Table of Contents

• The 4D virtual museum of the city of Bologna, ItalyFrancesca Bocchi. 8-11 [doi]
• A creative journeyVictor Raphael. 12-13 [doi]
• Art and technology: electronic resources from the GettyRia Bagaybagayan. 14-16 [doi]
• Art before technology or technology before art?: that is the questionClifford Cohen. 17-18 [doi]
• The atmosphere: incorporating interactive multimedia into the classroomMaryEllen Coleman. 19 [doi]
• City@PeaceLucia Grossberger-Morales. 20 [doi]
• ColorWebAnne Spalter. 21 [doi]
• Computer camp: for girls only!Rebecca Mercuri. 22-24 [doi]
• Creating 2D animationMarco Paolini. 25-28 [doi]
• Creating 3D animationEric Hanson. 29-30 [doi]
• The creation of the Nu.M.E. projectAntonella Guidazzoli, Maria Elena Bonfigli. 31-32 [doi]
• Creative programming: merging the artist with the computer programmerMark Ollila, Eva Carling. 33 [doi]
• Developing creativity: a curriculum based on the use of computer graphics technologyJeremy Sutton. 34-37 [doi]
• Digital design education at UCLACameron McNall. 38 [doi]
• Drawing & learningRobin Baker. 39-40 [doi]
• Education delivered through storytelling: using virtual reality as an educational toolCharles Kesler. 41 [doi]
• Educators workshop in 3D computer graphicsRaymond Corbett. 42 [doi]
• Exploratories: an educational strategy for the 21st centuryRosemary Michelle Simpson. 43-45 [doi]
• FELIX 3D displayKnut Langhans. 46-47 [doi]
• Figures of speechJanice Squire. 48 [doi]
• The future in computer graphics educationMike McGrath. 49-50 [doi]
• Get a job!: a recruiter tells you what you need to knowPamela Thompson. 51-53 [doi]
• Going farther in less time: responding to change in introductory graphics coursesRosalee Wolfe. 54-55 [doi]
• Hands-on animationShawn Dunn. 56-57 [doi]
• Hands-on universe: teaching astronomy with Java-based image processing toolsJohn Refling. 58 [doi]
• High-end interactive media in the museumMaria Roussou. 59-62 [doi]
• How to marry an éclair: anatomy of an animated taleEric Huelsman. 63 [doi]
• Incorporating principles and examples from art/design and film/video into a CS computer graphics courseG. Scott Owen. 64-67 [doi]
• Integrating art and technology in a statewide curriculumTaylor Gutermute, Lynn Hickey, John Hughes, Alan Warhaftig. 68-69 [doi]
• The integration of graphics, video, science, and communication technologiesRobert Wickman, Thomas D. Cauffield, Glenn Dame, Kevin J. Meehan. 70 [doi]
• The interactive learning environmentStephen Detwiler, Elizabeth Padilla, Jonathan Hendryx. 71-72 [doi]
• Introduction to 3D concepts for teachersPam Hogarth. 73-74 [doi]
• Introduction to digital effectsSteve Wright. 75-76 [doi]
• Math - what's the use?Valerie Miller. 77-80 [doi]
• Math and computer-generated effects: tools of the tradeMarcus Mitchell. 81 [doi]
• Minotaur: a tactile archaeology game for kidsClaudia Chow. 82 [doi]
• Museums and computer gamesLiz Caffry, Elisabeth Cameron, Carla Roth, Bill Zullo. 83 [doi]
• Organizing summer computer graphics campsMark W. McK. Bannatyne. 84 [doi]
• People in the past: the ancient Puebloan farmers of southwest ColoradoTheresa Breznau. 85 [doi]
• Proposal writing 101: ensuring your submission is understoodTom Burkhart. 86-89 [doi]
• The round earth project: collaborative VR for elementary school kidsAndrew Johnson. 90-93 [doi]
• The SIGGRAFFITI wall: multi-input paintingRichard Dunn-Roberts. 94 [doi]
• SP3D and the Lighthouse: explorations in 3D Internet learningClint Hall. 95-96 [doi]
• Supporting online collaborative communitiesPaul Hertz. 97-98 [doi]
