IEEE MultiMedia (April-June 2004)

91 Pages·2004·7.481 MB·English

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April–June 2004 Vol. 11, No. 2
Published by theIEEEComputer Society
in cooperation with theIEEE Communications Society
and IEEE Signal Processing Society
Digital Multimedia on Demand
14 Guest Editors’ Introduction
Nikolaos Bourbakis and George Bebis
16 Client Architecture for MPEG-4 Streaming
Haifeng Xu, Joe Diamand, and Ajay Luthra
The authors discuss their Multilevel Buffer Architecture,
a buffering mechanism for MPEG-4 decoder players.
24 Resource Requirements of Closed-Loop
Video Delivery Services
Wei Shu and Min-You Wu
This article presents a capacity analysis, and a new
method based on scheduled video delivery.
38 Soft-Decision Tracing in Fingerprinted
Multimedia Content Feature Articles
Marcel Fernandez and Miguel Soriano
To protect intellectual property and distribution rights
against dishonest customers in the multimedia content 58 An MPEG-4 Tool for Composing Scenes
market, the authors present a traitor-tracing algorithm Petros Daras, Ioannis Kompatsiaris, Theodoros Raptis, and
that takes advantage of soft-decision decoding techniques. Michael G.Strintzis
MPEG-4’s complicated format makes developing scenes
48 RMI System: from scratch all but impossible for novice users. By
Internet Meets the Future Home Theater converting MPEG-4’s text-based description into
Roger Zimmerman, Chris Kyriakakis, Cyrus Shahabi, Christos graphical form, the authors’ proposed tool exploits all
Papadopoulos, Alexander A.Sawchuk, and Ulrich Neumann of MPEG-4’s 3D functionalities while easing the
This article discusses RMI, a system that blends multiple authoring burden.
media technologies into its digital media delivery
platform.
http://www.computer.org/multimedia
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Departments
1 EIC’s Message
Multimedia Information Lifecycle
Management
4 Artful Media
Enhancing Engagement in Multimodality
Environments by Sound Movements
in a Virtual Space
10 Media Impact
The Future in Digital Media Computing
Is Meta
72 Multimedia at Work
MobiDENK—Mobile Multimedia
in Monument Conservation
78 Media Reviews
Demystifying Multimedia
80 Standards
Multimedia Retrieval Benchmarks
85 New Products
C3 Readers’ Remarks
Computer Society Information, p. 9
Advertising/Product Index, p. 47
Cover Image: Elizabeth Merritt
IEEE
Signal Processinging Society
ISSN 1070-986X
Editor in Chief Lead Editor Tammi Titsworth
Forouzan Golshani Wright State U. Group Managing Editor Robin Baldwin
Staff Editor Kristine Kelly
Associate Editors in Chief
Magazine Assistant II Alkenia Winston
Nevenka Dimitrova Philips Research
Art Direction Joseph Daigle
Frank Nack CWI, The Netherlands
Editorial Board
Nikolaos Bourbakis Wright State U. Executive Director David Hennage
Tiziana Catarci U. Rome, Italy Publisher Angela Burgess
Chang Wen Chen Florida Institute of Technology Assistant Publisher Dick Price
Marc Davis U. California, Berekeley Business Development Manager Sandy Brown
William Grosky U. Michigan Advertising Coordinator Marian Anderson
Ramesh Jain Georgia Inst. of Technology Member/Circ. Promos Manager Georgann Carter
Pan-Koo Kim Chosan U., Korea
Sethuraman Panchanathan Arizona State U.
