The massive data generated by scientists daily serve as both a major catalyst for new discoveries and innovations, as well as a significant roadblock that restricts access to the data. Our paper introduces a new approach to removing Big Data barriers and democratizing access to petascale data for the broader scientific community. Our novel data fabric abstraction layer allows user-friendly querying of scientific information while hiding the complexities of dealing with file systems or cloud services. We enable FAIR (Findable, Accessible, Interoperable, and Reusable) access to datasets such as NASA's petascale climate datasets. Our paper presents an approach to managing, visualizing, and analyzing petabytes of data within a browser on equipment ranging from the top NASA supercomputer to commodity hardware like a laptop. Our novel data fabric abstraction utilizes state-of-the art progressive compression algorithms and machine-learning insights to power scalable visualization dashboards for petascale data. The result provides users with the ability to identify extreme events or trends dynamically, expanding access to scientific data and further enabling discoveries. We validate our approach by improving the ability of climate scientists to visually explore their data via three fully interactive dashboards. We further validate our approach by deploying the dashboards and simplified training materials in the classroom at a minority-serving institution. These dashboards, released in simplified form to the general public, contribute significantly to a broader push to democratize the access and use of climate data.

Processing, managing and publishing the substantial volume of data collected through modern remote sensing technologies in a format that is easy for researchers - across broad skill levels and scientific domains - to view and use presents a formidable challenge. As a prime example, the massive scale of image mosaics produced by NEON’s Airborne Observation Platform (AOP), often several to hundreds of gigabytes in volume, demands efficient data management strategies. Additionally, these aerial mosaics frequently exhibit seams due to variations in lighting conditions during the data acquisition process. These seams undermine the integrity of subsequent scientific analyses, introducing distortions that hinder accurate interpretation of ecological patterns. Finally, one of NEON’s core objectives is to make these data broadly accessible to users, including those who are not yet versed in working with remote sensing data or who wish to view the datasets without needing to download and process them.In response to these challenges, we have developed a comprehensive data management pipeline that enables interactive access for analysis and visualization of NEON’s aerial mosaic collection. This pipeline automates data ingestion, conversion, and publication in a streamable format, facilitating seamless user interaction through web viewers and programming APIs. Moreover, we have implemented a portable blending algorithm aimed at eliminating these problematic seams from large aerial mosaics. This algorithm, grounded in the Conjugate Gradient (CG) method, has been implemented both in CUDA and using the modern SYCL programming model for enhanced portability across diverse computing platforms.Experimental results demonstrate scalable performance across both CPU and GPU architectures. This work not only addresses the challenges of large aerial data management and seam removal but also opens avenues for more accurate and comprehensive scientific investigations within the NEON ecosystem.

Abstract Image boundaries are a fundamental component of many interactive digital photography techniques, enabling applications such as segmentation, panoramas, and seamless image composition. Interactions for image boundaries often rely on two complementary but separate approaches: editing via painting or clicking constraints. In this work, we provide a novel, unified approach for interactive editing of pairwise image boundaries that combines the ease of painting with the direct control of constraints. Rather than a sequential coupling, this new formulation allows full use of both interactions simultaneously, giving users unprecedented flexibility for fast boundary editing. To enable this new approach, we provide technical advancements. In particular, we detail a reformulation of image boundaries as a problem of finding cycles, expanding and correcting limitations of the previous work. Our new formulation provides boundary solutions for painted regions with performance on par with state‐of‐the‐art specialized, paint‐only techniques. In addition, we provide instantaneous exploration of the boundary solution space with user constraints. Finally, we provide examples of common graphics applications impacted by our new approach.

Jobs in the computing field demand communication and teamwork skills in addition to programming skills. Focus at the undergraduate level needs to be shifted towards developing these collaborative skills to enable a more smooth transition into employment in industry. The University of Victoria is in its second year of offering a course on game design. In the first offering, new activities were introduced to address issues identified by recent studies on university graduates entering industry. We focused on integrating cooperative learning, group orientation, and peer review activities into the game design process. The course attracted students across multiple disciplines, and an analysis indicated increased student interest in pursuing a computer science degree. Unfortunately, the same pre- and post-surveys suggested that our collaborative activities may have resulted in a decrease in student interest regarding course work and in pursuing studies in game design. In this paper we report on how we used a studio-based pedagogical approach to restructure the peer review activities in our course. In our previous offering, students received peer feedback only on their final game presentation. In our latest offering, we integrated peer review activities into every step of the game development process, allowing students to refine their ideas while progressing through a game project. A quantitative analysis informs us that our refined peer review activities were successful in increasing student presentation confidence, sense of community, and excitement towards their course projects.

