mainpartv0.docx
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mainpartv0.docx
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mainpartv0
题目:
科学图解的计算机生成(ComputergenerationofScientificIllustration)
摘要:
科学图解(scientificillustration)插图画家
科学图解画家通常局限于植物,动物,人体和环境,并根据他们的擅长的方向对不同种类专攻,例如植物插图画家,鱼类插图画家,行为解释画家,水下环境画家等[GNSI]。
对于所刻画的对象,画家们通常需要有相当深刻的了解,否则生成的图解无法正确解释对象。
Theareaofillustrativevisualizationisconcernedwithdevelopingmethodstoenhancethedepictionofscientificdatabasedonprinciplesfoundedintraditionalillustration.Theillustrationcommunityhascentury-longexperienceinadaptingtheirtechniquestohumanperceptualneedsinordertogenerateaneffectivedepictionwhichconveysthedesiredmessage.Thus,theirmethodscanprovideuswithimportantinsightsintovisualizationproblems.
Inthistutorial,theconceptsinillustrativevisualizationarereviewed.Animportantaspecthereisinteraction:
whiletraditionalillustrationsarecommonlyonlypresentedasstaticimages,computer-assistedvisualizationenablesinteractiveexplorationandmanipulationofcomplexscientificdata.Onlybycouplingillustrativevisualizationwitheffectiveinteractiontechniquesitsfullpotentialcanbeexploited.
Thetutorialstartswithageneralintroductionintotheareaofillustrativevisualization.Theillustrativevisualizationframeworkandtheconceptofimportance-drivenvisualizationanditsapplicationsarepresented.Furthermore,thetraditionalillustrationpipelineisreviewedindetailandthepotentialimpactofresearchinthefieldofillustrativevisualizationisexamined.Wethenproceedwithadiscussiononhowtraditionalabstractiontechniquescanbeappliedinaninteractivecontextusingimportance-basedmethods.Thisrangesfromlow-levelappearancetosmartviewpoint-dependentvisibilitytechniquessuchascutawaysorexplodedviews.Asmanyofthepresentedmethodsrelyonaseparationoffocusandcontext,i.e.,theimportantstructuresinthedatahavebeenidentified,thetutorialdiscussesapproachesforselectingobjectsofinterestinathree-dimensionalenvironmentusingintuitivesketch-basedinterfaces.Sincetheeffectivenessofauser-interfaceisheavilydependentonthepreviousknowledgeoftheuser,thenextpartofthetutorialexaminestheconceptoflayeringinterfacesbasedonuserexpertise.Wefurtherinvestigatedifferentrepresentationsforartisticvisualstylesandabstractiontechniques.Inthelastpartofthetutorial,theapplicationofadvancedillustrativemanipulationstrategiesisdiscussed.Techniquesforlearningillustrationstylesfromtraditionalillustrationsormeasureddatasets,includingthecolor,texture,structureandshapestyles,arepresented.Finally,weexaminetheuseofdeformationstoenhancevisibilityofcertainfeatureswhileprovidingcontextortoabstractthestructureofacomplexobjectsthroughdirectinteractionwiththedata.
(一)立项依据与研究内容(4000-8000字):
1.项目的立项依据(研究意义、国内外研究现状及发展动态分析,需结合科学研究发展趋势来论述科学意义;或结合国民经济和社会发展中迫切需要解决的关键科技问题来论述其应用前景。
附主要参考文献目录)
AsaprofessionalscientificillustratorIfeelcompelledtorespondtoJulioOttino'sCommentary"Isapictureworth1,000words?
"(Nature 421,474–476;2003).IbelievethatOttino'scriticismsofscientificillustrationarefoundedonanincorrectunderstandingofthefield.
Galileo'sdrawingscan'tbecomparedwithmagazinecovers:
theyaretwounrelatedtypesofillustration.Itisincorrecttoconcludefromsuchacomparisonthatscientificdisparityexistsbetweenthembecausethemagazinecovers"areleftinthehandsofartistsandillustrators"—thisartworkwasintendedtoenhanceeditorialmaterialratherthantoillustrateresearch.
Suchconceptualillustrationsaredesignedtoposequestions.Theiruseonthecoverofasciencemagazineoffersthepromiseofarticlesthatinformthesequestions.Thecoverartofthe30January2003issueofNature(seefigure)andtherelatedNewsandViewsandLetter(Nature 421,489–490;2003&Nature 421,530–533;2003)followthisconvention.Theimagedoesnotillustratetheresearchitself;thatisnotitsintendedapplication.Furthermore,thechoiceofdigitalmedium,whetherusedbythehandofascientistorthehandofanartist,hasnobearingonthisquestion.
Scientificillustrationfollowsadifferentmandate,anditcanoftenbefoundwithinthepagesoftheverymagazinesunderdiscussion.Thesedrawingsoutlinestructureandclarifydetail,asrequiredbythesubjectandrequestedbytheresearcher.Becausetheycommunicatesubtletiesandeliminatetheambiguitiesoflanguage,scientificillustrationsareanimportant,oftennecessary,elementinprecisecommunication(seeTheGuildHandbookofScientificIllustration,editedbyE.R.S.Hodges;VanNostrandReinhold,1989).