Dorée Duncan Seligmann Avaya Labs Magazine Operations Committee
Amit Sheth U. Georgia Bill Schilit (chair), Jean Bacon, Pradip Bose, Doris L. Carver,
John Smith IBM George Cybenko, John C. Dill, Frank E. Ferrante,
Heather Yu Panasonic Robert E. Filman, Forouzan Golshani, David Alan Grier,
Hong Jiang Zhang Microsoft Research, Asia Rajesh Gupta, Warren Harrison, Mahadev Satyanarayanan,
Nigel Shadbolt, Francis Sullivan
Submissions:Send to http://cs-ieee.manuscriptcentral.com/ Publications Board
(Manuscript Central). Please check to see if you have an ac- Michael R. Williams (chair), Jean Bacon, Laxmi Bhuyan,
count by using the “Check for Existing Account” button. If Mark Christensen, Thomas Keefe, Deependra Moitra,
you don’t have an account, please sign up. Submit proposals Steven L. Tanimoto, Anand Tripathi
for special issues to Forouzan Golshani, [email protected]. All
submissions are subject to editing for style, clarity, and length.
EIC’s Message Forouzan Golshani
Wright State University
Multimedia Information Lifecycle
Management
Idecided to write about this issue not because for some time, the choice for storage—usually deter-
multimedia information management is close mined by a price/performance ratio—will have to
to my area of research, but because I believe it’s match the regulatory use of the information.
no longer just a luxury—it’s a boardroom issue. Another attribute necessary for optimizing a
As the role of information continues to increase multimedia repository is flexibility, which we
in corporate decision making, more and more must consider from the production/acquisition
multimedia information augments the tradition- stage, through compression, analysis and index-
al alphanumeric data in the process. ing, and all the way to eventually discarding.
The value of information varies significantly (Knowing when and how to discard information
from one enterprise to another, and as such the is just as important as retaining and securing it).
issue of lifecycle management may have different Many aspects of a multimedia information life-
implications. Consider, for example, the health- cycle are affected by regulatory compliance. Not
care domain and medical records. To parents, the only are the authenticity and integrity of informa-
records represent a vital component of a child’s tion significant, other pragmatic issues—such as
growth. Ultrasounds were once considered a pure- selecting the right storage for the right content—
ly medical procedure, but now companies spe- are important to the equation. CIOs must bear in
cializing in keepsakes provide expectant parents mind that in the new world of “all digital” infor-
with pictures produced and stored on a CD or a mation, lifecycle management strategies for multi-
VHS tape. media information are critical in handling
To medical researchers, the records are the inevitable growth. This is true for governmental,
backbone of any future resesearch and develop- public, private, and nonprofit organizations.
ment activity. Healthcare networks, however, As always, I invite your views on this issue.
view the records as a way to gain insight on Please write to me at [email protected]
trends in several areas related to medical and with your ideas.
pharmaceutical fields. To state and federal gov- On to our editorial board, which now has a
ernment agencies, this same informatin repre- new member: Marc Davis. Davis directs the work
sents regulatory obligations for years to come. at Berkeley’s Garage Cinema Research. He’s a
So what’s common among these groups? respected innovator who is committed to mak-
Fixed content must be retained for active refer- ing multimedia available and more useful to
ence over a long period of time. Examples everyday people. Marc: welcome aboard. MM
abound of objects that must be maintained for a
very long time—including seismic data, CT
scans, check images, audio legal depositions, bio- Marc Davisis at the University of
metric data, digital evidence, and CAD data. California at Berkeley’s School of
Information lifecycle management clearly begins Information Management and Sys-
with acquisition (creation) of multimedia informa- tems. He’s a graduate of the Massa-
tion, and includes several important steps. MPEG-7 chusetts Institute of Technology
and MPEG-21 have been catalysts for making sig- Media Laboratory and has been
nificant inroads here. Areas still exist, though, that active in digital video research for
require further consideration of the long-term use many years. He now directs Garage Cinema Research
of and accessibility to information. The complicat- (http://garage.sims.berkeley.edu), where he and his students
ing factor is regulatory compliance. For example, are working on media metadata, automatic video capture
whereas the tiered storage system has been in use and editing, and mobile media applications.