• The teacher's mid-life crisis: Moore's Stairmaster of the fittestGreg Garvey. 99-100 [doi]
• Teaching and creating animaticsJim Keeshen. 101 [doi]
• ThinkQuest: students and teachers exploring a global Web-based education projectRobert Sibley. 102 [doi]
• Virtual HarlemBryan Carter. 103-104 [doi]
• Virtual science laboratoryNobuo Masuda. 104 [doi]
• Visual effects through adaptive technologiesMike Amron. 105 [doi]
• Walking the tightrope: balancing digital and traditional skills in undergraduate educationJohn F. McIntosh, Jeremy Butler, Kate Francek, Kathy Griswold, Jeffrey Lerer, Joel Sevilla. 106-108 [doi]
• Web pages, interactive interfaces, and worm holes: the next generation of user interface designersMaryEllen Coleman. 109 [doi]
• When children draw in 3DKatiuska Varela. 110 [doi]
• Why is the Mona Lisa smiling?Steve Feld. 111-113 [doi]
• Hot topics in graphics hardwareNick England. 118 [doi]
• How to cheat and get away with it: what computer graphics can learn from perceptual psychologyVictoria Interrante, Daniel J. Kersten, David H. Brainard, Heinrich H. Bülthoff, James A. Ferwerda, Pawan Sinha. 119-121 [doi]
• CG crowds: the emergence of the digital extraJuan Buhler, Jonathan Gibbs, Christophe Hery, Dale McBeath, Saty Raghavachary. 122-123 [doi]
• 3D tracking in FX production: blurring the lines between the virtual and the realRichard Hollander, Jacquelyn Ford Morie, Thaddeus Beier, Rod G. Bogart, Doug Roble, Arthur Zwern. 124-126 [doi]
• Natural and invisible human interfacesMichael Harris, Hiroshi Ishii, Caleb Chung, Clark Dodsworth, Bill Buxton. 127-129 [doi]
• Research and development for film productionChristian Rouet, Keith Goldfarb, Ed Leonard, Darwyn Peachey, Ken Pearce, Enrique Santos, Paul Yanover. 130-132 [doi]
• Visualizing large-scale datasets: challenges and opportunitiesKwan-Liu Ma, John Van Rosendale, Stephen G. Eick, Bernd Hamann, Philip D. Heermann, Christopher R. Johnson 0001, Mike Krogh. 133-135 [doi]
• Scene graph APIs: wired or tired?Wes Bethel, Carl Bass, Sharon Rose Clay, Brian Hook, Michael T. Jones, Henry Sowizral, Andries van Dam. 136-138 [doi]
• Get real!: global illumination for film, broadcast, and game productionStuart Feldman, Craig Barron, Scott Lelieur, George Murphy, Dave Walvoord. 139-141 [doi]
• Experiential computer artLucy Petrovich, Maurice Benayoun, Tammy Knipp, Thomas Lehner, Christa Sommerer. 142-143 [doi]
• Visual effects: incredible effects vs. credible scienceGeorge Suhayda. 144-146 [doi]
• How SIGGRAPH research is utilized in gamesChris Hecker, Alex Dunne, Alan Yu, Seamus Blackley, Peter Lincroft, Casey Muratori, Michael Saxs Persson. 147-148 [doi]
• Visual storytellingGraham Walters, Sharon Calahan, Bill Cone, Ewan Johnson, Tia Kratter, Glenn McQueen, Bob Pauley. 149 [doi]
• Function and form of visual effects in animated filmsJennifer Yu, Ken Bielenberg, Apurva Shah, Jim Hillin, Eben Ostby, Neville Spiteri. 150-152 [doi]
• Digital watermarking: what will it do for me? And what it won't!Jian Zhao, Eckhard Koch, Joe O'Ruanaidh, Minerva M. Yeung. 153-155 [doi]
• Mixed reality: where real and virtual worlds meetSteven Feiner, Henry Fuchs, Takeo Kanade, Gudrun Klinker, Paul Milgram, Hideyuki Tamura. 156-158 [doi]
• Web 3D RoundUPDon Brutzman, Timothy Childs. 160 [doi]
• Star Wars Episode 1: the Phantom MenaceRob Coleman, Ned Gorman, Christian Rouet, Scott Squires, John Knoll. 160 [doi]
• A visit with an animation legendDonald Levy, Sande Scoredos. 161 [doi]
• Fiction 2000: technology, tradition, and the essence of storyAndrew Glassner, Turner Whitted. 161 [doi]
• Surface drawingSteven Schkolne, Cici Koenig. 166 [doi]
