General Calculations Using Graphics Hardware, with Application to Interactive Caustics
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Overview of the SPEC Benchmarks
9 Overview of the SPEC Benchmarks Kaivalya M. Dixit IBM Corporation “The reputation of current benchmarketing claims regarding system performance is on par with the promises made by politicians during elections.” Standard Performance Evaluation Corporation (SPEC) was founded in October, 1988, by Apollo, Hewlett-Packard,MIPS Computer Systems and SUN Microsystems in cooperation with E. E. Times. SPEC is a nonprofit consortium of 22 major computer vendors whose common goals are “to provide the industry with a realistic yardstick to measure the performance of advanced computer systems” and to educate consumers about the performance of vendors’ products. SPEC creates, maintains, distributes, and endorses a standardized set of application-oriented programs to be used as benchmarks. 489 490 CHAPTER 9 Overview of the SPEC Benchmarks 9.1 Historical Perspective Traditional benchmarks have failed to characterize the system performance of modern computer systems. Some of those benchmarks measure component-level performance, and some of the measurements are routinely published as system performance. Historically, vendors have characterized the performances of their systems in a variety of confusing metrics. In part, the confusion is due to a lack of credible performance information, agreement, and leadership among competing vendors. Many vendors characterize system performance in millions of instructions per second (MIPS) and millions of floating-point operations per second (MFLOPS). All instructions, however, are not equal. Since CISC machine instructions usually accomplish a lot more than those of RISC machines, comparing the instructions of a CISC machine and a RISC machine is similar to comparing Latin and Greek. 9.1.1 Simple CPU Benchmarks Truth in benchmarking is an oxymoron because vendors use benchmarks for marketing purposes. -
Chapter 3 CSE Implementation Issues
UvA-DARE (Digital Academic Repository) Studies in Interactive Visualization van Liere, R. Publication date 2001 Link to publication Citation for published version (APA): van Liere, R. (2001). Studies in Interactive Visualization. General rights It is not permitted to download or to forward/distribute the text or part of it without the consent of the author(s) and/or copyright holder(s), other than for strictly personal, individual use, unless the work is under an open content license (like Creative Commons). Disclaimer/Complaints regulations If you believe that digital publication of certain material infringes any of your rights or (privacy) interests, please let the Library know, stating your reasons. In case of a legitimate complaint, the Library will make the material inaccessible and/or remove it from the website. Please Ask the Library: https://uba.uva.nl/en/contact, or a letter to: Library of the University of Amsterdam, Secretariat, Singel 425, 1012 WP Amsterdam, The Netherlands. You will be contacted as soon as possible. UvA-DARE is a service provided by the library of the University of Amsterdam (https://dare.uva.nl) Download date:25 Sep 2021 Chapter 3 CSE Implementation Issues An overview of the CSE architecture was presented in Chapter 2. In this chapter a more in-depth discussion on the technical issues related to the design and implementation is given. 3.1 Design 3.1.1 Data Storage and Mappings A variable managed by the blackboard consists of a name, type, value, dimensions, and user defined attributes. Data is stored in the blackboard as an n-dimensional array (where n is0, 1, 2,...) containing elements of the same scalar type (e.g., 8-bit character, 32-bit integer). -
3Dfx Oral History Panel Gordon Campbell, Scott Sellers, Ross Q. Smith, and Gary M. Tarolli