1070-986X/04/$20.00 © 2004 IEEE Published by the IEEE Computer Society 1
Artful Media Doree Duncan Seligmann
Avaya Labs
Enhancing Engagement in
Multimodality Environments by
Sound Movements in a Virtual Space
Amalia de Götzen Since 1959, when electronic music was estab- show how engagement can be enhanced acousti-
Università di lished as a new way of music composition, the cally in multimodality environments—for exam-
Verona rules of traditional music performance and enjoy- ple, through the motion of sound through
ment have changed to include space, motion, virtual spaces. Whereas sound positioning and
and gesture as musical parameters. For example, movement have seldom been used in concert set-
musicians are often located somewhere other tings, the ear has great detection capabilities con-
than the stage—sometimes even in the audi- nected to its primary role (a signaling device for
ence—and where the music will be performed invisible or unseen cues); music is now trying to
often influences compositional thinking. Loud- put these capabilities to creative use.
speakers move sound through the space at vary-
ing speeds (based on other musical parameters). Space as a musical parameter
In addition, the development of live electronics— Composers have long considered space in
that is, computers applied to real-time processing music; however, aside from some work by Gio-
of instrumental sounds—has allowed space as a vanni and Andrea Gabrieli (the antiphonal choirs
musical instrumental practice to flourish. in Venice’s churches) and Wolfgang Amadeus
Electro-acoustic technologies let composers Mozart (the three orchestras playing simultane-
explore new listening dimensions and consider ously in Don Giovanni), current trends in con-
the sounds coming from loudspeakers as pos- temporary music are developing space as a
sessing different logical meanings from the full-blown musical parameter. For example, Karl-
sounds produced by traditional instruments. heinz Stockhausen’s Gruppen (1955–1957) fea-
Medea, Adriano Guarnieri’s “video opera,” is tures three orchestras scattered throughout the
an innovative work stemming from research in audience: “All the processes of this music have
multimedia that demonstrates the importance been determined by the spatial disposition of the
and amount of research dedicated to sound sound, by its direction and its movement.”1
movement in space. Medeais part of the Multi- New electro-acoustic technology widely uses
sensory Expressive Gesture Application project the spatial movement of sound. A number of
(http://www.megaproject.org). MEGA aims to works may have contributed to the ideas behind
develop mediated experiences and supporting Medea. For example, Pierre Boulez wrote Répons
technologies through cross-fertilization of expres- (1984) for ensemble and live electronics. The
sive communication theories and expressive and audience surrounds the stage, and six soloists sur-
emotional content by modeling nonverbal inter- round the audience. The soloists are amplified,
action with multisensory interfaces in shared causing the live-electronics setup to perform dif-
interactive mixed-reality environments. As this ferent kinds of sound movement.
article shows, real-world artwork and perfor- Another work, Luciano Berio’sOfanim(1988),
mance enhance the research’s scientific aspects. uses sound movement in space to build unusual
Among Medea’s intentions, derived from artis- orchestral and counterpoint functions. The
tic and musical suggestions and needs, is a desire instrumentation is peculiar (two 10-element
to establish an explicit connection between woodwind–brass ensembles, two percussions
sound movement and expressiveness and to groups, two 20-element childrens choirs, and one
4 1070-986X/04/$20.00 © 2004 IEEE Published by the IEEE Computer Society
Figure 1. Connection
Expressive Expressive
Gesture Spatial between physical and
Movement content spatialization
analysis movement
description model spatial movements.
singer), so the spatialization helps avoid sound- about the expressive matching of instrumental
masking phenomena in the dense passages and and sound movement gestures, each reinforcing
clarify the counterpoint among parts. the other to produce a rich and powerful mes-
As a last example, Adriano Guarnieri’s Passione sage. In scoring Medea, the composer explicitly
secondo Matteo (2000) features the composer’s describes the expressive mapping between per-
concept of sound movement. Rather than using former and sound movement gestures.
physical gesture, live-electronic processing Gesturegenerally refers to dance movements
enhances and clarifies the gesture in this piece and sometimes to specific body expressions. How-
(for instance, the trumpets’ amplitude envelope ever, gesture can also be considered a structure
controls some space location parameters to with definite semantics defined into an abstract
enhance the musical meanings of crescendo and space, as it is here. For example, a musical phrase
diminuendo). is a gesture that expresses an emotion using only
Sound motion through space is an established musical parameters, where music is the abstract
tradition in much of contemporary music, much space. In dance, the connection between music
of which exploits multimodality to enhance per- and body movement is explicit. Choreography
formance. Music—specifically sound motion in can better express a given musical work in a bal-
space—conveys expressive content related to per- let and vice versa: the music carries emotional
formance gestures. Although composers have states that the body movement expresses.
