A primary need for studies of sediment, ice and rock cores is an integrated environment for visual core description. CoreWall is a tool that uses digital line-scan images of split-core surfaces as the fundamental template for all sediment descriptive work. Textual and image annotations support description about structures, lithologic variation, macroscopic grain size variation, bioturbation intensity, chemical composition, and micropaleontology at points of interest registered within the core image itself. The integration of core-section images with discrete data streams and nested annotations provide a robust approach to the description of sediment and rock cores. This project provides for the real-time and/or simultaneous display of multiple integrated databases, with all the data rectified (co-registered) to the fundamental template of the core image. This visualization tool enables rapid multidisciplinary interpretation during the Initial Core Description process. A prototype computer environment for working with the high-resolution data is the Personal GeoWall-2, a single computer used to drive six tiled LCD screens. As a wideband display, the Personal GeoWall-2 can show more content then a single display system. This new visualization tool is both scaleable and portable from the Personal GeoWall-2 environment down to a single screen driven by a laptop computer. Using the screen resolution, core sections are drawn at a life size scale with both core and downhole wireline logging data drawn alongside. Using standard computer interfaces, individuals can pan through meters of core imagery and data, annotating along the length of the core itself. They can zoom in on a high-resolution core image to see details that appear under the proper lighting in which the images were taken. Using the Internet, CoreWall can retrieve images and data files from remote databases or web portals / services, such as CHRONOS, allowing individuals from ship!  to shore to look at data and annotations in near real time. Using a plug-in system, CoreWall will gain added functionality by porting legacy software such as IODP&rsquo;s Splicer / Sagan, accessing multiple databases (i.e. Janus, Chronos, dbSeabed, Rigde, Andrill, ICDP etc.), and enhancing description of cores and collaborative capabilities.

CoreWall: A Scalable Interactive Tool for Visual Core Description, Data Visualization, and Stratigraphic Correlation

Interactive Remote Visualization of Large High-Resolution Time-Varying Geophysical and Biological Datasets

In all of us we have stored away memories and experiences that can be conjured up with the slightest trigger. A personal encounter of mine consists of frequent flashbacks to my native country, India. There are numerous occasions when I&rsquo;ll hear a car with a bad engine drive by and immediately recall my days in Gujarat riding in a rikshaw, or more specifically, when I see a certain shade of red on a woman&rsquo;s lips, I&rsquo;m brought back to my cousin&rsquo;s wedding day and the lipstick she wore that matched so perfectly with her sari. In cognitive psychology terms, this type of auditory and visual processing contributes to a type of memory called Episodic, the recollection of events that include time, place, and associated emotions. 

Cue is a systems-based artwork representing the visual processing experienced during moments of recollection. By designing an algorithm to track color relationships between my database of video diaries from India and images captured real time in the exhibition space, a unique perspective is created on visual stimuli that cue our past.

We envision situation-rooms and research laboratories in which all the walls are made from seamless ultra-high-resolution displays fed by data streamed over ultra-high-speed networks from distantly located visualization, storage servers, and high definition video cameras [1,6]. It will allow local and distributed groups of researchers to work together on large amounts of distributed toward this vision by building LambdaVision - an 11x5 tiled heterogeneous datasets. We are taking the next steps display with a total resolution of 100 megapixels and developing SAGE, the Scalable Adaptive Graphics Environment (see Figure1). SAGE allows the seamless display of various networked applications over the high-resolution displays. Each visualization application (such as 3D rendering, remote desktop, video streams, very large 2D maps) streams its rendered pixels (or graphics primitives) to SAGE, allowing for any given layout onto the displays (e.g. the output of arbitrary M by N pixel rendering cluster nodes can be streamed to X by Y pixel display screens). 

