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`Cover Image Credits
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`Front Cover:
`
`Augmented—reality ultrasound system (view within head-mounted display). Several GPs perform
`volume reconstruction (on—line resampling of 2D ultrasound slices into a 3D volume). The ultra—
`sound probe, shown in wireframe, appears to emit volume material as it is being moved through the
`box.
`Interactive Volume Visualization on a Heterogeneous Message-Passing Multicomputer
`State, McAllister, Neummm, Chen, Cullip, Chen, and Fuchs (pp. 69 — 74)
`
`Back Cover (clockwise from top):
`
`A colloidal gold ball is being maneuvered into a gap in a gold wire. The tall vertical line shows the
`position of the hand over the surface. The short yellow lines mark the tracks of where force has been
`applied.
`Surface Modification Tools in a Virtual Environment Interface to a Scanning Probe Microscope
`Finch, Falvo, Chi, Washbum, Taylor, and Superfine (pp. 13 — 18)
`
`The exploded view tool.
`Interactive Design, Analysis, and lllustration of Assemblies
`Driskill and Cohen (pp. 27 — 34)
`
`Metamorphosis of surface shapes in 3-space: 0%, 33%, 67%, and 100% versions of the David to
`Heidi sequence.
`Interactive Shape Metamorphosis
`Chen, State, and Banks (pp. 43 — 44)
`
`Los Angeles MTA Visualization Project: View Along Wilshire Boulevard.
`An Environment for Real-time Urban Simulation
`Jepson, Liggett, and Friednmn (pp. 165 — 166)
`
`Overhead view of the Brooks House, showing portal culling frustrums active from the master
`bedroom (mirror frustrum shown in red).
`Portals and Mirrors: Simple. Fast Evaluation of Potentially Visible Sets
`Lnebke and Georges (pp. 105 — 106)
`
`Virtual Environment Vehicle Interface (VEVI) (left) and OTI'ER Underwater Vehicle (right).
`Underwater Vehicle Control from a Virtual Environment Interface
`Fleischer, Rock, and Lee (pp. 25 - 26)
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`Figure 4 - A colloidal gold ball is being maneuvered into a gap in a gold wire. The taJI vertical line shows the
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`
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`
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`position of the hand over the surface. The short yellow lines mark the tracks of where force has been applied.
`
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`
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`Figure 5 - Manipulations of TMV
`
`
`
`Tobacco Mosaic Virus
`
`
`
`20 nm diameter, ~350 nm length
`
`A-B) Selection
`
`C-E) Rotation
`
`F-G) Translation , •
`
`•
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`Finch, Falvo, Chi, Washburn, Taylor, and Superfine,
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`"Surface Modification Tools in a Virtual Environment Interface to a Scanning Probe Microscope"
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`204
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`Plate 1: Image from an animation of UNC’s Old
`Well, moving from left to right, rendered with
`conventional methods. On a scan line display, this
`appears slanted.
`
`Plate 2: Image from an animation of UNC’s 01d
`Well, moving from left to right, rendered with the
`just-in-time pixels method. On a scan line display,
`this appears to be straight.
`
`Olano, Cohen, Mine, and Bishop, "Combatting Rendering Latency"
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` .1l.1*;me 0111.14.55
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`
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`J.‘
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`Virtual Environment Vehicle Interface (VEVI)
`
`OTTER Underwater Vehicle
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`Fleischer, Rock, and Lee, "Underwater Vehicle Control from a Virtual Environment Interface"
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`Direct manipulation of a surface. The user is able to interactively drag, twist and place constraints. Light blue blocks represent positional
`constraints without valid "delta vectors". Reddish blocks indicate valid "delta vectors", and arrows indicate tangent constraints.
`
`Gorder and Cohen, "lfierarchical and Variatioml Geometric Modeling with Wavelets“
`
`Plate 1. Parallel ZD-SD
`morphing. Each stripe is
`processed on a different
`computing node.
`
`Plate 25:. Line segments define similar
`features in Me parametric models of
`human heads. The grayscale background
`image represents surface color.
`
`The line segments are
`Plate 2b.
`overlayed over grayscale
`images
`representing radial distance in cylindrical
`coordinates.
`
`
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`' 3 e
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`
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`Plate 3. Metamorphosis of surface shapes in 3—space: 0%, 33%, 67%.‘and 100% versions of the David -> Heidi sequence.
