PLACE Events 2016-2017

This document describes PLACE events at Linfield College for 2016-2017

Annual Report 2020-2021

LETTER FROM THE DEAN As I write this letter during the beginning of the 2021–22 academic year, we have started to welcome the majority of our students to campus— many for the very first time, and some for the first time in a year and a half. It has been wonderful to be together, in-person, again. Four quarters of learning and working remotely was challenging, to be sure, but I have been consistently amazed by the resilience, innovation, and hard work of our students, faculty, and staff, even in the most difficult of circumstances. This annual report, covering the 2020–21 academic year—one that was entirely virtual—highlights many of those examples: from a second place national ranking by our Security Daemons team to hosting a blockbuster virtual screenwriting conference with top talent; from gaming grants helping us reach historically excluded youth to alumni successes across our three schools. Recently, I announced that, after 40 years at DePaul and 15 years as the Dean of CDM, I will be stepping down from the deanship at the end of the 2021–22 academic year. I began my tenure at DePaul in 1981 as an assistant professor, with the founding of the Department of Computer Science, joining seven faculty members who were leaving the mathematics department for this new venture. It has been amazing to watch our college grow during that time. We now have more than 40 undergraduate and graduate degree programs, over 22,000 college alumni, and a catalog of nationally ranked programs. And we plan to keep going. If there is anything I’ve learned at CDM, it’s that a lot can be accomplished in a year (as this report shows), and I’m committed to working hard and continuing the progress we’ve made together in 2021–22. David MillerDeanhttps://via.library.depaul.edu/cdmannual/1004/thumbnail.jp

Graphical Evolution Experiments in Artificial Life

Larry Yaeger\u27s alife simulation running on a Silicon Graphics Iris Workstation is called Poly World. Our description of PolyWorld is based on notes taken during an oral presentation and video demonstration given in the Artificial Life Panel Session of SIGGRAPH \u2792: In PolyWorld the visual organisms roam on a bounded two dimensional grid. The organisms brains are small neural nets enabling the organisms to control their external visual appearance and to perceive the external world by processing pixmaps. The simulation controls for total energy while striving to explore competition and self-organization. Genes present are for size, strength, maximum speed, mutation rate, number of crossover points in the neural net, lifespan, energy to offspring, and ID (a parameter used to enable mimicry). The neural net can make decisions about whether the organism should eat, fight, mate, move, turn, light (effecting the external appearance of the light sensor panel it emits), or focus (gaze at the appearance of others). To see the organisms evolve to different species adopting distinct and atypical strategies and behaviors for survival is most impressive. Words do not do justice to the video animation sequences

College of Arts and Sciences summary of research and creative activities, July 1, 1980 to June 30, 1981

Summary of research and creative activities of the College of Arts and Sciences at the University of Central Florida, July 1, 1980 - June 30, 1981

Algorithms of Vision. Human and machine learning in computational visual culture

Current computer vision algorithms largely depend on the availability of images labelled by human annotators at very high speed. The mode of production of these annotations strongly resonates with an early experiment conducted in 2007 at Caltech by Fei Fei Li, initiator of ImageNet, one of the most popular visual datasets. In a laboratory, the subjects were asked to describe photographs shown for a few milliseconds and to filter them through a taxonomy. The Caltech experiment is used, in the thesis, to engage with the photographic elaboration of computer vision: the model of vision, the photographic alignments and the micro-temporal rhythm that subtend the modes of production of labelled data and the labour behind it. The written and practice components of the submission elaborate a novel method and document the path towards it. The method has developed in the context of practice-led research in collaboration with The Photographers' Gallery and crystallised into a project, Variations on a Glance, a series of re-enactments based on the Caltech experiment. The original experimental protocol is submitted to several variations, called re-experiments, exploring its potential to produce a time-critical model of vision and collective visual interpretations. The experimental protocol is re-designed iteratively to explore specific configurations of micro-temporal vision and different configurations of collectives of human and non-human participants. The thesis examines the dynamics of these collectives, in particular how they reach consensual interpretation, and how the taxonomic practices of the lab interfere in this process. The contribution of this research is a mapping of the entanglement of computer vision and photography and a method embedded in practice that does not attempt to resolve the differences and tensions between photography and computer vision but provides a device to explore the texture of their relation. The research complements and complicates the recent critiques related to bias and discrimination in machine learning and the exploitative work conditions it relies on. Finally it offers to the photographic institution and its public a mode of intervention into the making of computer vision