The graphics streaming architecture of SAGE addresses two trivial problems in scientific visualization. One is heterogeneity: since most visualization applications are closely tied to their graphics environment, it is difficult to integrate various visualization applications into a unified graphics environment. The other is scalability: the ability of visualization software and systems to scale in terms of the amount of data they can visualize and the resolution of the desired visualization [5]. SAGE addresses the heterogeneity problem by decoupling graphics rendering from graphics display so that visualization applications developed on various environments can easily migrate into SAGE by streaming their pixels into the virtual frame buffer. Also, SAGE provides scalability by supporting any number of rendering and displaying nodes, number of tiles, and screen resolution, and the SAGE visualization applications have extremely fast access to huge databases at remote or local sites taking advantage of affordable ultra-high-bandwidth networks. 

There are several other existing systems with parallel or remote schemes related to SAGE. WireGL [7] for example uses sort-first parallel rendering scheme from a single source or parallel scene-graph rendering. This approach allows a single serial application to drive a tiled display by streaming graphics primitives that will be rendered in parallel on display nodes. However, it has poor data scalability due to its single source limitation. Flexible scalable graphics systems such as Chromium [8] and Aura [10] are designed for distributing visualizations to and from cluster driven tiled-displays. They have a similar parallel rendering scheme with SAGE on local area network; however, Chromium is not designed to execute multiple applications on a tiled display, and its applications have a static layout on the tiled display - it can divide the tiled display into several parts and execute multiple applications, but each tile can support only one application. Chromium&rsquo;s DMX extension allows execution of multiple applications and window moving and resizing but does not support parallel applications - it has a single source (serial application) and its design is not suitable for graphics streaming over wide-area networks. IBM&rsquo;s Scalable Graphics Engine [9] is a hardware-based approach that allows for the reception of pixels streamed over networks and can drive an array of displays synchronously. Currently, it is limited to 16 1GigE network inputs, 4 DVI outputs, and SGE specific network protocol which prevents from exploiting advanced network protocols. Also as 10GigE (10 gigabit Ethernet) network becomes prevalent, 1GigE network interface becomes a drawback of SGE. Our previous work, TeraVision [3], is a scalable platform-independent solution that is capable of transmitting multiple synchronized high resolution video streams between single workstations and/or clusters. TeraVision was also designed for high-speed graphics streaming over wide-area networks and SAGE directly exploits its network transport libraries. However, TeraVision has a static application layout on a tiled display it is not suitable for supporting parallel applications and multiple instances of applications since each TeraVision only one application. 

From our prior work on the Continuum [2], we have learned that it is crucial for collaborators to have both local control (e.g. on a tablet or laptop) and the casual ability to share their work and see what others are working on (e.g. on a large tile display). For that purpose SAGE&rsquo;s Free Space Manager (i.e. window manager) provides an intuitive interface for moving and resizing visualizations on the tiled display. The interface is also completely transparent giving the user the illusion that they are working on one continuous computer screen, even though the systems performing the visualizations may be several thousand miles apart. The Free Space Manager is akin to a traditional desktop manager in a windowing system, except that it can scale from a single tablet PC screen to a desktop spanning over 100 million pixel displays. Since SAGE was designed with collaboration in mind, it makes sense to give control to multiple users that are not necessarily collocated. To facilitate that requirement, Free Space Manager can accept multiple UI client connections and receive commands from any of them and broadcast the changes to all the other clients. Since commands are issued via simple message passing, various user interfaces can be used for control at the same time. For the basic user interaction a SAGE Graphical User Interface was developed which resembles contemporary desktop environments (see Figure 2). SAGE GUI allows multiple users to connect to multiple SAGE displays and run and shutdown applications and control their windows. As an alternative user interface, a system is currently being developed for controlling applications with a camera-tracked device on the horizontal 5x3 tiled display, the Lambda Table [12].