• The Luminous Room: some of it, anywayJohn Underkoffler, Dan Chak, Gustavo S. Santos, Jessica Laszlo, Hiroshi Ishii. 167 [doi]
• HandSCAPEJay Lee, Victor Su, Sandia Ren, Hiroshi Ishii, James Hsiao, Rujira Hongladaromp. 168 [doi]
• (void*): a cast of charactersBruce Blumberg. 169 [doi]
• Life SpaciesChrista Sommerer, Laurent Mignonneau. 170 [doi]
• LeonAthomas Goldberg. 171 [doi]
• ROUTE66Ronen Lasry, Daniel Szecket. 172 [doi]
• CurlybotPhil Frei, Victor Su, Hiroshi Ishii. 173 [doi]
• musicBottlesHiroshi Ishii, H. R. Fletcher, J. Lee, S. Choo, Joanna Berzowska, Craig Wisneski, C. Cano, A. Hernandez, C. Bulthaup. 174 [doi]
• Ensphered visionHiroo Iwata. 175 [doi]
• Touchable 3D displayHideki Kakeya. 176 [doi]
• Hologram/head-mounted displayTakahisa Ando. 177 [doi]
• Shared space: collaborative augmented realityMark Billinghurst. 178 [doi]
• Head-mounted projectorMasahiko Inami. 179 [doi]
• Visual conductorJakub Segen. 180 [doi]
• Microworlds, sirens, and ArgonautsAgueda Simó. 181 [doi]
• EmergenceRebecca Allen. 182 [doi]
• Water displayYuki Sugihara. 183 [doi]
• VisiPhoneKarrie Karahalios, Fernanda B. Viégas. 184 [doi]
• metaField mazeBill Keays, Ron MacNeil. 185 [doi]
• HyperMask: virtual reactive faces for storytellingKim Binsted. 186 [doi]
• TV guidesDon Ritter. 187 [doi]
• Digital cloning systemBarnabás Takács. 188 [doi]
• City of NewsFlavia Sparacino. 189 [doi]
• A ghostly figure rising out of an evil, dark bog: the making of "The Wraith" from "The Mummy"David F. Horsley, Julija Leary. 194 [doi]
• Cloth animation for Star Wars: Episode I "The Phantom Menace"Tim McLaughlin, John Anderson. 195 [doi]
• Creature wrangling and enveloping for Star Wars: Episode I "The Phantom Menace"Tim McLaughlin, Cary B. Phillips. 196 [doi]
• Creating a digital world from scratch: the launch of the First Union Bank advertising compaignMary Beth Haggerty, Tim Stevenson. 197 [doi]
• Creating digital corpses for "The Mummy"Catherine Craig, James Doherty, Rick Grandy. 198 [doi]
• Creature modeling and facial animation on Star Wars: Episode I "The Phantom Menace"Geoff Campbell, Cary B. Phillips. 199 [doi]
• Deep canvas in Disney's TarzanEric Daniels. 200 [doi]
• Digital carsBob Hoffman. 201 [doi]
• Directing 3D animated characters for advertising: turning marketing strategy info storytelling strategyMark Völpel. 202 [doi]
• The HauntingCraig Hayes. 203 [doi]
• The making of the painted world: "What Dreams May Come"Karen Ansel. 204 [doi]
• Multiple creatures choreography on Star Wars: (Episode I "The Phantom Menance")Marjolaine Tremblay. 205 [doi]
• Technical animation issues for the battle droids of Star Wars: (Episode I "The Phantom Menace")James Taylor, Jim Hourihan. 206 [doi]
• Viewpainting models for Star Wars: (Episode I "The Phantom Menace")Jean Bolte, David Benson. 207 [doi]
• A 3D natural emulation design approach to virtual communitiesSteve DiPaola, David Collins. 208 [doi]
• The application of non-periodic tiling patterns in the creation of artistic imagesKenneth A. Huff. 209 [doi]
• Computational expressionism: a model for drawing with computationJoanna Berzowska. 210 [doi]
• Explorations of new visual systemsKostas Terzidis. 211 [doi]
• Hyper-3D paintings in quick time VR: wunderkammer and hyperaesthesiaPhilip Sanders. 212 [doi]
• MSA's attractors: navigational aids for virtual environmentsAgueda Simó, Juan Francisco López, Yu Uny Cao. 213 [doi]
• The mutable cursor: using the cursor as a descriptive and directive device in digital interactive storiesElla Tallyn, Alan Chalmers, Scott Pitkethly. 214 [doi]