3dfx Oral History Panel Gordon Campbell, Scott Sellers, Ross Q. Smith, and Gary M. Tarolli Interviewed by: Shayne Hodge Recorded: July 29, 2013 Mountain View, California CHM Reference number: X6887.2013 © 2013 Computer History Museum 3dfx Oral History Panel Shayne Hodge: OK. My name is Shayne Hodge. This is July 29, 2013 at the afternoon in the Computer History Museum. We have with us today the founders of 3dfx, a graphics company from the 1990s of considerable influence. From left to right on the camera-- I'll let you guys introduce yourselves. Gary Tarolli: I'm Gary Tarolli. Scott Sellers: I'm Scott Sellers. Ross Smith: Ross Smith. Gordon Campbell: And Gordon Campbell. Hodge: And so why don't each of you take about a minute or two and describe your lives roughly up to the point where you need to say 3dfx to continue describing them. Tarolli: All right. Where do you want us to start? Hodge: Birth. Tarolli: Birth. Oh, born in New York, grew up in rural New York. Had a pretty uneventful childhood, but excelled at math and science. So I went to school for math at RPI [Rensselaer Polytechnic Institute] in Troy, New York. And there is where I met my first computer, a good old IBM mainframe that we were just talking about before [this taping], with punch cards. So I wrote my first computer program there and sort of fell in love with computer. So I became a computer scientist really. So I took all their computer science courses, went on to Caltech for VLSI engineering, which is where I met some people that influenced my career life afterwards. -
IRIS Performer™ Programmer's Guide
IRIS Performer™ Programmer’s Guide Document Number 007-1680-030 CONTRIBUTORS Edited by Steven Hiatt Illustrated by Dany Galgani Production by Derrald Vogt Engineering contributions by Sharon Clay, Brad Grantham, Don Hatch, Jim Helman, Michael Jones, Martin McDonald, John Rohlf, Allan Schaffer, Chris Tanner, and Jenny Zhao © Copyright 1995, Silicon Graphics, Inc.— All Rights Reserved This document contains proprietary and confidential information of Silicon Graphics, Inc. The contents of this document may not be disclosed to third parties, copied, or duplicated in any form, in whole or in part, without the prior written permission of Silicon Graphics, Inc. RESTRICTED RIGHTS LEGEND Use, duplication, or disclosure of the technical data contained in this document by the Government is subject to restrictions as set forth in subdivision (c) (1) (ii) of the Rights in Technical Data and Computer Software clause at DFARS 52.227-7013 and/ or in similar or successor clauses in the FAR, or in the DOD or NASA FAR Supplement. Unpublished rights reserved under the Copyright Laws of the United States. Contractor/manufacturer is Silicon Graphics, Inc., 2011 N. Shoreline Blvd., Mountain View, CA 94039-7311. Indigo, IRIS, OpenGL, Silicon Graphics, and the Silicon Graphics logo are registered trademarks and Crimson, Elan Graphics, Geometry Pipeline, ImageVision Library, Indigo Elan, Indigo2, Indy, IRIS GL, IRIS Graphics Library, IRIS Indigo, IRIS InSight, IRIS Inventor, IRIS Performer, IRIX, Onyx, Personal IRIS, Power Series, RealityEngine, RealityEngine2, and Showcase are trademarks of Silicon Graphics, Inc. AutoCAD is a registered trademark of Autodesk, Inc. X Window System is a trademark of Massachusetts Institute of Technology. -
Design and Speedup of an Indoor Walkthrough System
Vol.4, No. 4 (2000) THE INTERNATIONAL JOURNAL OF VIRTUAL REALITY 1 DESIGN AND SPEEDUP OF AN INDOOR WALKTHROUGH SYSTEM Bin Chan, Wenping Wang The University of Hong Kong, Hong Kong Mark Green The University of Alberta, Canada ABSTRACT This paper describes issues in designing a practical walkthrough system for indoor environments. We propose several new rendering speedup techniques implemented in our walkthrough system. Tests have been carried out to benchmark the speedup brought about by different techniques. One of these techniques, called dynamic visibility, which is an extended view frustum algorithm with object space information integrated. It proves to be more efficient than existing standard visibility preprocessing methods without using pre-computed data. 1. Introduction Architectural walkthrough models are useful in previewing a building before it is built and in directory systems that guide visitors to a particular location. Two primary problems in developing walkthrough software are modeling and a real-time display. That is, how to easily create the 3D model and how to display a complex architectural model at a real-time rate. Modeling involves the creation of a building and the placement of furniture and other decorative objects. Although most commercially available CAD software serves similar purposes, it is not flexible enough to allow us to easily create openings on walls, such as doors and windows. Since in our own input for building a walkthrough system consists of 2D floor plans, we developed a program that converts the 2D floor plans into 3D models and handles door and window openings in a semi-automatic manner. By rendering we refer to computing illumination and generating a 2D view of a 3D scene at an interactive rate. -
