Unlike some other reproductions of classic texts (1) We have not used OCR(Optical Character Recognition), as this leads to bad quality books with introduced typos. (2) In books where there are images such as portraits, maps, sketches etc We have endeavoured to keep the quality of these images, so they represent accurately the original artefact. Although occasionally there may be certain imperfections with these old texts, we feel they deserve to be made available for future generations to enjoy.

200Ts Vision of Vision One of my formative childhood experiences was in 1968 stepping into the Uptown Theater on Connecticut Avenue in Washington, DC, one of the few movie theaters nationwide that projected in large-screen cinerama. I was there at the urging of a friend, who said I simply must see the remarkable film whose run had started the previous week. "You won't understand it," he said, "but that doesn't matter. " All I knew was that the film was about science fiction and had great special eflPects. So I sat in the front row of the balcony, munched my popcorn, sat back, and experienced what was widely touted as "the ultimate trip: " 2001: A Space Odyssey. My friend was right: I didn't understand it. . . but in some senses that didn't matter. (Even today, after seeing the film 40 times, I continue to discover its many subtle secrets. ) I just had the sense that I had experienced a creation of the highest aesthetic order: unique, fresh, awe inspiring. Here was a film so distinctive that the first half hour had no words whatsoever; the last half hour had no words either; and nearly all the words in between were banal and irrelevant to the plot - quips about security through Voiceprint identification, how to make a phonecall from a space station, government pension plans, and so on.

Unlike some other reproductions of classic texts (1) We have not used OCR(Optical Character Recognition), as this leads to bad quality books with introduced typos. (2) In books where there are images such as portraits, maps, sketches etc We have endeavoured to keep the quality of these images, so they represent accurately the original artefact. Although occasionally there may be certain imperfections with these old texts, we feel they deserve to be made available for future generations to enjoy.

This book constitutes the refereed proceedings of the International Workshop on Human-Computer Interaction, HCI/ECCV 2006.

The 11 revised full papers presented were carefully reviewed and selected from 27 submissions. The papers address a wide range of theoretical and application issues in human-computer interaction ranging from face analysis, gesture and emotion recognition, and event detection to various applications in those fields.

The volume contains 20 articles by Vladimir Admoni (1909-1993) from the period up to and including 1975, hitherto only available in Russian. The selection represents an enlightening complement to the scholar's publications in German, notably for the light they shed on the gradual evolution of a holistic view of the specifics of German language structure, both from a historical and a present-day vantage. In so doing, they reveal both the originality of Admoni's approach and its roots in his profound reflection on universal issues connected with language theory and methodology.

200Ts Vision of Vision One of my formative childhood experiences was in 1968 stepping into the Uptown Theater on Connecticut Avenue in Washington, DC, one of the few movie theaters nationwide that projected in large-screen cinerama. I was there at the urging of a friend, who said I simply must see the remarkable film whose run had started the previous week. "You won't understand it," he said, "but that doesn't matter. " All I knew was that the film was about science fiction and had great special eflPects. So I sat in the front row of the balcony, munched my popcorn, sat back, and experienced what was widely touted as "the ultimate trip: " 2001: A Space Odyssey. My friend was right: I didn't understand it. . . but in some senses that didn't matter. (Even today, after seeing the film 40 times, I continue to discover its many subtle secrets. ) I just had the sense that I had experienced a creation of the highest aesthetic order: unique, fresh, awe inspiring. Here was a film so distinctive that the first half hour had no words whatsoever; the last half hour had no words either; and nearly all the words in between were banal and irrelevant to the plot - quips about security through Voiceprint identification, how to make a phonecall from a space station, government pension plans, and so on.