investigated the connection between music and Many psychological studies about music and
emotion for traditional parameters, such as emotion maintain that music can represent the
intensity, timbre, and pitch, spatialization is still dynamic properties of emotions, such as speed,
a new research path. The use of space as a musi- strength, and intensity variations. In particular,
cal parameter in an expressive dimension music can express these emotions by associating
requires new paradigms for interaction, mapping affinities between musical characteristics and
strategies, and multimedia interfaces based on body movements.2Imberty states that the body
real-time analysis and synthesis of expressive and the emotions share some kinetic tension and
content in music and gesture. release schemes, so movements and emotional
Researchers have developed and applied mod- states form a coherent set and gesture becomes a
els and algorithms for extracting high-level, qual- communication channel.3Sound movement in
itative information about expressive content to space may be a link through which to explore
real-time music and multimedia applications. this connection between gestures and emotions.
Analysis of expressive gestures has sought to
extract expressive information from human Psychoacoustic test model
movements and gestures and to control the gen- As a researcher with the MEGA project, I per-
eration of audio content depending on the analy- formed a psychoacoustic test to evaluate sound
sis. Figure 1 diagrams the link between physical movement as a musical parameter and determine
and spatial movement. Medeaoffers real-world whether it has potential expressive content for
examples of such multimodal extensions. the listener. The test sought to establish a per-
ceptive paradigm with which to construct a
Medea: Exploring sound-movement model for use in a musical context. This prelimi-
parameters nary study focused on three parameters that are
Medeais a large musical work for soli, orches- considered sound movement’s basic compo-
A
tra, choir, and live electronics that Guarnieri nents: speed, articulation, and path. I designed p
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describes as a video opera. Video opera refers to the parameters to have only two semantically il–
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the full scope of the underlying musical vision, opposed values in each example: u
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which consists of metaphorical references to e
video devices such as zooming and edited ❚ Speed—two opposed time values represent the 20
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sequences. Medeafeatures Guarnieri’s intuition sound persistence on each loudspeaker 4
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Artful Media
AROUSAL that the subject is materially influenced by feel-
Alarmed
Aroused Excited ings that possess a valence: they’re centrally con-
Astonished cerned with positive or negative evaluations of
Afraid
Delighted people, things, or events. Furthermore, emotion-
Tense al states involve a disposition to react in certain
Angry
Glad ways. I rated arousal states simply in terms of the
Distressed
Annoyed Happy subject’s disposition to take some action rather
Pleased
Frustrated than no action at all.4
Figure 2 shows the valence-arousal space with
VALENCE
the adjectives composing the Russel circumplex
Satisfied
Content model used to evaluate emotions.5Using the col-
Miserable lected data and its statistical analysis,6I draw sev-
Depressed eral conclusions:
Serene
Sad Calm
Gloomy At Ease ❚ The values obtained for each timbre indicate
Bored Relaxed
Droopy that the same movements occupy a similar
Tired Sleepy space location in the valence/arousal space,
revealing that listeners identify different
expressive intentions with coherence. How-
Figure 2. The Russel ❚ Path—continuous circular/discontinuous ever, the valence component often also
circumplex model in random depended on the sound’s pleasantness.
the valence/arousal
space. ❚ Articulation—the degree of crossed overlap ❚ Articulation and speed are stronger parameters
between the loudspeakers’ amplitude than path, even though the Russel model fea-
envelopes performs a staccato or legato sound tures a specific emotion related to path.
