Integrating knowledge from social and natural sciences for biodiversity management: The asymmetric information trap

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Unresolved Rossby and gravity modes in 214 A and F stars showing rotational modulation

Here we report an ensemble study of 214 A- and F-type stars observed by \textit{Kepler}, exhibiting the so-called \textit{hump and spike} periodic signal, explained by Rossby modes (r~modes) -- the \textit{hump} -- and magnetic stellar spots or overstable convective (OsC) modes -- the \textit{spike} -- respectively. We determine the power confined in the non-resolved hump features and find additional gravity~modes (g~modes) humps always occurring at higher frequencies than the spike. Furthermore, we derive projected rotational velocities from FIES, SONG and HERMES spectra for 28 stars and the stellar inclination angle for 89 stars. We find a strong correlation between the spike amplitude and the power in the r and g~modes, which suggests that both types of oscillations are mechanically excited by either stellar spots or OsC modes. Our analysis suggests that stars with a higher power in $m=1$ r~modes humps are more likely to also exhibit humps at higher azimuthal orders ($m$ = 2, 3, or 4). Interestingly, all stars that show g~modes humps are hotter and more luminous than the observed red edge of the $\delta$ Scuti instability strip, suggesting that either magnetic fields or convection in the outer layers could play an important role.Comment: 18 pages, 19 figure

Real-time simulation of watery paint

Existing work on applications for thin watery paint is mostly focused on automatic generation of painterly-style images from input images, ignoring the fact that painting is a process that intuitively should be interactive. Efforts to create real-time interactive systems are limited to a single paint medium and results often suffer from a trade-off between real-timeness and simulation complexity. We report on the design of a new system that allows the real-time, interactive creation of images with thin watery paint. We mainly target the simulation of watercolor, but the system is also capable of simulating gouache and Oriental black ink. The motion of paint is governed by both physically-based and heuristic rules in a layered canvas design. A final image is rendered by optically composing the layers using the Kubelka-Munk diffuse reflectance model. All algorithms that participate in the dynamics phase and the rendering phase of the simulation are implemented on graphics hardware. Images made with the system contain the typical effects that can be recognized in images produced with real thin paint, like the dark-edge effect, watercolor glazing, wet-on-wet painting and the use of different pigment types

Integrating real-time 3D cartoon rendering into 2D animations

In this paper we describe how to achieve nice-looking cartoon style rendering and animation utilising 3D input and animation control. Besides a technical description, we also show how this rendering is smoothly integrated into traditional 2D animations. This way we combine the benefits of both worlds, giving plenty of opportunities to creativity. Maximally exploiting the power of current graphics hardware to obtain real-time rendering speeds is another key issue

V.: Introducing artistic tools in an interactive paint system

While paint systems have been around for a long time, systems capable of capturing the complex behavior of paint media like watercolor, gouache, Oriental ink, oil and acrylic paint have emerged only recently. However, concentrating on the simulation of paint and brush mechanics, these applications mostly provide just a minimal set of instruments assisting users creating artwork. We report on the extension of our physically-based paint system for watery paint with a set of versatile tools supplying users with more control during the painting process. We introduce, among others, the use of masking fluid, a special-purpose brush using patterns to steer paint diffusion, and the adoption of an absorbent, textured piece of paper to remove some wet paint from the canvas. Results show that images created with genuine paint, using real-life counterparts of some of these tools, can be closely reproduced with our application. Additionally, our digital tools can produce effects that are difficult or impossible to achieve with real paint, while retaining the spontaneous nature of the resulting images