SAGE running on a 55-tile display in San Diego with applications streamed from Amsterdam and Chicago (iGrid 2005)

Scalable Graphics Architecture for High-Resolution Displays

The quality of timekeeping is critical for many network protocols and measurement tools. Software packages, such as UDT (UDP-based Data Transfer), ThruLay (Throughput and Delay) and OWAMP (Oneway Ping), make control decisions and network statistics by checking the timestamps on the sent / received packets, which are normally labeled according to the system clock. Although when synchronized with NTP (Network Time Protocol), system clock could achieve satisfying accuracy, its precision is still a problem at microsecond level. 

For example, most Linux kernels update their system time counters at 10-millisecond interval, and get the time in-between by interpolating TSC (CPU frequency counter) register. As interpolation parameters are obtained at start-up and TSC register subject to frequency wander, the interpolated time&rsquo;s precision is questionable. TSC-I2 (TSC-Internet2) is devised to address the precision problem mentioned above. 

The basic idea is to make TSC rate calibration a continuous process, thus the accuracy of interpolation parameters could be ensured, which in turn results in satisfying clock precision. 

TSC-I2 maintains a soft clock of its own, compares this clock to system clock periodically. During each comparison, it synchronizes itself with the system clock, and adjusts the interpolation rate based on the offset and rate errors regarding to system clock. Whenever the accuracy of the soft clock is ensured, TSC-I2 uses this clock to report time to the library user; otherwise, the system clock value is reported. 

The advantage of this design is that system clock is enhanced rather than substituted.

Network application open sourcing

TSC-I2: A Lightweight Implementation for Precision-Augmented Timekeeping

To explore new methods of interaction with large scientific datasets, we have developed a high resolution visualization table. This system merges table interaction and Tangible User Interfaces (TUIs) with current tiled display technology. 

We discuss the advantages of tiled Liquid Crystal Display (LCD) systems over projector based displays, and present the LambdaTable, our implementation of a tiled LCD table. We also discuss camera tracking of tangible interface devices on the table, and present a system for validating this interface against Fitts Law.

Lambda Table

Lambda Table: High Resolution Tiled Display Table for Interacting with Large Visualizations

Impairment of hand function is prevalent among stroke survivors, motivating the search for effective rehabilitation therapy. Recent studies have suggested that for upper extremity functional recovery, repetitive training with virtual reality is helpful. Repetitive training can be facilitated with assistance from mechanical devices. Thus, we have developed a training environment that integrates augmented reality (AR) with assistive devices for post-stroke hand rehabilitation. The AR element of our environment utilizes head mounted display and virtual objects for reach-and-grasp task training. The assistive device consists of either a body-powered orthosis (BPO) or a pneumatic-powered device (PPD), both of which are incorporated into gloves. This environment can be easily set up and calibrated, is customizable for individual users, and requires active user participation. Additionally, it can be used with both real and virtual objects, as desired. We are currently conducting pilot case studies to assess ease of use and efficacy. At present, one stroke survivor from each of the three training conditions, AR-with-BPO, AR-with-PPD and AR-only (acting as the control), has completed the 6-week training paradigm. Preliminary findings suggest user acceptance of the technology and some potential for beneficial effects.

Researchers developed various real-life living environments to  motivate training of post-stroke users

Integration of Augmented Reality and Assistive Devices for Post-Stroke Hand Opening Rehabilitation

Virtual reality (VR) has long been hampered by the gear needed to make the experience possible; specifically, stereo glasses and tracking devices. Autostereoscopic disply devices are gaining popularity by freeing the use from stereo glasses, however few qualify as VR displays. The Electronic Visualization Laboratory (EVL) at the University of Illinois at Chicago (UIC) has designed and produced a large scale, high resolution headtracked barrier-strip autostereoscopic display system that produces a VR immersive experience without requiring the user to wear any encumberances. The resulting system, called Varrier, is a passive parallax barrier 35-panel tiled display that produces a wide field of view, head-tracked VR experience. This paper presents background material related to parallax barrier autostereoscopy, provides system configuration and construction details, examines Varrier interleaving algorithms used to produce the stereo images, introduces calibration and testing, and discusses the camera-based tracking subsystem.