Eight of the audio stimuli produced featured ❚ Speed is strongly related to the arousal axis,
white noise while another eight examples fea- and it’s the most coherent parameter in sub-
tured a harmonic continuous sound (a looped jective appreciation involving examples with
trombone sample). I intended to use these stim- both timbres.
uli to evaluate the influence of timbre on the per-
ception of movement. To collect data, I asked ❚ Path type appears to be a weak parameter,
listeners (both musicians and nonmusicians) to with different path types (circular or random)
use a dimensional approach. A dimensional evoking the same emotion in many listeners.
approach uses representations of emotional states Speed and legato/staccato, on the other hand,
drawn from the psychological tradition, which is appear to be strong parameters, directly
an alternative to the categorical tradition, in related to emotions.7
which listeners choose from a list of adjectives
describing emotional states. A relationship between movements and per-
I organized the bidimensional spaces to estab- ceived emotions is evident. Table 1 shows the
lish two dimensions: valence and arousal. The design of a model to use this data in musical
clearest common element of emotional states is applications.
Table 1. Emotions from the Russel circumplex model Artistic performance
associated with each movement. Medea’s scorecites sound spatialization as a
fundamental feature of the opera. The musicians
Emotion Speed Articulation Path in the hall should be considered a sonic body liv-
a Frustrated, distressed Slow Staccato Discontinuous ing among the audience to create a sort of gravi-
di Depressed, unhappy Slow Staccato Continuous tational center for the trumpets located on either
e
M Tired, sleepy Slow Legato side of the audience. The presence of trombones
ulti Serene, relaxed Fast Staccato Continuous with their gestural posture becomes a central
M Happy, glad Fast Legato Continuous expressive feature.
E Excited, delighted Fast Legato Discontinuous Medea’s score begins with articulated instruc-
E
IE tions related to space. These instructions encom-
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pass four sound-reinforcement modes:
Medea: A Video Opera
❚ Transparent reinforcement, in which delays are In Adriano Guarnieri’s Medea(2002), the public is completely enveloped
used to keep a natural perspective of sound by a multitude of independent sound sources. Some are generated by actu-
positioning; al players (trumpets, bass flute, and trombones), while others come from
the live-electronic processing of the orchestra, choir, and singers project-
❚ Celluloid, which is composed by random ed over a 16-loudspeaker system that is distributed around and above the
movement among the four stereo front speak- audience. Sound motion in space isn’t narrative in this music (that is, space
ers and the front central cluster; doesn’t represent “where the sound comes from”) but it’s intended rather
in terms of musical trajectories and paths.
❚ Rain, whichis created by fast random move-
ment on specific speakers above the public;
and
❚ Olophonic, in which controlling volume
through low-pass filtering produces
movement simulation.
The live-electronics performersexecuted all
movements and transformations following the
conductor and the score (each instrument has its
own spatialization modes, and the score marks
each transformation and movement precisely),
with all sound movements except for those com-
ing from the trombones having been predeter-
mined.
A real-time application developed on the
EyesWeb (http://www.eyesweb.org) platform
processed the sound movements. Camurri et al.
developed the application by interconnecting
several software modules for real-time expressive
gesture analysis and synthesis.8Guarnieri defined
11 modalities for the trombone movements. An erations are subtle and subliminal as is most of the Figure 3. Trombone
EyesWeb patch controlled the trombones’ ran- experience of listening to contemporary music. during the premiere
dom space movements, a Webcam captured performance of Adriano
movements derived from trombone players’ ges- Conclusion Guarnieri’s Medea.
tures, and the EyesWeb program digitally As this experience shows, instrumental ges-
processed them to provide each movement’s tures can be translated into spatial movements
speed parameter using a gesture-speed mapping. even though the translation is fairly complicat-
This method’s functionality derives from a trans- ed in its conception, from both technological
lation of the image bitmap in terms of speed: and musical viewpoints. This type of indirect
intense instrumental gestural activity (rocking mapping of sound and gestural movement can
off) leads to a large bitmap variation and there- more powerfully engage the public, who might
fore to high speed, while reduced gestural activi- be able to distinguish between different kinds of
ty corresponds to a moderate movement speed. movements performing different kinds of expres-
Figure 3 shows one of the four trombone play- sive intentions.