Digital Media: Bridges Between Data Particles and Artifacts
DIGITAL MEDIA: BRIDGES BETWEEN DATA PARTICLES AND ARTIFACTS FRANK DIETRICH NDEPETDENTCONSULTANT 3477 SOUTHCOURT PALO ALTO, CA 94306 Abstract: The field of visual communication is currently facing a period of transition to digital media. Two tracks of development can be distinguished; one utilitarian, the other artistic in scope. The first area of application pragmatically substitutes existing media with computerized simulations and adheres to standards that have evolved out of common practice . The artistic direction experimentally investigates new features inherent in computer imaging devices and exploits them for the creation of meaningful expression. The intersection of these two apparently divergent approaches is the structural foundation of all digital media. My focus will be on artistic explorations, since they more clearly reveal the relevant properties. The metaphor of a data particle is introduced to explain the general universality of digital media. The structural components of the data particle are analysed in terms of duality, discreteness and abstraction. These properties are found to have significant impact on the production process of visual information : digital media encourage interactive use, integrate, different classes of symbolic representation, and facilitate intelligent image generation. Keywords: computerized media, computer graphics, computer art, digital aesthetics, symbolic representation. Draft of an invited paper for VISUAL COMPUTER The International Journal of Comuter Graphics to be published summer 1986. digital media 0 0. INTRODUCTION Within the last two decades we have witnessed a substantial increase in both quantity and quality of computer generated imagery. The work of a small community of pioneering engineers, scientists and artists started in a few scattered laboratories 20 years ago but today reaches a prime time television audience and plays an integral part in the ongoing diffusion of computer technology into offices and homes. -
Quality Planning for Distributed Collaborative Multimedia Applications
Quality Planning for Distributed Collab orative Multimedia Applications PhD Thesis Mark Claypool Advisor John Riedl University of Minnesota Computer Science Department September Acknowledgements There are many p eople who have help ed me in this work either directly by adding their work to mine or indirectly by giving me vision and supp ort However ab ove all there are two p eople who deserve my deep est gratitude Professor John Riedl and my wife Ka jal As my advisor John has contributed to all levels of this thesis from guidance on writing C co de and English grammar rules to exp erimental design and data analysis to a rich exciting vision of computer science research Most imp ortantly he has provided motivation to p ersevere through the slow dicult parts of research motivation to pursue research problems that make a dierence in the world and motivation to pursue a career as a professor myself I hop e to emulate much of Johns style when I advise my future graduate students Equally imp ortant Ka jal has b een a pillar of strength and supp ort She has b een understanding of the uctuations in the demands on the time of a graduate student She has b een patient through the many years she worked to supp ort us while I was still in school working on this thesis She has b een inspirational when I was down ab out progress or down ab out some exp eriment results And her technical knowledge has provided me with nudges in the right direction when my research lacked fo cus I hop e I can b e as supp ortive of her during her PhD quest as she was -
Proceedings of the Third Phantom Users Group Workshop