The Cylindrical Varrier Display

The Varrier Autostereoscopic Virtual Reality Display

ImmersiveTouch&trade; is the next generation of augmented virtual reality technology, being the first system that integrates a haptic device, with a head and hand tracking system, and a high-resolution and high-pixel-density stereoscopic display. Its ergonomic design provides a comfortable working volume in the space of a standard desktop. The haptic device is collocated with the 3D graphics, giving the user a more realistic and natural means to manipulate and modify 3D data in real time. The high-performance, multi-sensorial computer interface allows easy development of medical, dental, engineering or scientific virtual reality simulation and training applications that appeal to many stimuli: audio, visual, tactile and kinesthetic.

ImmersiveTouch Prototype

Design of the ImmersiveTouch&trade;: a High-Performance Haptic Augmented Virtual Reality System

Finger extension is an important hand function and is crucial for object exploration and manipulation. Unfortunately, the impairment of this motor function is common among stroke survivors. A training environment incorporating Augmented Reality (AR) in conjunction with assistive devices has been developed for the rehabilitation of finger extension. The environment consists of three components: the stroke survivor user element consisting of AR equipment / software and body-powered orthosis; the therapist element comprised of monitoring / control interface with visual, audio and force feedback; and the networking module which interconnects these two. In this paper we present the structure of this environment along with the results from a pilot case study with a stroke survivor.

Demonstration of the training environment on ICORR conference, with wireless joystick control

An Augmented Reality Training Environment for Post-Stroke Finger Extension Rehabilitation

We present the Scalable Adaptive Graphics Environment (SAGE), a graphics streaming architecture for supporting collaborative scientific visualization environments with potentially hundreds of megapixels of contiguous display resolution. In collaborative scientific visualization it is crucial to share high resolution visualizations as well as high definition video among groups of collaborators at local or remote sites. Our network-centered architecture allows collaborators to simultaneously run multiple visualization applications on local or remote clusters and share the visualizations by streaming the pixels of each application over ultra high speed networks to large tiled displays. This streaming architecture is designed such that the output of arbitrary M by N pixel rendering cluster nodes can be streamed to X by Y pixel display screens allowing for userdefinable layouts on the display. This dynamic pixel routing capability of our architecture allows users to freely move and resize each application&rsquo;s imagery over the tiled displays in runtime, tightly synchronizing the multiple visualization streams to form a single stream. Experimental results show that our architecture can support visualization at multi-ten-megapixel resolution with reasonable frame rates using gigabit networks. 

CR Categories and Subject Descriptors: I.3.2 [Computer Graphics]: Graphics Systems-Distributed / network graphics; C.2.2 [Computer-Communication Networks]: Network Protocols- Applications; C.2.4 [Computer-Communication Networks]: Distributed Systems-Client / server, Distributed applications 

Additional Keywords: collaborative scientific visualization

2005 Implementation of SAGE

High-Performance Scalable Graphics Architecture for High-Resolution Displays

TransLight, a Major US Component of the GLIF

Repairing severe human skull injuries requires customized cranial implants, and current visualization research aims to develop a new approach to create these implants. Following pre-surgical design techniques pioneered at the University of Illinois at Chicago (UIC) in 1996, researchers have developed an immersive cranial implant application incorporating haptic force feedback and augmented reality. The application runs on the Personal Augmented Reality Immersive System (PARIS&#8480;), allowing the modeler to see clearly both his hands and the virtual workspace. The strengths of multiple software libraries are maximized to simplify development. This research lays the foundation to eventually replace the traditional modeling and evaluation processes. 

