Odyssee] Eliens A. (2006b),
Odyssee -- explorations in mixed reality theatre, accepted for: GAME'ON-NA'2006, September 19-21, 2006 - Naval Postgraduate School, Monterey, USA
[VULife] Eliens A., S.V. Bhikharie (2006),
game @ VU -- developing a masterclass for high-school students using the Half-life 2 SDK, GAME'ON-NA'2006, September 19-21, 2006 - Naval Postgraduate School, Monterey, USA
[Serious] Eliens A. and Chang T. (2007),
Let's be serious -- ICT is not a (simple) game, In Proc. FUBUTEC 2007, April 2007, Delft
[VUSL] Eliens A. Feldberg F., Konijn E., Compter E. (2007) ,
VU @ Second Life -- creating a (virtual) community of learners, In Proc. EUROMEDIA 2007, Delft, Netherlands
[Recommend] Eliens A. and Wang Y. (2007),
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[Climate] Eliens A., van de Watering M., Huurdeman H. Bhikharie W., Lemmers H., Vellinga P. (2007b),
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\begin{theindex} \item Adams (2003), \hyperpage{x}, \hyperpage{111} \item Alberti (1435), \hyperpage{223} \item Anders (1999), \hyperpage{195} \item Arnaud \& Barnes (2006), \hyperpage{110} \item Arnheim (1957), \hyperpage{x}, \hyperpage{213}, \hyperpage{249}, \hyperpage{291, 292}, \hyperpage{299} \item Atanasova et al. (2007), \hyperpage{171} \item Auster (2004), \hyperpage{155} \indexspace \item Baeza-Yates and Ribeiro-Neto (1999), \hyperpage{x}, \hyperpage{79}, \hyperpage{117, 118}, \hyperpage{128}, \hyperpage{131}, \hyperpage{159}, \hyperpage{162, 163} \item Ballegooij and Eliëns (2001), \hyperpage{x}, \hyperpage{154} \item Baxter et al. (2004), \hyperpage{96} \item Benjamin (1936), \hyperpage{222} \item Betsky (2004), \hyperpage{50}, \hyperpage{175} \item Bj\"{o}rk \& Holopainen (2005), \hyperpage{282}, \hyperpage{287, 288}, \hyperpage{305} \item Bocconi (2006), \hyperpage{86} \item Bolter and Grusin (2000), \hyperpage{x}, \hyperpage{40, 41}, \hyperpage{50}, \hyperpage{195}, \hyperpage{199}, \hyperpage{223}, \hyperpage{249}, \hyperpage{305} \item Briggs and Burke (2001), \hyperpage{9}, \hyperpage{14}, \hyperpage{19, 20}, \hyperpage{50} \item Broll (1996), \hyperpage{329} \item Broll et. al (2001), \hyperpage{80} \item Bruner (1972), \hyperpage{4}, \hyperpage{295}, \hyperpage{310} \item Burger (1981), \hyperpage{50}, \hyperpage{130}, \hyperpage{250} \item Bush (1995), \hyperpage{33} \indexspace \item CACM (2001), \hyperpage{25} \item Cesa-Bianchi and Lugosi (2006), \hyperpage{151} \item Chang and Costabile (1997), \hyperpage{x}, \hyperpage{28}, \hyperpage{33} \item Chapman and Chapman (2004a), \hyperpage{x} \item Chapman and Chapman (2004b), \hyperpage{x} \indexspace \item Daskalova \& Atanasova (2007), \hyperpage{170} \item Davenport (2000), \hyperpage{x}, \hyperpage{5} \item Davison (2001), \hyperpage{329} \item Dewey (1931), \hyperpage{291}, \hyperpage{302, 303} \item Diehl 1973, \hyperpage{50} \item Dodge and Kitchin (2000), \hyperpage{152} \item Dodge and Kitchin (2002), \hyperpage{144} \item Dormann et al. (2007), \hyperpage{301} \indexspace \item Eco (1994), \hyperpage{50} \item Eliëns (1979), \hyperpage{223}, \hyperpage{302} \item Eliëns (1988), \hyperpage{220}, \hyperpage{308} \item Eliëns (1992), \hyperpage{323} \item Eliëns (2000), \hyperpage{37}, \hyperpage{48}, \hyperpage{54}, \hyperpage{79}, \hyperpage{99}, \hyperpage{148}, \hyperpage{168, 169}, \hyperpage{174}, \hyperpage{182}, \hyperpage{240}, \hyperpage{324} \item Eliëns \& Chang (2007), \hyperpage{22}, \hyperpage{82}, \hyperpage{250}, \hyperpage{263}, \hyperpage{287} \item Eliëns \& Vyas (2007), \hyperpage{129}, \hyperpage{221} \item Eliëns \& Wang (2007), \hyperpage{151}, \hyperpage{171} \item Eliëns and Bhikharie (2006), \hyperpage{109}, \hyperpage{263} \item Eliëns et al. (2002), \hyperpage{323} \item Eliëns et al. (2007), \hyperpage{21}, \hyperpage{23}, \hyperpage{25}, \hyperpage{108}, \hyperpage{195, 196} \item Eliëns et al. (2007b), \hyperpage{82}, \hyperpage{109}, \hyperpage{282} \item Eliëns et al. (2007c), \hyperpage{20, 21}, \hyperpage{45}, \hyperpage{251} \item Eliëns {\em et al.