Combinatorics and geometry of finite and infinite squaregraphs

Squaregraphs were originally defined as finite plane graphs in which all inner faces are quadrilaterals (i.e., 4-cycles) and all inner vertices (i.e., the vertices not incident with the outer face) have degrees larger than three. The planar dual of a finite squaregraph is determined by a triangle-free chord diagram of the unit disk, which could alternatively be viewed as a triangle-free line arrangement in the hyperbolic plane. This representation carries over to infinite plane graphs with finite vertex degrees in which the balls are finite squaregraphs. Algebraically, finite squaregraphs are median graphs for which the duals are finite circular split systems. Hence squaregraphs are at the crosspoint of two dualities, an algebraic and a geometric one, and thus lend themselves to several combinatorial interpretations and structural characterizations. With these and the 5-colorability theorem for circle graphs at hand, we prove that every squaregraph can be isometrically embedded into the Cartesian product of five trees. This embedding result can also be extended to the infinite case without reference to an embedding in the plane and without any cardinality restriction when formulated for median graphs free of cubes and further finite obstructions. Further, we exhibit a class of squaregraphs that can be embedded into the product of three trees and we characterize those squaregraphs that are embeddable into the product of just two trees. Finally, finite squaregraphs enjoy a number of algorithmic features that do not extend to arbitrary median graphs. For instance, we show that median-generating sets of finite squaregraphs can be computed in polynomial time, whereas, not unexpectedly, the corresponding problem for median graphs turns out to be NP-hard.Comment: 46 pages, 14 figure

LIPIcs, Volume 258, SoCG 2023, Complete Volume

LIPIcs, Volume 258, SoCG 2023, Complete Volum

AutoGraff: towards a computational understanding of graffiti writing and related art forms.

The aim of this thesis is to develop a system that generates letters and pictures with a style that is immediately recognizable as graffiti art or calligraphy. The proposed system can be used similarly to, and in tight integration with, conventional computer-aided geometric design tools and can be used to generate synthetic graffiti content for urban environments in games and in movies, and to guide robotic or fabrication systems that can materialise the output of the system with physical drawing media. The thesis is divided into two main parts. The first part describes a set of stroke primitives, building blocks that can be combined to generate different designs that resemble graffiti or calligraphy. These primitives mimic the process typically used to design graffiti letters and exploit well known principles of motor control to model the way in which an artist moves when incrementally tracing stylised letter forms. The second part demonstrates how these stroke primitives can be automatically recovered from input geometry defined in vector form, such as the digitised traces of writing made by a user, or the glyph outlines in a font. This procedure converts the input geometry into a seed that can be transformed into a variety of calligraphic and graffiti stylisations, which depend on parametric variations of the strokes

Saving Bones: a direct comparison of FTIR-ATR, whole bone percent nitrogen, and NIR

89th Annual Meeting of the American-Association-of-Physical-Anthropologists (AAPA), Los Angeles, CA, APR 15-18, 202