Today a medical sculptor utilizes anatomical modeling expertise to sculpt a prosthetic implant. However, even with the aid of automated manufacturing techniques, the design process poses several problems. Techniques developed at the UIC in 1996 have greatly improved the practice. This thesis aims to augment these techniques using a new virtual reality display system and customized software tools. Involving extensive planning during the pre-surfical design process, closing large cranial defects offers patients therapeutic benefits. These benefits include restoring the shape of the head, protecting vital brain tissue, minimizing pain, reducing operating and recovery times, and in some cases improving cognitive capabilities. Unfortunately, several factors limit cranial implant availability. Insurance companies often will not support this form of reconstruction due to the high labor and material costs. 

Because only neurosurgeons and medical modelers possess the specialized anatomical knowledge, assembling the necessary expertise is difficult. Travel expenses for both patients and specialists increase the overall cost. Currently acrylic polymer is the most commonly used implant material. When used intra-operatively, the material exudes extreme heat as it solidifies. Exposing the brain to these temperatures can cause tissue damage. For this reason, it is vital that implant design and fabrication takes place prior to surgery. 

Traditional cranial implant fabrication and surgical placement methods are heavily dependent on subjective skills and procedures requiring specialized knowledge. The cranium&rsquo;s anatomical complexity impedes reconstruction without extensive planning. Additionally, the implant design must take into account features unique to the patient. Pre-surgical cranial implant design and fabrication alleviates many of these shortcomings. 

The 1996 UIC approach incorporated a series of expensive manual manufacturing steps to produce a custom-fitting implant. These techniques serve as a guide for implementing a digital approach combining augmented reality and haptics. Medical sculptors are trained using their hands, and their abilities are heavily dependent on that fact. The awkward control devices used by traditional VR systems are not conducive to intricate sculpting techniques. Introducing force feedback allows the user to feel the virtual defect and implant models, giving the user the sense of touch that is important for 3D modeling (Massie, 1998). The design process also requires medical sculptors clearly see their hands while modeling an implant. Using augmented reality we can combine real and virtual information, allow real time interactivity, and manage 3D registration (Azuma, 1997). 

This thesis centers around mutual interests between UIC&rsquo;s EVL and Virtual Reality in Medicine Laboratory. Force feedback robots often operate adjacent to associated displays, but this mode of operation is non-intuitive for medical sculptors accustomed to directly working with physical models. By combining graphics and haptics, this thesis presents a prototype environment for examining cranial implant design. CrEdit presents an augmented reality environment combining sensory feedback, established by the following purposes: 
<ul>
<li>Integrate PHANToM haptics with AR</li>
<li>Load medical data into 3D environment</li>
<li>Examine tools required by medical sculptor</li>
<li>Follow existing interaction metaphors</li>
<li>Provide foundation for future research</li>
</ul>

CrEdit environment with simulated patient information systems

CrEdit: Tele-Immersive Cranial Impant Design in a Haptic Augmented Reality Environment

Authentic practice in science requires access to phenomena. In this paper, we introduce RoomQuake, an application designed to foster the growth of a community of learning around scientific practice in seismology. Rather than treating seismic activity as remote events, RoomQuake seeks to enhance salience by situating those phenomena directly in the classroom. Using fixed-position PDAs as simulated seismographs, students determine the magnitude and distance of a series of &ldquo;randomly&rdquo; timed events by reading characteristic waveforms and using calibrated tape measures to sweep out arcs from multiple stations until they literally collide, physically enacting mathematical trilateration. We describe our experience in a six-week unit iin a fifth-grade classroom. 

Author Keywords: Learning technologies, simulation, embedded phenomena 

ACM Classification Keywords: H.5.3 Group and Organization Interfaces; K.3.1 Computer Uses in Education

Pocket PC Serves as Simulated Seismograph

Embedding Dynamic Phenomena within the Physical Space of an Elementary School Classroom

LambdaStream 

LambdaStream is a transport protocol designed specifically to support gigabit-level streaming, which is required by streaming applications over OptIPuter. The protocol takes advantage of characteristics in photonic networks. It adapts the sending rate to dynamic network conditions while maintaining a constant sending rate whenever possible. One advantage of this scheme is that the protocol avoids deliberately provoking packet loss when probing for available bandwidth, a common strategy used by other congestion control schemes. Another advantage is that it significantly decreases fluctuations in the sending rate. As a result, streaming applications experience small jitter and react smoothly to congestion. 