_ ____~ ~----- The Artificial Intelligence Laboratory and The Research Laboratory of Electronics at the Massachusetts Institute of Technology Cambridge, Massachusetts 02139 Proceedings of the Third PHANToM Users Group Workshop Edited by: Dr. J. Kenneth Salisbury and Dr. Mandayam A.Srinivasan A.I. Technical Report No.1643 R.L.E. Technical Report No.624 December, 1998 Massachusetts Institute of Technology ---^ILUY((*4·U*____II· IU· Proceedings of the Third PHANToM Users Group Workshop October 3-6, 1998 Endicott House, Dedham MA Massachusetts Institute of Technology, Cambridge, MA Hosted by Dr. J. Kenneth Salisbury, AI Lab & Dept of ME, MIT Dr. Mandayam A. Srinivasan, RLE & Dept of ME, MIT Sponsored by SensAble Technologies, Inc., Cambridge, MA I - -C - I·------- - -- -1 - - - ---- Haptic Rendering of Volumetric Soft-Bodies Objects Jon Burgin, Ph.D On Board Software Inc. Bryan Stephens, Farida Vahora, Bharti Temkin, Ph.D, William Marcy, Ph.D Texas Tech University Dept. of Computer Science, Lubbock, TX 79409, (806-742-3527), [email protected] Paul J. Gorman, MD, Thomas M. Krummel, MD, Dept. of Surgery, Penn State Geisinger Health System Introduction The interfacing of force-feedback devices to computers adds touchability in computer interactions, called computer haptics. Collision detection of virtual objects with the haptic interface device and determining and displaying appropriate force feedback to the user via the haptic interface device are two of the major components of haptic rendering. Most of the data structures and algorithms applied to haptic rendering have been adopted from non-pliable surface-based graphic systems, which is not always appropriate because of the different characteristics required to render haptic systems. -
Chris Trendall
Chris Trendall A thesis submitted in conformity with the requirements for the degree of Master of Science Graduate Department of Computer Science University of Toronto Copyright @ 2000 by Chris Trendall National Library Bibliotheque nationale 191 ,cana, du Canada Acquisitions and Acquisitions et Bibtiographic Services services bibliographiques 395 Wellington Street 395. rue Wdlingtm OttawaON KlAW OitewaON K1AW CaMda Canada The author has granted a non- L'auteur a accordé une licence non exclusive Licence allowing the exclusive permettant à la National Library of Canada to Bibliothèque nationale du Canada de reproduce, loan, dismbute or seii reproduire, prêter, distribuer ou copies of this thesis in microfonn, vendre des copies de cette thèse sous paper or electronic formats. la forme de microfiche/nlm, de reproduction sur papier ou sur format électronique. The author retains ownership of the L'auteur conserve la propriété du copyright in this thesis. Neither the droit d'auteur qui protège cette thèse. thesis nor substantial extracts fkom it Ni la thèse ni des extraits substantiels may be printed or otherwise de celle-ci ne doivent être imprimés reproduced without the author's ou autrement reproduits sans son permission. autorisation. Abstract Ray Tracing Refraction in Hardware Chris Trendall Master of Science Graduate Department of Computer Science University of Toronto 2000 Graphics hardware has begun to e-xhibit more general mathematical functionality, sug- gesting that a wider range of mathematical operations can be implemented in hardware. In order to explore what can and cannot be implemented in current hardware and to study necessary hardware functionality for even more general calculations, single inter- action ray - tracing is studied. -
Fast Shadows and Lighting Effects Using Texture Mapping
Computer Graphics, 26,2, July 1992 ? Fast Shadows and Lighting Effects Using Texture Mapping Mark Segal Carl Korobkin Rolf van Widenfelt Jim Foran Paul Haeberli Silicon Graphics Computer Systems* Abstract u Generating images of texture mapped geometry requires projecting surfaces onto a two-dimensional screen. If this projection involves perspective, then a division must be performed at each pixel of the projected surface in order to correctly calculate texture map coordinates. We show how a simple extension to perspective-comect texture mapping can be used to create various lighting effects, These in- clude arbitrary projection of two-dimensional images onto geom- etry, realistic spotlights, and generation of shadows using shadow maps[ 10]. These effects are obtained in real time using hardware that performs correct texture mapping. CR