In this paper we document a simulation of the cat visual system intended to convey four of the major differences between the human and cat visual systems. Learning about an animal's visual system is an important step in understanding how that type of animal perceives the world around them, and how they behave within it. The cat visual system, for example, has been studied extensively by neuroscientists [20, 14, 1, 6], but the results of their work are difficult to convey using traditional text displays that are common in zoos, museums, and classrooms. We achieve some of our effects using fragment shaders applied as post-processes, enabling real-time simulation in either a game engine or live video feed. We also present Catalyst, an educational game that uses our simulation to teach players about the differences between human and cat vision. The tasks in Catalyst are based on the principle of situated cognition, and require the player to switch repeatedly between the two visual systems, thus emphasizing the contrast between them. The results of a user study suggest that Catalyst is successful in stimulating the interest of the players with regard to the material being presented, making it a suitable edutainment application for classrooms, zoos, or other educational settings.

Over the past few years, games courses have been gaining in popularity, as there has been growing evidence showing positive enrollment and student engagement results. Nevertheless, new graduates still lack critical teamwork and problemsolving skills required by industry employers. Building upon other game programs that had successful results, we present a game design course developed to attract students of all disciplines. Our course is different because we focus on three main issues directly associated with new graduates entering industry: cooperative learning, peer review, and orientation with a pre-existing large code base. A quantitative analysis reveals both a positive and negative impact on students’ interests, in particular within a cohort of non-Computer Science majors. A qualitative analysis reveals the ways in which students were influenced by a course design where assessment was aligned with key industry issues.

Abstract This work introduces a technique for interactive walk‐throughs of non‐photorealistically rendered (NPR) scenes using three‐dimensional (3D) line primitives to define architectural features of the model, as well as indicate textural qualities. Line primitives are not typically used in this manner in favour of texture mapping techniques which can encapsulate a great deal of information in a single texture map, and take advantage of GPU optimizations for accelerated rendering. However, texture mapped images may not maintain the visual quality or aesthetic appeal that is possible when using 3D lines to simulate NPR scenes such as hand‐drawn illustrations or architectural renderings. In addition, line textures can be modified interactively, for instance changing the sketchy quality of the lines. The technique introduced here extracts feature edges from a model, and using these edges, generates a reduced set of line textures which indicate material properties while maintaining interactive frame rates. A clipping algorithm is presented to enable 3D lines to reside only in the interior of the 3D model without exposing the underlying triangulated mesh. The resulting system produces interactive illustrations with high visual quality that are free from animation artifacts.

Man-made objects are ubiquitous in the real world and in virtual environments. While such objects can be very detailed, capturing every small feature, they are often identified and characterized by a small set of defining curves. Compact, abstracted shape descriptions based on such curves are often visually more appealing than the original models, which can appear to be visually cluttered. We introduce a novel algorithm for abstracting three-dimensional geometric models using characteristic curves or contours as building blocks for the abstraction. Our method robustly handles models with poor connectivity, including the extreme cases of polygon soups, common in models of man-made objects taken from online repositories. In our algorithm, we use a two-step procedure that first approximates the input model using a manifold, closedenvelopesurface and then extracts from it a hierarchical abstraction curve network along with suitable normal information. The constructed curve networks form a compact, yet powerful, representation for the input shapes, retaining their key shape characteristics while discarding minor details and irregularities.

Semanticons can enhance the representation of files by offering symbols that are both meaningful and easily distinguishable. The semantics of a file is estimated by parsing its name, location, and content to generate a ‘context’, which is used to query an image database. The resulting images are simplified by segmenting them, computing an importance value for each segmented region, and removing unimportant regions. The abstract look-and-feel of icons is achieved using non-photorealistic techniques for image stylization. We increase the effectiveness of the semanticons by compositing them with traditional and familiar interface icons. Two psychophysical studies using semanticons as stimuli demonstrate that semanticons decrease the time necessary to locate a file in a visual search task and enhance performance in a memory task.