ers during Medea’spremiere performance. In the Medea is simply one prominent example of
context of Medea as a video opera, the expressive how contemporary music can use multimedia
A
matching between physical movement (by the technologies to convey languages and experi- p
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instrumentalist) and sound movement through ences that continue to grow in complexity and il–
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space clearly plays the metaphorical role of a scope. To attract the public, concert events must u
n
“camera car,” where the public enters the physi- sharply differentiate themselves from sophisti- e
2
cal movement through the movement of sound cated home theatre experiences. In this context, 0
0
itself. It should be noted that all of these consid- all multimodal matching between senses will play 4
7
Artful Media
a stronger role in future musical works, and play- Proc. XIV Colloquium on Musical Informatics (XIV
ing with the public’s senses will indeed become CIM 2003), Centro Tempo Reale, 2003, pp. 64-68.
an integral part of musical composition. MM 7. S. Gabrielsson and E. Lindstrom, The Influence of
Musical Structure on Emotional Expression, Music,
References
and Emotion—Theory and Research, Oxford Univ.,
1. K. Stockhausen, Musik in Raum, Dumont-Verlag, 2001.
1958. 8. A. Camurri, B. Mazzarino, and G. Volpe, “Analysis
2. M. Budd, Music and the Emotions: The Philosophical of Expressive Gesture: The EyesWeb Expressive Ges-
Theories, Routledge, 1992. ture Processing Library, Gesture-Based Comm. in
3. M. Imberty, “Entendre la musique,” Semantique Human-Computer Interaction, A. Camurri and G.
Psychologique de la Musique, Dunod, 1979. Volpe, eds., LNAI 2915, Springer-Verlag, 2004.
4. R. Cowie et al., “Emotion Recognition in Human-
Computer Interaction,” IEEE Signal Processing, vol. Amalia de Götzenis a PhD student in the Department
18, no. 1, Jan. 2001, pp, 32-80. of Informatics at the Univerità di Verona. Contact her at
5. P. Juslin and J. Sloboda, Psychological Perspectives [email protected].
on Music and Emotion,Music and Emotion—Theory
and Research, Oxford Univ. Press, 2001. Contact Artful Media editor Doree Duncan Seligmann at
6. A. de Götzen, “Expressiveness Analysis of Virtual Avaya Labs, 666 Fifth Ave., 11th floor, New York, NY
Sound Movements and Its Musical Applications,” 10103; [email protected].
IEEE
AND APPLICATIONS
http://computer.org
January/February: Emerging Technologies*
This issue covers the Siggraph 2003 Emerging Technologies exhibit, 2004 LR
where the graphics community demonstrates innovative approaches to
interactivity in robotics, graphics, music, audio, displays, haptics, A
A
sensors, gaming, the Web, artificial intelligence, visualization,
collaborative environments, and entertainment. *Bonus CD-ROM of September/October: Visual Analytics I
interactive demos included with this issue. Visual analytics is the formation of abstract visual metaphors that D
R
March/April: Haptic Rendering provide the basis for human interaction and discourse about complex
This special issue will examine some of the latest advances on hap- multidimensional data. Effective use of visual analytics can potentially N
alleviate the ongoing information overload problems. This issue pre- O
tic rendering and applications, while looking forward to exciting future
sents articles that describe innovative results in this area. Particular
research in this area. Articles will present novel research results and
attention is paid to technology transfers and applications in various dis- E
innovative applications of that take advantage of the haptic interaction T
ciplines and communities.
sensory modality.
