Interactive Storytelling: 4th International Conference on Interactive Digital Storytelling, ICIDS 2011, Vancouver, Canada, November 28-1 December, 2011, Proceedings

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This book constitutes the refereed proceedings of the 4th International Conference on Interactive Digital Storytelling, ICIDS 2011, held in Vancouver, Canada, in November/December 2011. The 17 full papers, 14 short papers and 16 poster papers were carefully reviewed and selected from 72 paper and poster submissions. In addition, the volume includes 6 workshops descriptions. The full and short papers have been organized into the following topical sections: interactive storytelling theory, new authoring modes, virtual characters and agents, story generation and drama managment, narratives in digital games, evaluation and user experience reports, tools for interactive storytelling.
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Dec 3, 2011
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This journal subline serves as a forum for stimulating and disseminating innovative research ideas, theories, emerging technologies, empirical investigations, state-of-the-art methods, and tools in all different genres of edutainment, such as game-based learning and serious games, interactive storytelling, virtual learning environments, VR-based education, and related fields. It covers aspects from educational and game theories, human-computer interaction, computer graphics, artificial intelligence, and systems design. The 6th volume in this series represents a selection of 7 contributions from DMDCM 2011, the 5th International Conference on Digital Media and Digital Content Management, held in Chongqing, China, in December 2011, as well as 18 contributions from CASA 2011, the 24th International Conference on Computer Animation and Social Agents, held in Chengdu, China, in May 2011. The topics covered are: pen-based interface, urban heat island simulation, BR-based on-line expo, physically-based tree animation, 3D face texture stitching, chessboard corner extraction, textured-based tracking, motion control, motion capture and retargeting, path planning, physics based animation, image based animation, behavioral animation, artificial life, deformation, facial animation, multi-resolution and multi-scale models, knowledge-based animation, motion synthesis; social agents and avatars, emotion and personality, virtual humans, autonomous actors, AI based animation, social and conversational agents, inter-agent communication, social behavior, gesture generation, crowd simulation; animation compression and transmission, semantics and ontologies for virtual humans and virtual environments, animation analysis and structuring, anthropometric virtual human models, acquisition and reconstruction of animation data, level of details, semantic representation of motion and animation, medical simulation, cultural heritage, interaction for virtual humans, augmented reality and virtual reality, computer games and online virtual worlds.
To learn while being entertained is always an effective means in education. With the advance in technologies, in particular graphics, multimedia, and virtual reality te- nologies, this has evolved into the specific area of “Edutainment”. The second int- national conference on edutainment, Edutainment 2007, aimed to provide a forum for practitioners and researchers in the field to share their experiences and findings in this fast growing area. Following the success of Edutainment 2006, which was held in Hangzhou, China, Edutainment 2007 was held during June 11–13, 2007 in Hong Kong. This year, we received 393 submissions from 29 different countries and areas, - cluding China (including Taiwan), USA, UK, Germany, Italy, France, Australia, C- ada, Switzerland, Korea, Japan, Singapore and Malaysia. A total of 90 papers were selected, after peer review, for this volume. Topics of these papers fall into six diff- ent areas ranging from fundamental issues in geometry and imaging to virtual reality systems and their applications in entertainment and education. These topics include Virtual Reality in Games and Education, Virtual Characters in Games and Education, E-learning Platforms and Tools, Geometry in Games and Virtual Reality, Vision, Imaging and Video Technology, and Collaborative and Distributed Environments. We are grateful to the International Program Committee and the reviewers for their effort to get all the papers reviewed in a short period of time. We would also like to thank everyone who contributed to organizing the conference.
