Moment functions have been used recently to compute stroke parameters for painterly rendering applications. The technique is based on the estimation of geometric features of the intensity distribution in small windowe...
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Recent years have seen an increasing number of computer vision applications focusing on humans as their objects of interest. Such applications include video surveillance, domotics, multimedia semantic annotation and i...
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This paper describes a methodology and software engine for generating dynamic vegetation models for archaeological reconstruction and interactive visualisation, integrating the disciplines of Artificial Life (Alife) a...
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Small and medium-sized enterprises (SMEs) rarely conduct a thorough cyber-risk assessment and they may face various internal issues when attempting to set up cyber-risk strategies. In this work, we apply a user journe...
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ISBN:
(纸本)9789897584886
Small and medium-sized enterprises (SMEs) rarely conduct a thorough cyber-risk assessment and they may face various internal issues when attempting to set up cyber-risk strategies. In this work, we apply a user journey approach to model human behaviour and visually map SMEs' practices and threats, along with a visualisation of the socio-technical actor network, targeted specifically at the risks highlighted in the user journey. By using a combination of cybersecurity-related visualisations, our goals are: i) to raise awareness about cybersecurity, and ii) to improve communication among IT personnel, security experts, and non-technical personnel. To achieve these goals, we combine two modelling languages: Customer Journey Modelling Language (CJML) is a visual language for modelling and visualisation of work processes in terms of user journeys. System Security Modeller (SSM) is an asset-based risk-analysis tool for socio-technical systems. By demonstrating the languages' supplementary nature through a threat scenario and considering related theories, we believe that there is a sound basis to warrant further validation of CJML and SSM together to raise awareness and handle cyber threats in SMEs.
To date, the techniques used in most real-time graphics applications (eg. computer games) for modelling and representing dust clouds, centre around the use of flat, pre-drawn sprites, layered onto the screen as 'b...
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Smooth Skinning is still the most popular method for the animation of deformable human and creature characters. It has became almost an industry standard because of its intuitiveness to use and efficiency to compute. ...
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Non-Photorealistic Rendering (NPR) is a class of techniques defined by what they do not aim, the realistic rendering of artificial scenes. NPR techniques, on the other hand, aim to reproduce artistic techniques render...
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The construction of a bivariate C1 interpolant to scattered data is considered in which the interpolant is positive everywhere if the original data are positive. This study is motivated by earlier work in which suffic...
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The perspective image, first formularized in the fourteenth century Italian Renaissance, was chemically automated by the photograph in the mid-nineteenth century. While at its zenith, the Dutch realists had achieved a...
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ISBN:
(纸本)9781538672020
The perspective image, first formularized in the fourteenth century Italian Renaissance, was chemically automated by the photograph in the mid-nineteenth century. While at its zenith, the Dutch realists had achieved astonishingly mimetic reproduction of the visual world in their paintings, the photograph threatened to automate and commodify their work. The unerring catch-all monotony of the scenes depicted in early photography also questioned the value artists invested in what they included in their paintings. As such, many artists rejected the photograph, and perspective realisms more generally. From the mid-nineteen century to the late twentieth century, many challenges to the verisimilitudinal nature of the photograph and perspective image were mounted. These ranged from impressionist patches of light and dark, patches of colour, compression of space to the surface of the painting, layering of multiple temporal images in a single frame, to the complete voiding of spatial references altogether. Their campaigns waged across the twentieth century, computergraphics (CG) has since reestablished the perspective image as a dominant media. However, CGs too has its alternatives and alterations which generate new effects, both extending and challenging its presumed norms. This paper is a brief essay about the cycle that has been the dominance, decline and reemergence of the perspective image since the Renaissance.
The node-node overlaps, which occur in drawing of labeled graphs, and more importantly, in the dynamic drawing, have been a problem in graph visualization. Several approaches have recently been proposed to solve such ...
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