`
`Chen, State, and Banks, “Interactive Shape Metamorphosis"
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`Figure‘ 7: Models — Ford7 Alpha 1 Brake, Forsey’s Dragon, Alpha 1 Pencil and Alpha 1 Goblet
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`Kumar, Manocha, and Lastra, "Interactive Display of Large-Scale NURBS Models"
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`Figure 10: Representative frame from bowling video. The image was rendered on a PixelFlow functional simulator.
`Proieeted rendering speed on a PixelFlow system is 29.7 msec.
`
`Lastra, Molnar, Olano, and Wang, "Real—Time Programmable Shading"
`
`
`
`effects such as Fresnel (left) and thin film (middle) reflection are captured.
`
`Figure 2. Because the sphere maps (right) encode both geometry and color,
`
`Figure 1. Barcelonn Pavilion. The full spectral model (top) Figure 3. Preserving Non—Visible Light. The left image is rendered without
`and RGB model (middle) captured at roughly noon. The
`including fluorescence from the objects, while the right image has captured
`bottom unage 13 the full spectral model near dusk.
`the fluorescent contributions.
`
`Peercy, Zhu, and Baum, "Interactive Full Spectral Rendering"
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`lsosurface rendering of human pelvis.
`Plate 1.
`Bottom: adaptive sampling from every 16th
`down to every 4th pixel, 10 frameslsec. Top:
`adaptive sampling from every 4th down to every
`pixel, 1 frame/sec.
`
`
`
`twin
`Top ieft:
`Plate 3. Rendering modes.
`isosurfaces.
`Top right: maximum intensity
`Bottom left: direct rendering with
`projection.
`shading (Levoy rendering). Bottom right: direct
`rendering without shading.
`
`
`
`Plate 5. Visualization for interactive radiation
`therapy planning. The wireframe treatment
`beams intersect in a tumor located behind the
`right ear. The textured cut plane shows
`radiation dose isocurves. The blue isosurface
`shows
`a user-specified radiation dose
`threshold.
`
`low resolution ray casting
`Plate 2. Top half:
`samples computed every 8 pixels. Bottom
`halt: the result of splatting the samples onto a
`512x640 image using a Gaussian kernel.
`
`
`
`Plate 4. Load balancing in sample squares
`image partitioning method. The bar graph at
`the upper left shows load balancing among the
`ray casting GPs. The red/blue background
`shows the sample squares.
`
`
`
`r
`
`i
`
`Plate 6. Augmented-reality ultrasound system
`(view within head-mounted-dispiay). Several
`GPs pertorm volume reconstruction (on-line
`resampling of 2D ultrasound slices into a SD
`volume). The ultrasound probe. shown in
`wireframe, appears to emit volume material as
`it is being moved through the box.
`
`State, McAllister, Neumann, Chen, Cullip, Chen, and Fuchs,
`"Interactive Volume Visualization on a Heterogeneous Message-Passing Multicomputer"
`208
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`209
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`Plate 1. The model for the “PLB Head”
`test case (59,592 polygons). As in the
`National Computer Graphics Association
`Graphics Performance Committee’s
`Program Level Benchmark,
`the model
`rotates 360 degrees about a vertical axis
`in 4.5 degree increments. The model is
`courtesy of the IBM AWD Graphics Lab,
`Austin, Texas.
`
`Plate 2. The lobby of UNC's Sitterson
`Hall
`(16,267 polygons).
`The viewer
`turns toward the right and proceeds down
`the steps towards the far table, then turns
`around to face the starting point. The
`model is courtesy of the UNC Building
`Walkthrough project, F. P. Brooks,
`Principal Investigator.
`
`Plate 3. A section of the Sierra Nevada
`mountains (162,690 polygons).
`The
`model undergoes a series of zooms,
`rotations, and translations, with a reset
`between each sequence. The model is
`courtesy
`of H.
`Towles,
`Sun
`Microsystems.
`
`Mueller, "The Sort-First Rendering Architecture for High-Performance Graphics"
`
`
`
`-t-h 400 rooms and 512 simultaneousl I
`Plates I and II:
`_
`Multi—user virtual environment
`.
`.
`.
`mov1ng‘entities (represented by yellow spheres with green orientation vectors).
`Inset
`image shows same environment rendered from viewpoint of one entity (the blue
`and store
`Each RING client must process update messages, simulate behavior,
`one).
`surrogates only for remote entities potentially visible to one of its local entities.
`
`Funkhouser, “RING: A Client—Server System for Multi-User Virtual Environments"
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`Macedonia, Brutzman, Zyda, Pratt, Barham, Falby, and Locke,
`"NPSNET: A Multi-Player 3D Virtual Environment over the Internet"
`
`K > F
`
`our images of the virtual environment that visitors to the Chicago Museum of Science and Industry are guided through.