Categories and Subject Descriptors: 1.3.3 [Computer Li&t v Wm&irrt Graphics]: Picture/Image Generation; 1.3,7 [Computer Graph- Figure 1. Viewing a projected texture. ics]: Three-Dimensional Graphics and Realism - colot shading, shadowing, and texture Additional Key Words and Phrases: lighting, texturemapping that can lead to objectionable effects such as texture “swimming” during scene animation[5]. Correct interpolation of texture coor- 1 Introduction dinates requires each to be divided by a common denominator for each pixel of a projected texture mapped polygon[6]. Producing an image of a three-dimensional scene requires finding We examine the general situation in which a texture is mapped the projection of that scene onto a two-dimensional screen, In the onto a surface via a projection, after which the surface is projected case of a scene consisting of texture mapped surfaces, this involves onto a two dimensional viewing screen. -
Simulation of Turbulent Flow in Computer Graphics: Applications
Simulation of Turbulent Flow in Computer Graphics: Applications and Optimizations Ian Buck Princeton University, Department of Computer Science Indep endent Work for COS 397 Advisor : Perry R. Co ok www.cs.princeton.edu/~ ianbuck/turbulent January 5, 1998 Abstract The basis for the rst part of this work was to explore what is involved in simulating turbulent ow using an already existing mathematical mo del. This includes implementing a complete optimized C version of the mo del and simulating owmodelssuch as acoustical instruments. The second part of this work explores alternative metho ds of calculation for ow simulation using the graphics hardware as a mathematical engine. We present a few di erent metho ds to use the accelerated framebu er to p erform some of the calculations required in ow simulation. Part I Simulating Turbulent Flow 1 Intro duction Research in application of uid ow simulation has been an active topic in computer graphics for over a decade. Such visual e ects as simulated smoke, re, and liquids are all typically based on top of a mathematical mo del which graphics researchers have b een trying to improve through to day. There have been endless pap ers published in the ACM SIGGRAPH pro ceedings in '97, '95, '93, '91, '90, and continuing back through '86 with a pap er dedicated to how the swirling atmosphere of Jupiter was simulated for the movie \2010" (Yeager et al, 1986). The primary diculty in creating such visually stimulating e ects, suchas simple candle smoke isthatanintensive computational simulation is required. To provide results which app ear accurate, such calculations can b e extensive and quite slow. -
História, Vývoj a Praktické Uplatnenie Vizuálnych Efektov V Súčastnosti
VYSOKÁ ŠKOLA MÚZICKÝCH UMENÍ FILMOVÁ A TELEVÍZNA FAKULTA Ateliér vizuálnych efektov História, vývoj a praktické uplatnenie vizuálnych efektov v súčastnosti. BAKALÁRSKA PRÁCA Vypracoval: Jozef Janík Vedúci práce: Mgr. Art. Marián Villaris Bratislava 2015 VYSOKÁ ŠKOLA MÚZICKÝCH UMENÍ FILMOVÁ A TELEVÍZNA FAKULTA Ateliér vizuálnych efektov História, vývoj a praktické uplatnenie vizuálnych efektov v súčastnosti. BAKALÁRSKA PRÁCA Ateliér vizuálnych efektov Školiteľ: Konzultant: V Bratislave 01. 01. 2015 Jozef Janík Čestné prehlásenie: Prehlasujem, že som túto bakalársku prácu vypracoval samostatne a že som uviedol všetky informačné zdroje. V Bratislave dňa 01.01. 2015 ...................................... Jozef Janík Poďakovanie: Touto cestou vyslovujem poďakovanie pánovi Mgr. Art. Mariánovi Villarisovi za pomoc, odborné vedenie, cenné rady a pripomienky pri vypracovaní mojej bakalárskej práce. V Bratislave dňa............................... ........................................ podpis študenta VYSOKÁ ŠKOLA MÚZICKÝCH UMENÍ, FILMOVÁ A TELEVÍZNA FAKULTA, ATELIÉR VIZUÁLNYCH EFEKTOV ABSTRAKT JANÍK, Jozef: História, vývoj a praktické uplatnenie vizuálnych efektov v súčastnosti. [Bakalárska práca]. – Vysoká škola múzických umení. Filmová a televízna fakulta. Ateliér vizuálnych efek- tov. Vedúci práce: Mgr. art. Marian Villaris. Oponent: Ing. Ladislav Dedík. Vysoká škola múzických umení. 2015. Počet strán: 32. Bakalárska práca sa venuje histórii a vývoju vizuálnych efektov v minulosti a porovnáva ich s postupmi, ktoré sa používajú v súčasnosti.