Surface Reconstruction from Multiple Views using Rational B-Splines and Knot Insertion

A method for reconstruction of 3D rational B-spline surfaces from multiple views is proposed. Given corresponding features in multiple views, though not necessarily visible in all views, the surface is reconstructed. First 2D B-spline patches are fitted to each view. The 3D B-splines and projection matricies can then be extracted from the 2D B-splines using factorization methods. The surface fit is then further refined via an iterative procedure. Finally, a hierarchal fitting scheme is proposed to allow modeling of complex surfaces by means of knot insertion. Experiments with real imagery demonstrate the efficacy of the approach.

Assessing the Security of a Clean-Slate Internet Architecture

The TCP/IP architecture was originally designed without taking security measures into consideration. Over the years, it has been subjected to many attacks, which has led to many patches to counter them. Our investigations into the fundamental principles of networking have shown that carefully following an abstract model of Interprocess Communication (IPC) addresses many problems [1]. Guided by this IPC principle, we designed a clean-slate Recursive INternet Architecture (RINA) [2]. In this paper, we show how, without the aid of cryptographic techniques, the bare-bones architecture of RINA can resist most of the security attacks faced by TCP/IP. We also show how hard it is for an intruder to compromise RINA. Then, we show how RINA inherently supports security policies in a more manageable, on-demand basis, in contrast to the rigid, piecemeal approach of TCP/IP.

Non-Rigid Shape from Image Streams

We present a framework for estimating 3D relative structure (shape) and motion given objects undergoing nonrigid deformation as observed from a fixed camera, under perspective projection. Deforming surfaces are approximated as piece-wise planar, and piece-wise rigid. Robust registration methods allow tracking of corresponding image patches from view to view and recovery of 3D shape despite occlusions, discontinuities, and varying illumination conditions. Many relatively small planar/rigid image patch trackers are scattered throughout the image; resulting estimates of structure and motion at each patch are combined over local neighborhoods via an oriented particle systems formulation. Preliminary experiments have been conducted on real image sequences of deforming objects and on synthetic sequences where ground truth is known.

Laminar Cortical Dynamics of 3D Surface Perception: Stratification, transparency, and Neon Color Spreading

How does the laminar organization of cortical circuitry in areas VI and V2 give rise to 3D percepts of stratification, transparency, and neon color spreading in response to 2D pictures and 3D scenes? Psychophysical experiments have shown that such 3D percepts are sensitive to whether contiguous image regions have the same relative contrast polarity (dark-light or lightdark), yet long-range perceptual grouping is known to pool over opposite contrast polarities. The ocularity of contiguous regions is also critical for neon color spreading: Having different ocularity despite the contrast relationship that favors neon spreading blocks the spread. In addition, half visible points in a stereogram can induce near-depth transparency if the contrast relationship favors transparency in the half visible areas. It thus seems critical to have the whole contrast relationship in a monocular configuration, since splitting it between two stereogram images cancels the effect. What adaptive functions of perceptual grouping enable it to both preserve sensitivity to monocular contrast and also to pool over opposite contrasts? Aspects of cortical development, grouping, attention, perceptual learning, stereopsis and 3D planar surface perception have previously been analyzed using a 3D LAMINART model of cortical areas VI, V2, and V4. The present work consistently extends this model to show how like-polarity competition between VI simple cells in layer 4 may be combined with other LAMINART grouping mechanisms, such as cooperative pooling of opposite polarities at layer 2/3 complex cells. The model also explains how the Metelli Rules can lead to transparent percepts, how bistable transparency percepts can arise in which either surface can be perceived as transparent, and how such a transparency reversal can be facilitated by an attention shift. The like-polarity inhibition prediction is consistent with lateral masking experiments in which two f1anking Gabor patches with the same contrast polarity as the target increase the target detection threshold when they approach the target. It is also consistent with LAMINART simulations of cortical development. Other model explanations and testable predictions will also be presented.

The Art of Seeing and Painting

The human urge to represent the three-dimensional world using two-dimensional pictorial representations dates back at least to Paleolithic times. Artists from ancient to modern times have struggled to understand how a few contours or color patches on a flat surface can induce mental representations of a three-dimensional scene. This article summarizes some of the recent breakthroughs in scientifically understanding how the brain sees that shed light on these struggles. These breakthroughs illustrate how various artists have intuitively understand paradoxical properties about how the brain sees, and have used that understanding to create great art. These paradoxical properties arise from how the brain forms the units of conscious visual perception; namely, representations of three-dimensional boundaries and surfaces. Boundaries and surfaces are computed in parallel cortical processing streams that obey computationally complementary properties. These streams interact at multiple levels to overcome their complementary weaknesses and to transform their complementary properties into consistent percepts. The article describes how properties of complementary consistency have guided the creation of many great works of art.