• NamiKelly B. Heaton, Robert D. Poor, Andrew J. Wheeler. 215 [doi]
• Nicholson NY/Pequot interactivesWells Packard. 216 [doi]
• Passion spaces based on the synesthesia phenomenonTsutomu Miyasato. 217 [doi]
• Phene-: creating a digital chimeraTiffany Holmes. 218 [doi]
• SaltoArte: explorations in spatial interactive multimediaGeorge Liaropoulos-Legendre, Larry Burks, S. Kirsten Gay. 219 [doi]
• Setup of the Konsum Art.ServerMargarete Jahrmann, Max Moswitzer. 220 [doi]
• Virtual music reproductionHartmut Chodura, Arnold Kaup. 221 [doi]
• VisiPhoneKarrie Karahalios. 222 [doi]
• 3D facial reconstruction and visualization of ancient Egyptian mummies using spiral CT dataMaurizio Forte. 223 [doi]
• 3D gait reconstruction using two-camera markerless videoSuba Varadarajan, Xiaoning Fu, Rick Parent, Patrick J. Flynn, Kathy A. Johnson. 224 [doi]
• 3D imaging for rapid response on remote sitesJean-Angelo Beraldin, François Blais, Luc Cournoyer, Marc Rioux, S. H. El-Hakim. 225 [doi]
• 3D physics-based brush model for paintingSuguru Saito, Masayuki Nakajima. 226 [doi]
• 3D rendering effects for 2D animationLance Williams, Galen Gornowicz. 227 [doi]
• A level-set approach for the metamorphosis of solid modelsDavid E. Breen, Ross T. Whitaker. 228 [doi]
• An interface for transcribing American Sign LanguageRosalee Wolfe. 229 [doi]
• Animating bird flight using aerodynamicsBalajee Ramakrishnananda, Kok Cheong Wong. 230 [doi]
• Animating expressivity through effort elementsDiane M. Chi, Norman I. Badler, Janis Pforsich. 231 [doi]
• Application of computer graphics for design and delivery of conformal radiation therapyMarc L. Kessler, Daniel L. McShan, Benedick A. Fraass. 232 [doi]
• Asynchronous, adaptive, rigid body simulationStephen Chenney. 233 [doi]
• Automatic recognition and mapping of constraints for motion retargettingRama Bindiganavale, Norman I. Badler. 234 [doi]
• Capturing the motions of actors in moviesMasanobu Yamamoto, Katsutoshi Yagishita, Hajime Yamanaka, Naoto Ohkubo. 235 [doi]
• Color super-histograms for video representation: preliminary research and findingsJacquelyn Martino, Nevenka Dimitrova, Lalitha Agnihotri, Herman Elenbaas. 236 [doi]
• Declarative behaviors for virtual creaturesPhilippe Codognet. 237 [doi]
• Decremental Delaunay triangulationRichard Hammersley, Hongqian Lu. 238 [doi]
• Dynamic texture: physically based 2D animationMikio Shinya, Masakatsu Aoki, Ken Tsutsuguchi, Naoya Kotani. 239 [doi]
• Enhancing the efficiency and versatility of directly manipulated free-form deformationJames E. Gain, Neil A. Dodgson. 240 [doi]
• Fast polygon mesh querying by exampleJames E. Gain, James Scott. 241 [doi]
• Filtered noise and the fourth dimensionGeoff Wyvill, Kevin Novins. 242 [doi]
• Freeform curve generation by recursive subdivision of polygonal strip complexesAhmad Nasri. 243-244 [doi]
• Handheld interactions: tailoring interfaces for single-purpose devicesW. Bradford Paley. 244 [doi]
• Head-mounted projector for projection of virtual environments on ubiquitous object-oriented retroreflective screens in real environmentMasahiko Inami, Naoki Kawakami, Dairoku Sekiguchi, Yasuyuki Yanagida, Taro Maeda, Susumu Tachi, Kunihiko Mabuchi. 245 [doi]
• The Holodeck interactive ray cacheGregory Ward Larson, Maryann Simmons. 246 [doi]
• Image moment-based stroke placementMichio Shiraishi, Yasushi Yamaguchi. 247 [doi]
• Image re-composerShoji Tanaka, Jun Kurumizawa, Seiji Inokuchi. 248 [doi]
• Image-based modeling, rendering, and lighting in Fiat LuxPaul E. Debevec. 249 [doi]
• Image-based techniques for object removalRod G. Bogart. 250 [doi]