Art Tatum defined the limits of the possible in jazz piano. Gunther Schuller called Tatum's playing "a marvel of perfection.... His deep-in-the-keys full piano sonority, the tone and touch control in pyrotechnical passages...are miracles of performance." Whitney Balliett wrote "no pianist has ever hit notes more beautifully. Each one--no matter how fast the tempo--was light and complete and resonant, like the letters on a finely printed page." His famous runs have been compared to the arc left against the night sky by a Fourth-of-July sparkler. And to have heard him play, one musician said, "was as awe-inspiring as to have seen the Grand Canyon or Halley's Comet." Now, in Too Marvelous For Words, James Lester provides the first full-length biography of the greatest virtuoso performer in the history of jazz. Before this volume, little was known about Tatum, even among jazz afficionados. What were his origins, who taught him and who provided early pianistic influences, how did he break into the jazz field, what role did he play in the development of other jazz players, and what was he like when he wasn't playing? To answer these questions, Lester has conducted almost a hundred interviews for this book, with surviving family, childhood friends, schoolteachers, and the famous jazz musicians who played with him or knew him. Lester creates a memorable portrait of this unique musician and of the vibrant jazz world of the 1930s and 1940s, capturing the complexity and vitality of this remarkable performer. Tatum, who was virtually blind, suffering between 70% and 90% visual impairment, emerges as cheerful, fun-loving, energetic and out-going, with none of the demonic self-destructiveness that seemed to haunt such jazz greats as Charlie Parker or Billie Holiday. He often joked about his blindness, but did not like it mentioned as a handicap and preferred to pre-plan his entrance to the piano in a club, rather than have someone lead him there. He was simply inexhaustible and had a life-long habit of staying up all night after a gig, usually seeking an after-hours club in which to listen and play until daybreak. Lester also reveals that Tatum was generous with younger players, but his extraordinary technical brilliance often devastated them. No less a talent than Oscar Peterson remembers that after first hearing Tatum, "I gave up the piano for two solid months, and I had crying fits at night." And Les Paul remarked that after hearing Tatum for the first time, he quit piano completely and began playing guitar. Perhaps most important, Lester provides a thorough, knowledgeable discussion of Tatum's music, from his early influences, such as stride pianist Fats Waller, to his mature style in which Liszt, Rachmaninoff, Debussy, Waller, and Earl Hines all became grist for his harmonic mill. From unexceptional origins in Toledo, Ohio, Art Tatum evolved into a world-class musician whose importance in jazz is comparable to Louis Armstrong and Charlie Parker and whose command of the piano captured the admiration of Horowitz and Paderewski. Too Marvelous For Words is the first full portrait of this extraordinary musical genius.
The present AutoCAD reference guide is, basically, an extension of our teaching, training and working experience in the CAD (Computer Aided Design) field and covers only ~200 commands of AutoCAD. In a productivity war, not only fewer weapons (tools and commands) force us to imbibe the defeat, but more than enough weapons are also suicidal (because we have less time for selection of weapon, too). So a compromising balance has been tried to achieve the optimum.

The available average good books on AutoCAD are horribly containing 2-3 thousands of pages for main text, with dozens of pages, only for their contents. All these mess is full of unnecessary details of even very simpler commands, which user can easily learn intuitively. Even after the bulk of pages they skip some really useful commands, which could otherwise boost the productivity of end user. 

While this reference guide is intended to provide a compact guide of AutoCAD to a wide range of working CAD professionals and students, ranging from engineering streams (architectural, civil, mechanical, electrical, etc.) to non-technical streams. We are relying heavily on the AutoCAD’s user friendly interface while writing the reference guide, as after entering the command alias in AutoCAD, it,  itself, tells ‘n asks for minimum ‘n necessary details through command line. So, practically, there is no need of written procedural details.

As this reference guide book is complimentary with the ‘AutoCAD-Advanced’ and ‘AutoCAD-Professional’ courses of ‘4Dimensions’, most commands given in this guide need at least one time lab training on real projects by an experienced tutor/professional. Each command, once mastered, doesn’t need the whole procedure to be remembered exactly (as different versions may have different procedures).

Content Development Team

4 Dimensions

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