Non-photorealistic volume rendering using stippling techniques

Journal ArticleSimulating hand-drawn illustration techniques can succinctly express information in a manner that is communicative and informative. We present a framework for an interactive direct volume illustration system that simulates traditional stipple drawing. By combining the principles of artistic and scientific illustration, we explore several feature enhancement techniques to create effective, interactive visualizations of scientific and medical datasets. We also introduce a rendering mechanism that generates appropriate point lists at all resolutions during an automatic preprocess, and modifies rendering styles through different combinations of these feature enhancements. The new system is an effective way to interactively preview large, complex volume datasets in a concise, meaningful, and illustrative manner. Volume stippling is effective for many applications and provides a quick and efficient method to investigate volume models

Transparency and the Shadow Docket

On Saturday, September 12 at 2:00pm, the Supreme Court Preview will feature a panel on Transparency and the Shadow Docket. “The shadow docket” is a phrase used to describe the significant volume of orders and summary decisions that the Supreme Court issues without full briefing and oral argument. This panel will discuss what is new and what is not about the shadow docket. The panelists will speculate on the ways in which the Court will use these orders going forward, and will discuss the upsides and downsides of doing so

Illustrative interactive stipple rendering

Journal ArticleAbstract-Simulating hand-drawn illustration can succinctly express information in a manner that is communicative and informative. We present a framework for an interactive direct stipple rendering of volume and surface-based objects. By combining the principles of artistic and scientific illustration, we explore several feature enhancement techniques to create effective, interactive visualizations of scientific and medical data sets. We also introduce a rendering mechanism that generates appropriate point lists at all resolutions during an automatic preprocess and modifies rendering styles through different combinations of these feature enhancements. The new system is an effective way to interactively preview large, complex volume and surface data sets in a concise, meaningful, and illustrative manner. Stippling is effective for many applications and provides a quick and efficient method to investigate both volume and surface models

Letter from Hubert Creekmore to Mittie Horton Creekmore, Writers Newsletter (01 October 1958)

Hubert writes from New York City to his mother in Jackson, Mississippi regarding personal and professional matters, including: an update about his new work with John Schaffner; a recent trip to purchase plants from a nursery; a call from Jimmy and possible visit from Major; his dinner with Jerry Dale; attendance at a preview of Eugene O\u27Neill\u27s A Touch of the Poet ; a postponed dinner at Lowell\u27s with friend Sam Olden, recently settled in New York. Includes envelope and Writers Newsletter publication. Also included: copy of the Writers Newsletter , Volume XII, No. 12. The publication includes a reference to Hubert Creekmore\u27s new position as assistant to John Schaffner, with annotations by Hubert.https://egrove.olemiss.edu/creekmore/1627/thumbnail.jp

Comparing Segmentation by Time and by Motion in Visual Search: An fMRI Investigation

Abstract Brain activity was recorded while participants engaged in a difficult visual search task for a target defined by the spatial configuration of its component elements. The search displays were segmented by time (a preview then a search display), by motion, or were unsegmented. A preparatory network showed activity to the preview display, in the time but not in the motion segmentation condition. A region of the precuneus showed (i) higher activation when displays were segmented by time or by motion, and (ii) correlated activity with larger segmentation benefits behaviorally, regardless of the cue. Additionally, the results revealed that success in temporal segmentation was correlated with reduced activation in early visual areas, including V1. The results depict partially overlapping brain networks for segmentation in search by time and motion, with both cue-independent and cue-specific mechanisms.</jats:p

Referential and visual cues to structural choice in visually situated sentence production

We investigated how conceptually informative (referent preview) and conceptually uninformative (pointer to referent’s location) visual cues affect structural choice during production of English transitive sentences. Cueing the Agent or the Patient prior to presenting the target-event reliably predicted the likelihood of selecting this referent as the sentential Subject, triggering, correspondingly, the choice between active and passive voice. Importantly, there was no difference in the magnitude of the general Cueing effect between the informative and uninformative cueing conditions, suggesting that attentionally driven structural selection relies on a direct automatic mapping mechanism from attentional focus to the Subject’s position in a sentence. This mechanism is, therefore, independent of accessing conceptual, and possibly lexical, information about the cued referent provided by referent preview