• Interactive CSGChris Butcher. 251 [doi]
• Interactive haptic modeling of tensegrities and network structuresMartin L. Brady, Kenneth K. Jung, H. T. Nguyen. 252 [doi]
• Interactive rendering with arbitrary BRDFs using separable approximationsJan Kautz, Michael D. McCool. 253 [doi]
• LiveWeb: visualizing live user activities on the WebRebecca Xiong, Eric Brittain. 254 [doi]
• Methods for preventing cloth self-intersectionJohn McDonald, Robert Welland. 255 [doi]
• Modeling HIVTeresa Larsen, David S. Goodsell, Dru Clark, Ernest Stewart. 256 [doi]
• The morphological cross-dissolveKevin Novins, James Arvo. 257 [doi]
• Multi-dimensional quaternion interpolationMichael Patrick Johnson. 258 [doi]
• Multifluid finite volume Navier-Stokes solutions for realistic fluid animationJohn A. Turner, Andrea Mazzone. 259 [doi]
• Oblique projector rendering on planar surfaces for a tracked userRamesh Raskar. 260 [doi]
• Occlusion culling with optimized hierarchical bufferingNed Greene. 261 [doi]
• OpenGL texture-mapping with very large datasets and multi-resolution tilesPaul Hansen. 262 [doi]
• Phong shading at Gouraud speedGreg Rivera. 263 [doi]
• Physically based anatomic modeling for construction of musculoskeletal systemsVictor Ng-Thow-Hing. 264 [doi]
• Postprocess 2D motion blur for cel animationPeter Cucka. 265 [doi]
• Projecting computer graphics on moving surfaces: a simple calibration and tracking methodClaudio S. Pinhanez, Frank Nielsen, Kim Binsted. 266 [doi]
• Prototype system of mutual telexistenceYutaka Kunita, Masahiko Inami, Taro Maeda, Susumu Tachi. 267 [doi]
• Quasi-linear Z bufferEugene Lapidous, Guofang Jiao. 268 [doi]
• Real-time shadows, reflections, and transparency using a Z buffer/ray tracer hybridAbe Megahed. 269 [doi]
• Real-time and physically realistic simulation of global deformationYan Zhuang, John Canny. 270 [doi]
• Real-time principal direction line drawings of arbitrary 3D surfacesAhna Girshick, Victoria Interrante. 271 [doi]
• Real-time translation of human motion from video to animationTsukasa Noma, Kyoji Oishi, Hiroshi Futsuhara, Hiromi Baba, Takeshi Ohashi, Toshiaki Ejima. 272 [doi]
• Rendering 3D objects into photographs taken by uncalibrated perspective camerasQian Chen, Gérard G. Medioni. 273 [doi]
• Representation of the tactile surface texture of an object using a force feedback systemTeruaki Iinuma, Hideki Murota, Yasuo Kubota, Hiroshi Tachihara. 274 [doi]
• Shading and shadow casting in image-based rendering without geometric modelsAkihiro Katayama, Yukio Sakagawa, Hiroyuki Yamamoto, Hideyuki Tamura. 275 [doi]
• Shape extraction for a polygon meshTong Wing Woon, Xuetao Li, Tiow Seng Tan. 276 [doi]
• Speedlines: depicting motion in motionless picturesMaic Masuch, Stefan Schlechtweg, Ronny Schulz. 277 [doi]
• Stereo analyst: visualizing large stereoscopic imagery in real-timeJason Rosenberg, Gena Hillhouse, You-Nian Wang. 278 [doi]
• Tangible modeling systemKen-ichi Kameyama. 279 [doi]
• Tracking and modifying human motion with dynamic simulationVictor B. Zordan, Jessica K. Hodgins. 280 [doi]
• Video embodiment - MovieSpiral: towards intuitive/comprehensive interfaces for digital video interactionAkihito Akutsu. 281 [doi]
• Virtual CarChristoph Stratmann. 282 [doi]
• Volumetric modeling of artistic techniques in colored pencil drawingSaeko Takagi, Issei Fujishiro, Masayuki Nakajima. 283 [doi]
• Wet and messy furArmin Bruderlin. 284 [doi]
• Which way is the flow?David L. Kao. 285 [doi]
• Worldboard: enabling a global augmented reality infrastructureSonny E. Kirkley, Richard B. Dietz, S. Chris Borland. 286 [doi]