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November/December: I
May/June: Computer Graphics Innovations
This issue covers an array of computer graphics innovations. It pre- Smart Graphics— Touch-Enabled Interfaces DA
People use tactile and force feedback to identify objects and to explore
sents new developments in virtual reality, novel approaches in visual-
the environment around them. This sensory cue is also used in manipu-
ization, and innovative computer graphics applications. The range of EC
atopics highlights the usefulness of computer graphics for everyone. lating objects. Therefore, an ideal man–machine interface for under-
di standing virtual environments and visualizing complex information should
eJuly/August: Point-Based Graphics enable the user to feel and orient objects and to manipulate data using
M
Point primitives can be efficiently rendered and displayed in high touch-enabled interfaces. This issue examines the senses of touch as a com-
ultiquality, and novel algorithms for advanced shape modeling and digital munication medium, in addition to graphical display. Specifically, it pre-
Mgeometry processing are entirely based on point samples. These efforts sents different approaches to designing touch-enabled interfaces for
E have spawned a new field called point-based computer graphics. This various applications including scientific visualization, model design and
Eissue presents novel research results in point-based computer graphics. editing, virtual prototyping, 3D painting, and medical training.
E
I
8
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Ames, IA 50011-1040 LOWELL G.JOHNSON (1ST VP)* Secretary: Elect:
Phone: [phone] VP, Conferences and Tutorials: OSCAR N.GARCIA* STEPHEN L.DIAMOND*
Fax: [phone] CHRISTINA SCHOBER* Treasurer: Computer Editor in Chief:
[email protected] DORIS L.CARVER†
VP, Chapters Activities: RANGACHAR KASTURI†
President-Elect: RICHARD A.KEMMERER (2ND VP)† 2003–2004 IEEE Division V Executive Director:
DAVID W.HENNAGE†
GERALD L.ENGEL* VP, Publications: Director:
Past President: MICHAEL R.WILLIAMS† GENE H.HOFFNAGLE† * voting member of the Board of Governors
†nonvoting member of the Board of
STEPHEN L.DIAMOND* Governors
BOARD OF GOVERNORS COMPUTER SOCIETY OFFICES I E E E O F F I C E R S
Headquarters Office President:
Term Expiring 2004: Jean M. Bacon, Ricardo ARTHUR W.WINSTON
1730 Massachusetts Ave. NW
Baeza-Yates, Deborah M. Cooper, George V.
Cybenko, Haruhisha Ichikawa, Thomas W. Washington, DC 20036-1992 PWr.eCsiLdEenOt-NE lAecNt:D ERSON
Williams, Yervant Zorian Phone: [phone] • Fax: [phone]
Past President:
Term Expiring 2005: Oscar N. Garcia, Mark A. E-mail: [email protected] MICHAELS.ADLER
Grant, Michel Israel, Stephen B. Seidman, Kathleen Executive Director:
M. Swigger, Makoto Takizawa, Michael R. Williams Publications Office DANIEL J.SENESE
10662 Los Vaqueros Cir., PO Box 3014 Secretary:
Term Expiring 2006: Mark Christensen, Alan
Los Alamitos, CA 90720-1314 MOHAMED EL-HAWARY
Clements, Annie Combelles, Ann Gates, Susan
Phone:[phone] Treasurer:
Mengel, James W. Moore, Bill Schilit
E-mail: [email protected] PEDRO A.RAY
Next Board Meeting: 12 June 2004, Long Beach, CA Membership and Publication Orders: VP, Educational Activities:
Phone: [phone] Fax: [phone] JAMES M.TIEN
EXECUTIVE STAFF
E-mail: [email protected] VP, Publication Services and Products:
MICHAEL R.LIGHTNER
Executive Director:DAVID W.HENNAGE
Assoc. Executive Director: Asia/Pacific Office VP, Regional Activities:
MARC T.APTER
ANNE MARIE KELLY Watanabe Building
Publisher:ANGELA BURGESS 1-4-2 Minami-Aoyama,Minato-ku, VP, Standards Association:
Assistant Publisher:DICK PRICE Tokyo107-0062, Japan JAMES T.CARLO
Director, Finance & Administration: VP, Technical Activities:
Phone: [phone] • Fax: [phone]
VIOLET S.DOAN RALPH W.WYNDRUM JR.
E-mail: [email protected]
Director, Information Technology & Services: IEEE Division V Director:
ROBERTCARE GENE H.HOFFNAGLE
Manager, Research & Planning:JOHN C.KEATON IEEE Division VIII Director:
JAMES D.ISAAK
President, IEEE-USA:
JOHN W.STEADMAN