Another important feature is that the protocol extends congestion control to encompass an end-to-end scope. It differentiates packet loss and updates the sending rate accordingly, thus increasing throughput. We have implemented and evaluated LambdaStream over the photonic network testbed between Chicago and Amsterdam. Our results show that LambdaStream occupies almost the full bandwidth and exhibits very small application-level jitter, which is very suitable for streaming applications in OptIPuter.

LambdaStream - a Data Transport Protocol for Streaming Network-intensive Applications over Photonic Networks

This panel presentation will exhibit artwork developed in CAVEs and discuss how art methodologies enhance the science of VR through collaboration, interaction and aesthetics. Artists and scientists work alongside one another to expand scientific research and artistic expression and are motivated by exhibiting collaborative virtual environments. Looking towards the arts, such as painting and sculpture, computer graphics captures a visual tradition. Virtual reality expands this tradition to not only what we face, but to what surrounds us and even what responds to our body and its gestures. Art making that once was isolated to the static frame and an optimal point of view is now out and about, in fully immersive mode within CAVEs. Art knowledge is a guide to how aesthetics of 2D and 3D worlds affect, transform, and influence the social, intellectual and physical condition of the human body through attention to psychology, spiritual thinking, education, and cognition. The psychological interacts with the physical in the virtual in such a way that each facilitatesl, enhances and extends the other, culminating in a &ldquo;go together&rdquo; world. Attention to sharing art experiences across high-speed networks introduces a dimension of liveliness and aliveness when we &ldquo;become virtual&rdquo; in real time with others.

Beat Box CAVE art

Collaborative Virtual Environments, Art Exhibition

Excerpt of MFA Thesis documentation 

The primary goals of &ldquo;Special Treatment&rdquo; were 1) the construction of an immersive nonlinear narrative using cinematic devices to move the participant into and out of full immersion, 2) the incorporation of control interface training into the narrative, 3) the creation of a visual environment consistent in physicality, visually cohesion (though not photo-realistic), and 4) the implementation of elements of persistence which allowed the piece to exhibit our concepts of the changing continuity of memory. 

We attempted to construct an experientially immersive experience by creating related story areas with similar behavior and functionality that required considerable scripting of different fictionalized voices and multiple recordings by a handful of voice actors. The bulk of each narrative subject was delivered by disembodied voices when in the memory spaces of &ldquo;Special Treatment.&rdquo; While the memory environments become more substantial when in the act of &ldquo;replaying&rdquo; memories, the narrative voices become less clear, layered and fragmented with English overlaying German overlaying ambient sounds comprised of indistinct voices and other sounds. Without an appropriately detailed sound design this approach failed to create an understandable narrative environment composed out of fragments. Without distinct figures or icons to link with these voices, the scripted voices meant for narrative construction either overrode the visual environment or clashed with each other, causing an unbalanced focus on the audio as the user would tried to make sense of what they heard but could not see. The compromise solution of evenly mixing all sounds into a less comprehensible babble allowed the participants to pull out what they could in reference to the visual environment. This caused less of a clash between the media, but failed to provide a narrative. 

More successful was the creation of an automated narrative arc which provided a gradual entrance into the virtual environment of the camp, a rich experience during the participant&rsquo;s selfdirected exploration of the camp, and an exit from the piece consistent with the previous narrative elements but leading to a more cinematic ending. The beginning of the narrative arc was an &ldquo;idle&rdquo; state, where the environment depicted a claustrophobic ride in a noisy train car to an unknown destination. The lack of clear instruction about how to initiate the narrative sequence left many users perplexed. Some method of addressing this instruction, whether through the voice of another character on the train explaining how to trigger the start, or a more intelligent monitoring of the state of the tracking equipment will be needed for future presentations. 