`
`Galyean, "Guided Navigation of Virtual Environments"
`
`210
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`211
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`>m1-—
`¢.,_..
`5‘I...
`
`DAa—
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`-l
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`211
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`21:. “mm-mm -‘ .'
`
` _
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`‘
`Figure A: Model hierarchy for a city
`
`Figure C: MeaSuring the rendering
`cost of a representation.
`
`
`
`Figure D: User view (left) and top view of same scene (right) showing clusters in
`green.
`
`Maciel and Shirley, ”Vismal Navigation of Large Environments Using Textured Clusters"
`
`211
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`212
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`212
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`Plate 1. View from the master bedroom of the Brooks House
`showing cull boxes for portals (white) and mirrors (red).
`
`Plate 2. Overhead view of the Brooks House, showing portal
`culling frustums active in Plate 1 (mirror frustum shown
`in red).
`
`
`
`
`Luebkc and Georges, "Portals and Mirrors: Simple, Fast Evaluation of Potentially Visible Sets"
`
`Naylor, "Intelactive Playing with Large Synthetic Environments"
`
`212
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`213
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`213
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`Using the Monkey with Wavefront Kinemation to create an animation sequence: the top three figures Show Bob
`Nicol! positioning the Monkey to generate three key frames. After applying software adjustments, selected frames
`from the resulting one hundredaframe animation are shown. The creétion of the sequence took less than ten minutes.
`
`Esposito, Paley, and Orig, "Of Mice and Monkeys: A Specialized Input Device for Virtual Body Animation"
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`Figure C1.
`
`A snapshot of WALKEDIT in use. A desk is
`selected. Note the selection point (a small
`blue-green octahedron) and the fact that the
`desk contents are implicitly grouped to the
`desk.
`
`Figure C2.
`
`A scene created with WALKEDIT. There
`
`re approximately fifty objects, all resting on
`valid surfaces and none interpenetrating.
`This scene took about six minutes to create.
`
` a
`
`
`
`Figure 3: Seulpting of a chair from a block of wood.
`
`Figure 4: A volumetric ray traced scene of a room.
`
`Figure 5: Sculpted cello and chair.
`
`Figure 7: Sculpted Windmill on a fractal terrain.
`
`Wang and Kaufman, "Volume Sculpting“
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`Plate 1: The bunny mesh was cre—
`ated from this ceramic model,
`
`Plate 2: The bunny mesh with
`registration points shown as purple
`crosses, dun'ng hand—alignment.
`
`Plate 3: The bunny mesh texture
`mapped with a 2D orchid and a 3D
`checkerboard texture,
`
`Plate 4: A hand-painted bunny
`mesh.
`-
`
`Plate 5: Finer detail painted on a
`piece of the bunny mesh.
`
`Plate 5: The wolf—head modelt with
`a texture mapped. tatoo.
`
`
`painted wolfehead meshl.
`
`
`
`Plate 7 shows the bumpy
`wolf—head meshT.
`The
`bumps were created using
`the displacement brush.
`
`Plate 8 shows the hand—
`
`Plate 7
`__,_—___—_.——_—-——
`
`Plate 8
`
`l The wolf head model from which this mesh was produced weis created by Industrial Light and Magic.
`
`Agrawala Beers, and Levoy, ”3D Painting on Scanned Surfaces"
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`«I
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`Figure 12: Simulation. snapshots.
`
`Mirtich and Canny, ”Impulse-based Simulation of Rigid Bodies"
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`Los Angelcs MTA Vismflizalion Project: View Along Wilslu're Boulevard
`
`
`
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`Jepson, Liggett, and Friedman, “An Environment for Real—time Urban Simulation"
`
`A backward-tilted S-shaped vortex head that develops in the late stages of transition from a Iaminarfiow to a turbulent spot.
`
`Banks and Kelley, ”Tracking ATurbulent Spot; in an Immersive Environment"
`21 7
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`Frame 1: 100 polytopes, 1% density, 56 faces.
`Pair of bounding boxes overlapping.
`
`Frame 2: A multi-polytope hand moves through
`a kitchen walkthmugh environment.
`
`
` '\
`closest feature pairs appear.
`
`
`Frame 3: When-bounding buxes overlap,
`
`Frames 5 and 6: The hand touches a swing in a porch walkthmugh.
`
`Cohen, Lin, Manocha, and Ponamgi,
`“I—COLLJDE: An Interactive and Exact Collision Detection System for Large-Scale Environments"
`
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