Preview Cues: Enhancing Access to Multimedia Content

We describe preview cues, a lightweight mechanism to assist exploration of multimedia content. A preview cue provides a preview of the kind of content/information associated with an area (as opposed to an instance) of a domain. Preview cues associate media files and their meta data with the label of a topic in a domain. A lightweight gesture such as brushing a cursor over a label initiates playback of the preview cue file associated with that label. With these cues, users can preview the type of content associated with an area of a domain in order to decide whether or not that area is of interest for further exploration before having to select it. In this paper we describe the preview cues mechanism. We look at one case study of an implementation of preview cues in the audio domain, and we present the results of a user study of preview cue deployment. We conclude with a discussion of issues for future research

Food Lion and the Media’s Liability for Newsgathering Torts: A Symposium Preview

Abans de l'arribada de Pere Alberch a la catedral de Barcelona, el magisteri de l'orgue havia estat en mans de l'organista Joan Ferrer, el qual l'exercí entre 1515 i 1536, essent mestre de cant entre 1513 i 1517. La identitat de l'organista de la catedral de Barcelona correspon a la del compositor «Johannes Ffarer», autor del motet «Domine non secundum» del Cancionero musical de Segovia (CMS). La identificació entre «Johannes Ffarer» i Joan Ferrer, i la presència del seu motet processional «Domine non secundum» juntament amb la de l'himne «Conditor alme siderunt» de Marturià Prats, fan palesa la recepció que la capella flamenca va fer del repertori polifònic d'aquests dos compositors catalans, les obres dels quals es devien incorporar al cançoner durant el prolongat sojorn que la capella de Carles I va fer a Barcelona, en el transcurs de l'any 1519. D'altra banda, i gràcies a la documentació capitular de les seus de Vic, Tortosa i Tarragona, sabem que Marturià Prats, i també Antoni Marlet, romanien vinculats a la capella nobiliària que l'infant Enric, comte d'Empúries, mantenia al seu palau del carrer Ample de Barcelona. En el marc del context urbà, social i musical de la Barcelona de principis del segle xvi no costa gaire d'imaginar com devien sovintejar els contactes, i, amb ells, les avinences i els intercanvis musicals en- tre els músics de la capella flamenca i els de les capelles nobiliàries dels Cardona, l'infant Enric, els Montcada, a banda dels cantors de la catedral i dels de les grans parròquies de la ciutat. Un esdeveniment d'aquestes característiques pot ajudar a explicar el motiu de la presència de les dues obres de Joan Ferrer i Marturià Prats en el CMS, convivint amb la riquesa del seu repertori francoflamenc i castellà.Before Pere Alberch arrived at Barcelona Cathedral, the organ master had been the organist Joan Ferrer in the period between 1515 and 1536, and he had also been the magister cantus between 1513 and 1517. The identity of the organist of Barcelona Cathedral corresponds to that of the composer Johannes Ffarer, who was the author of the motet Domine non secundum of the Cancionero musical de Segovia. The identification between Johannes Ffarer and Joan Ferrer, and the presence of his processional motet Domine non secundum together with that of the hymn Conditor alme siderunt of Marturià Prats, evidence the Flemish chapel's reception of the polyphonic repertoire of these two Catalan composers, whose works must have been added to the cancionero or song-book during the long stay of Charles I's chapel in Barcelona in the course of the year 1519. Moreover, thanks to the chapter documents of the cathedrals of Vic, Tortosa and Tarragona, we know that Marturià Prats as well as Antoni Marlet remained attached to the noble chapel which Prince Henry, Count of Empúries, kept in his palace at Carrer Ample in Barcelona. Within the urban, social and musical context of the Barcelona of the early 16th century, it is easy to imagine how frequent the contacts must have been and consequently the understandings and musical exchanges between the musicians of the Flemish chapel and those of the noble chapels of the Cardonas, Prince Henry, the Montcadas, etc., as well as the singers of the Cathedral and those of the major parish churches of the city. An event of this type could help to explain the reason for the presence of the two works of Joan Ferrer and Marturià Prats in the CMS, together with the rich Franco-Flemish and Castilian repertoire to be found there