The integration of instructions about how to function in the virtual environment, or the training section of the narrative experience, was more successful. At the end of the train ride the user is thrust into the camp with the opening of the car door. This similarity to the physical entrance into a virtual world (the user equipping with new controls, learning and following new rules), is turned into a method for explaining and providing practice with the standard controls and rules of a virtual environment for those users who are not familiar with them. After being confined to the train car, with no ability to control unfolding events, the train car door opens in a flash of white light and the user is asked to step out of the car. An experienced user will know what to do and will probably comply. However, if the user is a novice and fails to move, the demands to leave the train car increase in intensity, instructing them in the voice of camp guard that to move they need to point their controller-hand forward, while simultaneously pushing forward on the controller. The following sections direct the user to steer and navigate through the environment and eventually use one of the buttons on the controller to let go of their suitcase. 

While maintaining the contextual requirements of this part of the story by using the commanding voices of camp guards, the user is trained in how to use the controller by the same voices of the guards establishing the narrative setting. After the processing / training takes place, the user is instructed to pass through a gap in the fence and begin their exploration of the memory areas of the camp. Despite having dialogue, models, and ambient sounds for 9 different memories, only 5 were implemented by the time of the show. A greater breadth of experience will be possible when these remaining memory areas are placed in the environment. The remaining element of the arc was conceptualized as a total of four distinct exits from the camp; an escape, a rescue, and two mortal endings set in the burial pits and the crematorium. The only exit implemented at the time of the exhibition was the escape exit. While a single exit, in this case a selection of monologues about escaping from the camp, served passably during a two-day showing, repeated showings would require the implementation of at least one more exit. Transitions between the scripted narrative sequences of the train car ride and exits were accomplished through the use of cinematic fade to black and white to provide well understood bridges between the different environments and settings. 

Visual style was agreed upon in the earliest visual development of the piece and was maintained through the separation of tasks to keep the style consistent. Keith Miller oversaw modeling and texturing of architectural elements, and I developed a look and feel for the flora and terrain along with environmental textures (sky and lighting) for the general environment as well as specific memory transitions. One difficulty in the development of the entirety of the environment was the creation of a space, that while smaller than the actual camp, represented a very large space for a human sized participant to traverse or see across. While successful in creating a &ldquo;world&rdquo; sized space without definite boundaries, the resulting spread of memories and architecture in the camp made exploration difficult over the short tme (approximately 10 minutes) accorded a participant in a single experience of the camp. 

The final goal of &ldquo;Special Treatment&rdquo; was to provide an environment populated by memories, represented by the solidity of their respective elements and the frequency of active visitors, as well as the impact of populating the landscape with the contributed memories of previous visitors left in the form of stones. The primary characteristic of the fictionalized memories, their visual strength as represented by their degree of tansparency, was implemented technically but not to its best effect due to the two-day showing of the piece. This element of the piece was meant to have an effect while it was exhibited over the course of of a greater number of contiguous days to actively represent the weight of other&rsquo;s visits to the environment. While development of technologies to provide the needed persistence of memories, both as iconic stones and recordings was close to completion, the lack of a full implementation of the instructional audio and visual controls needed to implement this part of the concept were kept out of the show to present a clean experience. To realize &ldquo;Special Treatment&rdquo; completely the development of persistence memories and stones as described in the artist&rsquo;s statement must occur.

Publications - 2005

CoreWall: A Scalable Interactive Tool for Visual Core Description, Data Visualization, and Stratigraphic Correlation

Interactive Remote Visualization of Large High-Resolution Time-Varying Geophysical and Biological Datasets

Cue

Scalable Graphics Architecture for High-Resolution Displays

TSC-I2: A Lightweight Implementation for Precision-Augmented Timekeeping

Lambda Table: High Resolution Tiled Display Table for Interacting with Large Visualizations

Contact