An O(N) Algorithm for Three-Dimensional N-Body Simulations

We develop an algorithm that computes the gravitational potentials and forces on N point-masses interacting in three-dimensional space. The algorithm, based on analytical techniques developed by Rokhlin and Greengard, runs in order N time. In contrast to other fast N-body methods such as tree codes, which only approximate the interaction potentials and forces, this method is exact ?? computes the potentials and forces to within any prespecified tolerance up to machine precision. We present an implementation of the algorithm for a sequential machine. We numerically verify the algorithm, and compare its speed with that of an O(N2) direct force computation. We also describe a parallel version of the algorithm that runs on the Connection Machine in order 0(logN) time. We compare experimental results with those of the sequential implementation and discuss how to minimize communication overhead on the parallel machine.

Three-Dimensional Motion Estimation Using Shading Information in Multiple Frames

A new formulation for recovering the structure and motion parameters of a moving patch using both motion and shading information is presented. It is based on a new differential constraint equation (FICE) that links the spatiotemporal gradients of irradiance to the motion and structure parameters and the temporal variations of the surface shading. The FICE separates the contribution to the irradiance spatiotemporal gradients of the gradients due to texture from those due to shading and allows the FICE to be used for textured and textureless surface. The new approach, combining motion and shading information, leads directly to two different contributions: it can compensate for the effects of shading variations in recovering the shape and motion; and it can exploit the shading/illumination effects to recover motion and shape when they cannot be recovered without it. The FICE formulation is also extended to multiple frames.

Learning Three-Dimensional Shape Models for Sketch Recognition

Artifacts made by humans, such as items of furniture and houses, exhibit an enormous amount of variability in shape. In this paper, we concentrate on models of the shapes of objects that are made up of fixed collections of sub-parts whose dimensions and spatial arrangement exhibit variation. Our goals are: to learn these models from data and to use them for recognition. Our emphasis is on learning and recognition from three-dimensional data, to test the basic shape-modeling methodology. In this paper we also demonstrate how to use models learned in three dimensions for recognition of two-dimensional sketches of objects.

Enhanced Reality Visualization in a Surgical Environment

Enhanced reality visualization is the process of enhancing an image by adding to it information which is not present in the original image. A wide variety of information can be added to an image ranging from hidden lines or surfaces to textual or iconic data about a particular part of the image. Enhanced reality visualization is particularly well suited to neurosurgery. By rendering brain structures which are not visible, at the correct location in an image of a patient's head, the surgeon is essentially provided with X-ray vision. He can visualize the spatial relationship between brain structures before he performs a craniotomy and during the surgery he can see what's under the next layer before he cuts through. Given a video image of the patient and a three dimensional model of the patient's brain the problem enhanced reality visualization faces is to render the model from the correct viewpoint and overlay it on the original image. The relationship between the coordinate frames of the patient, the patient's internal anatomy scans and the image plane of the camera observing the patient must be established. This problem is closely related to the camera calibration problem. This report presents a new approach to finding this relationship and develops a system for performing enhanced reality visualization in a surgical environment. Immediately prior to surgery a few circular fiducials are placed near the surgical site. An initial registration of video and internal data is performed using a laser scanner. Following this, our method is fully automatic, runs in nearly real-time, is accurate to within a pixel, allows both patient and camera motion, automatically corrects for changes to the internal camera parameters (focal length, focus, aperture, etc.) and requires only a single image.

How are Three-Deminsional Objects Represented in the Brain?

We discuss a variety of object recognition experiments in which human subjects were presented with realistically rendered images of computer-generated three-dimensional objects, with tight control over stimulus shape, surface properties, illumination, and viewpoint, as well as subjects' prior exposure to the stimulus objects. In all experiments recognition performance was: (1) consistently viewpoint dependent; (2) only partially aided by binocular stereo and other depth information, (3) specific to viewpoints that were familiar; (4) systematically disrupted by rotation in depth more than by deforming the two-dimensional images of the stimuli. These results are consistent with recently advanced computational theories of recognition based on view interpolation.

The Perception of Subjective Surfaces

It is proposed that subjective contours are an artifact of the perception of natural three-dimensional surfaces. A recent theory of surface interpolation implies that "subjective surfaces" are constructed in the visual system by interpolation between three-dimensional values arising from interpretation of a variety of surface cues. We show that subjective surfaces can take any form, including singly and doubly curved surfaces, as well as the commonly discussed fronto-parallel planes. In addition, it is necessary in the context of computational vision to make explicit the discontinuities, both in depth and in surface orientation, in the surfaces constructed by interpolation. It is proposed that subjective surfaces and subjective contours are demonstrated. The role played by figure completion and enhanced brightness contrast in the determination of subjective surfaces is discussed. All considerations of surface perception apply equally to subjective surfaces.