Visually important image features often disappear when color images are converted to grayscale. The algorithm introduced here reduces such losses by attempting to preserve the salient features of the color image. The Color2Gray algorithm is a 3-step process: 1) convert RGB inputs to a perceptually uniform CIE L*a*b* color space, 2) use chrominance and luminance differences to create grayscale target differences between nearby image pixels, and 3) solve an optimization problem designed to selectively modulate the grayscale representation as a function of the chroma variation of the source image. The Color2Gray results offer viewers salient information missing from previous grayscale image creation methods.

We present a method for creating black-and-white illustrations from photographs of human faces. In addition an interactive technique is demonstrated for deforming these black-and-white facial illustrations to create caricatures which highlight and exaggerate representative facial features. We evaluate the effectiveness of the resulting images through psychophysical studies to assess accuracy and speed in both recognition and learning tasks. These studies show that the facial illustrations and caricatures generated using our techniques are as effective as photographs in recognition tasks. For the learning task we find that illustrations are learned two times faster than photographs and caricatures are learned one and a half times faster than photographs. Because our techniques produce images that are effective at communicating complex information, they are useful in a number of potential applications, ranging from entertainment and education to low bandwidth telecommunications and psychology research.

In virtual environments, perceived egocentric distances are consistently underestimated when compared to the same distance judgments in the real world. The research presented in this paper explores two possible causes for the compressed distance perception in virtual environments: (1) real-time computer graphics rendering, and (2) immersive display technology. Our results show there is a significant difference in distance judgments between real and virtual environments. However, the differences between distance judgments in virtual photographic panorama environments and traditionally rendered virtual environments are small, suggesting that the display device is affecting distance judgments in virtual environments.

Distance judgments are difficult in current virtual environments, limiting their effectiveness in conveying spatial information. This problem is apparent when contact occurs while a user is manipulating objects. In particular, the computer graphics used to support current-generation immersive interfaces does a poor job of providing the visual cues necessary to perceive when contact between objects is about to occur. This perception of imminent contact is important in human motor control. Its absence prevents a sense of naturalness in interactive displays which allow for object manipulation. This paper reports results from an experiment evaluating the effectiveness of binocular disparity, cast shadows and diffuse inter-reflections in signaling imminent contact in a manipulation task.

A rendering is an abstraction that favors, preserves, or even emphasizes some qualities while sacrificing, suppressing, or omitting other characteristics that are not the focus of attention.Most computer graphics rendering activities have been concerned with photorealism, i.e., trying to emulate an image that looks like a highquality photograph.This laudable goal is useful and appropriate in many applications, but not in technical illustration where elucidation of structure and technical information is the preeminent motivation.This calls for a different kind of abstraction in which technical communication is central, but art and appearance are still essential instruments toward this end.Work that has been done on computer generated technical illustrations has focused on static images, and has not included all of the techniques used to hand draw technical illustrations.A paradigm for the display of technical illustrations in a dynamic environment is presented.This display environment includes all of the benefits of computer generated technical illustrations, such as a clearer picture of shape, structure, and material composition than traditional computer graphics methods.It also includes the three-dimensional interactive strength of modem display systems.This is accomplished by using new algorithms for real time drawing of silhouette curves, algorithms which solve a number of the problems inherent in previous methods.We incorporate current non-photorealistic lighting methods, and augment them with new shadowing algorithms based on accepted techniques used by artists and studies carried out in human perception.This paper, all of the images, and a mpeg video clip are available at http

Phong-shaded 3D imagery does not provide geometric information of the same richness as human-drawn technical illustrations.A non-photorealistic lighting model is presented that attempts to narrow this gap.The model is based on practice in traditional technical illustration, where the lighting model uses both luminance and changes in hue to indicate surface orientation, reserving extreme lights and darks for edge lines and highlights.The lighting model allows shading to occur only in mid-tones so that edge lines and highlights remain visually prominent.In addition, we show how this lighting model is modified when portraying models of metal objects.These illustration methods give a clearer picture of shape, structure, and material composition than traditional computer graphics methods.