Scientificillustrationisaclearlydefinedfieldthatbenefitsfromactivecollaborationbetweenscientistandillustrator.Usingtheirprofessionalobservationalskills,scientificillustratorsstrivetorenderthemostaccuraterepresentationoftheirsubject.Itis,bydefinition,artintheserviceofscience.Theactofdrawingis,inessence,theactofediting.Complaintsaboutomitteddetailsmissthisimportantpoint.Scientificillustratorsaretrainedtoeliminatenon-essentialinformation.Thetwistedstemofadriedplantissmoothedout.Thebrokenedgeofafossilboneisrepaired.Cracksanddiscolorationmayberemoved.Thesesubjectsarethusrenderedinawaychosentoamplifythosedetailsthatrequireemphasis.
Scientificillustrations,evenconceptualcoverart,shouldbeasaccurateaspossible.However,Ottino'sproposaltoestablishrulesgoverningtheuseofrealisticrenderingtechniquesissuperfluous.Professionalstandardsarealreadyinplaceforscientificillustration.Magazineeditorsrecognizethattheireducatedreadershipcandistinguishbetweenabeautifullyrenderedconceptandthecurrentstateofscientificresearch.Scientificillustrationsexistwithinthiscontext.TheycommunicatewithandwithinconventionsthatreachbackintimefromthisissueofNaturetothepagesofGalileo'snotebooks.
Excitingnewillustrationtechnologiesshouldbeusedwithcare.
AquicklookatNatureorScienceimmediatelyshowshowtheroleofimagesinsciencehasincreasedoverthepast20years.Itisnowraretofindaresearcharticlethathasnoimages.Indeed,itishardtorememberthatcolourisarelativelyrecentadditiontoscientificpublishing.Thisincreaseinillustrationsisundoubtedlyduetothewidespreaduseofcomputergraphics—imagescanreadilybeenhanced,modifiedandmorphed.Itisnowrelativelyeasytodrawfigureswithshadowsandmultiplereflectionsbetweenmirror-likesurfaces.
Althoughscientistsmayliketothinktheyareimmunetofigures,thisresistancemaybearemnantofpastthinkingthathasportrayedvisual-aidedargumentsaslessthanrigorous.Physicsandmathematicshavebeenheldasprimaryexamplesofdomainswhereimagesplaynorole.Butthisviewisfartoonarrow—visualimaginationisacentralelementofscientificimagination1.Seeingandrepresentingareinextricablylinkedtounderstanding.Galileo'ssketchesoftheMoon(Fig.1)arepossiblythemostcelebratedexample.ButthereislittledoubtthattheroleofimageshaschangedsignificantlysinceGalileo'stimes.Thequestionis,arewenowgettingaheadofourselves?
Figure1:
Picturesinperspective:
Galileo'ssketchesoftheMoonaremorethanmereillustrations—theyconveyrelevantscientificinformation.
Figuresfallintoseveralcategories.Atoneextremetherearethosethatconveydata;attheother,scientificillustration.Whenimagesare'the'experimentalresult,photoeditingopensupthedistinctpossibilityofovermanipulationandmisrepresentation.Thehardline,thatanyunreportedmanipulationconstitutesfraud,isshort-sighted.Ifshadesofgreyinanimagerangeinlevelsfrom134–147,theywouldalllookthesametooureyes.Butrescalingthesepixelssothat134
0and147
255readilyrevealsthedifferencestothehumaneye.Well-establishedtools2suchasdeconvolution(used,forexample,tointerpretfluorescenceimages)enhancethehumanabilityto'see'.
Myobjectiveis,rather,totackletheseeminglylessscientifictopicofscientificillustration.Suchimagesentertheequation,forexample,todepictmechanisms:
howacellisattackedbyavirus;whenaDNAhelixisunravelling;orwhenanasteroidplungesintoEarth(Fig.2).Representationsofhowsomethingmightorcouldbebuiltfallintothisarea—themanysketchesofLeonardo,ormorerecentexamplessuchasthe'nanolouse'andnanocircuitsofFigs3and5.Atamorebasiclevel,scientificillustrationshowshowsomethingis—theMooninGalileo'stimes—orhowitcanbeimagined—Bohr'satoms,orhowtwomoleculesmightinteract.
Figure2:
Morerealthanreality:
artisticimpressions,fromatomstoasteroids,canbestriking,butdotheyaidscientificunderstanding?
Highresolutionimageandlegend(36K)
Figure3:
Couldthisdevicefunction?
Thisaward-winningcomputer-generatedimageofananolouseinitiallylooksrealistic,butcloseinspectionrevealsanelementof'artisticlicence'.
Highresolutionimageandlegend(119K)
Figure5:
AnanocircuitfromthecoverofScience.
Thispicturepurportstoofferscientificinsight—butifthecarbonatomsarevisible,thenthemuchlargergoldatomsinthestructureshouldalsobeonview.
Highresolutionimageandlegend(117K)
Figuresusedtobepartofthethoughtanddiscoveryprocess.ForLeonardo,GalileoandmathematicianssuchasRiemann,theimagewaspartofthethoughtprocess3,4.Thesameinstrumentpennedwordsanddrewlines.Thisseamlessintegrationismorethanaquaintsentimentalpoint.Alineistentative;inalinedrawingonehearsthevoiceoftheauthor:
"thisiswhatIthinkhappens..."or"th
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