} (1997), \hyperpage{37} \item Engel (2004a), \hyperpage{96} \item Engel (2004b), \hyperpage{96} \item Engel (2005), \hyperpage{96} \item Engelbart (1963), \hyperpage{33} \item Entanaclaz (2003), \hyperpage{217} \indexspace \item Faulkner (2000), \hyperpage{212} \item Fay et al. (2004), \hyperpage{111} \item Fernando and Kilgard (2003), \hyperpage{x}, \hyperpage{90, 91}, \hyperpage{96} \item Fluckiger (1995), \hyperpage{x}, \hyperpage{164, 165} \item Forman and Saint John (2000), \hyperpage{x} \item Freud (1958), \hyperpage{302, 303} \item Fuhr et al. (1998), \hyperpage{119} \indexspace \item Gee (2003), \hyperpage{83}, \hyperpage{197}, \hyperpage{284} \item Gonzales and Wintz (1987), \hyperpage{131} \item Grau (2003), \hyperpage{x}, \hyperpage{4}, \hyperpage{22}, \hyperpage{129}, \hyperpage{223}, \hyperpage{276, 277}, \hyperpage{279, 280}, \hyperpage{299, 300}, \hyperpage{303} \indexspace \item Halln\"{a}ss and Redstr\"{o}m (2002), \hyperpage{222}, \hyperpage{290, 291}, \hyperpage{304} \item Hardman et al. (1994), \hyperpage{37} \item Harel (1984), \hyperpage{193} \item Hawkins (2005), \hyperpage{x} \item Hegel (1807), \hyperpage{302, 303} \item Heidegger (1927), \hyperpage{291} \item Hewlett and Selfridge-field (1998), \hyperpage{135}, \hyperpage{206} \item Hohl (1971), \hyperpage{178} \item Huang et al. (2000), \hyperpage{191} \item Huang et al. (2002), \hyperpage{x}, \hyperpage{190} \item Hummelen and Sill\'e (1999), \hyperpage{148}, \hyperpage{155, 156} \item Huron (1997), \hyperpage{138} \indexspace \item Jain (2000), \hyperpage{x}, \hyperpage{6} \item Jenkins (2006), \hyperpage{86}, \hyperpage{196} \item Johnson et al. (2002), \hyperpage{193} \item Juul (2005), \hyperpage{x}, \hyperpage{22}, \hyperpage{250}, \hyperpage{286} \indexspace \item K\"{o}rner (1973), \hyperpage{130} \item Kant (1781), \hyperpage{130}, \hyperpage{302, 303} \item Kassel et al. (2007), \hyperpage{170} \item Kay (2001), \hyperpage{32}, \hyperpage{322} \item Kersten et al. (1998), \hyperpage{x}, \hyperpage{145} \item Klabbers (2006), \hyperpage{x}, \hyperpage{33, 34}, \hyperpage{82}, \hyperpage{206, 207}, \hyperpage{284} \item Koenen (1999), \hyperpage{62} \item Koenen (2000), \hyperpage{x}, \hyperpage{61}, \hyperpage{63}, \hyperpage{87} \item Kress and van Leeuwen (1996), \hyperpage{x}, \hyperpage{223}, \hyperpage{249, 250}, \hyperpage{258}, \hyperpage{274--278}, \hyperpage{293}, \hyperpage{296--298}, \hyperpage{302, 303} \item Krikke (2003), \hyperpage{262} \indexspace \item Li and Drew (2004), \hyperpage{87}, \hyperpage{175} \item Luna (2003), \hyperpage{x}, \hyperpage{111}, \hyperpage{284} \indexspace \item Manco (2004), \hyperpage{224} \item McCuskey (2002), \hyperpage{x}, \hyperpage{252} \item McKnight et al. (1991), \hyperpage{34} \item McNab et al. (1997), \hyperpage{x}, \hyperpage{137, 138}, \hyperpage{149} \item Mongeau and Sankoff (1990), \hyperpage{135}, \hyperpage{137} \item Morrison (2005), \hyperpage{25} \item Mozart (1787), \hyperpage{135}, \hyperpage{149} \item Murray (1997), \hyperpage{42--44} \indexspace \item Negroponte (1995), \hyperpage{3} \item Nelson (1980), \hyperpage{33} \item Norman (2004), \hyperpage{209}, \hyperpage{212} \indexspace \item Oard et al. (2006), \hyperpage{171, 172} \item Obrenovic \& Eliëns (2007), \hyperpage{271} \item Obrenovic \& Gasevic (2007), \hyperpage{272} \item Ossenbruggen (2001), \hyperpage{x}, \hyperpage{37, 38} \item Ossenbruggen \& Eliëns (1994), \hyperpage{37} \item Ossenbruggen et. al. (2001), \hyperpage{75} \indexspace \item Pesce (2003), \hyperpage{99}, \hyperpage{143} \item Picard (1998), \hyperpage{81} \item Preece et al. (1994), \hyperpage{233}, \hyperpage{239} \indexspace \item Rosenblum and Macedonia (2002), \hyperpage{13}, \hyperpage{25} \item Rosenblum and Macedonia (2005), \hyperpage{232}, \hyperpage{252} \item Rymaszweski et al. (2007), \hyperpage{25}, \hyperpage{195} \indexspace \item Sanchez-Crespo Dalmau (2004), \hyperpage{261, 262} \item Santos Lobao and Hatton (2003), \hyperpage{25} \item Sartre (1936), \hyperpage{304} \item Saw (1971), \hyperpage{130}, \hyperpage{223}, \hyperpage{304} \item Schiller (1977), \hyperpage{303} \item Schmidt et al. (1999), \hyperpage{146}, \hyperpage{174} \item Schuytema (2007), \hyperpage{259} \item Selfridge (1997), \hyperpage{150} \item Selfridge (1998), \hyperpage{135, 136} \item Sherman and Craig (2003), \hyperpage{198}, \hyperpage{208} \item Sherrod (2006), \hyperpage{x}, \hyperpage{258} \item Shneiderman (1997), \hyperpage{38, 39}, \hyperpage{174} \item Shneiderman (2003), \hyperpage{25} \item Si \& Eliëns (2007), \hyperpage{129}, \hyperpage{251}, \hyperpage{253} \item Singhal and Zyda (1999), \hyperpage{166, 167} \item St-Laurent (2004), \hyperpage{96} \item Subrahmanian (1998), \hyperpage{x}, \hyperpage{115, 116}, \hyperpage{119, 120}, \hyperpage{122--127}, \hyperpage{133, 134}, \hyperpage{139--142}, \hyperpage{158}, \hyperpage{160, 161}, \hyperpage{165} \item Sullivan (2005), \hyperpage{101}, \hyperpage{112} \indexspace \item Tarau (1999), \hyperpage{329} \item Temperley and Sleator (1999), \hyperpage{138} \item Trogemann \& Viehoff (2004), \hyperpage{107} \indexspace \item van Rooijen (2003), \hyperpage{2}, \hyperpage{25}, \hyperpage{50}, \hyperpage{54}, \hyperpage{87}, \hyperpage{112}, \hyperpage{114}, \hyperpage{132}, \hyperpage{156}, \hyperpage{176}, \hyperpage{178}, \hyperpage{199}, \hyperpage{225}, \hyperpage{253}, \hyperpage{256}, \hyperpage{284}, \hyperpage{306} \item van Setten (2005), \hyperpage{151}, \hyperpage{174} \item Vasudev and Li (1997), \hyperpage{x}, \hyperpage{56--58} \item Visser and Eliëns (2000), \hyperpage{x}, \hyperpage{46} \item Vyas and van der Veer (2006) , \hyperpage{290} \indexspace \item W3C (2001), \hyperpage{61} \item Weishar (1998), \hyperpage{50}, \hyperpage{155} \item Welie et al. (1998), \hyperpage{239}, \hyperpage{253} \item Wiedermann (2002), \hyperpage{199}, \hyperpage{284} \item Wiedermann (2004), \hyperpage{87}, \hyperpage{225} \item Wilson (2002), \hyperpage{4}, \hyperpage{23, 24}, \hyperpage{279--281} \indexspace \item Zielinski (2006), \hyperpage{x}, \hyperpage{4, 5}, \hyperpage{22}, \hyperpage{129}, \hyperpage{270}, \hyperpage{280} \item Zimmerman (1998), \hyperpage{146} \end{theindex} \mbox{}\newpage

topical media & game development

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\vspace{0.0cm} This book provides a concise and comprehensive introduction to multimedia. It arose out of the need for material with a strong academic compontent, that is (simply) material related to scientific research. Indeed, studying multimedia is not (only) fun. Compare it with obtaining a driver license. Before you are allowed to drive on the higway, you have to take a theory exam. So why not take such an exam before entering the multimedia circus. Don't complain, and take the exam. After all it makes you aware of the rules governing the (broadband) digital highway. The book and accompanying material is available at www.cs.vu.nl/~eliens/media

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\parbox{5cm}{© \hspace{0.2cm}Æliens, Amsterdam (2002)}



(C) Æliens 04/09/2009

You may not copy or print any of this material without explicit permission of the author or the publisher. In case of other copyright issues, contact the author.