A heuristic model for the simulation of the deformation of elastic and spongy material for virtual reality applications

This paper presents a practical algorithm for the simulation of interactive deformation in a 3D polygonal mesh model. The algorithm combines the conventional simulation of deformation using a spring-mass-damping model, solved by explicit numerical integration, with a set of heuristics to describe certain features of the transient behaviour, to increase the speed and stability of solution. In particular, this algorithm was designed to be used in the simulation of synthetic environments where it is necessary to model realistically, in real time, the effect on non-rigid surfaces being touched, pushed, pulled or squashed. Such objects can be solid or hollow, and have plastic, elastic or fabric-like properties. The algorithm is presented in an integrated form including collision detection and adaptive refinement so that it may be used in a self-contained way as part of a simulation loop to include human interface devices that capture data and render a realistic stereoscopic image in real time. The algorithm is designed to be used with polygonal mesh models representing complex topology, such as the human anatomy in a virtual-surgery training simulator. The paper evaluates the model behaviour qualitatively and then concludes with some examples of the use of the algorithm.

The Implications of Bach's Introduction of New Fugal Techniques and Procedures in the Well-Tempered Clavier Book Two

Among the fugues of the WTC II, there are some fugal techniques and procedures that were not explored in the first book. Here, the ‘fugal techniques’ include parallel entries (as used in the fugues in D-sharp minor, G minor and B-flat minor) and double counterpoint at the tenth or twelfth as well as fifteenth (as used in the fugues in G minor and B major). The ‘fugal procedures’, on the other hand, refer to meticulously planned multi-exposition architecture (as seen in the fugues in F-sharp minor exploiting two subsidiary subjects, and B-flat minor exploiting inversion and stretto) and a form in which the appearance of the subsidiary subject is gradually predicted in the fugal discourse (viz. C-sharp minor, G-sharp minor and B major). All these new ideas helped Bach to write more dramatic, more profound fugues for WTC II. The paper will consider how Bach came to acquire the new techniques and to use them in such ways, and what motivated him to adopt these new compositional approaches. Do they offer any clues for our better understanding of why Bach compiled the WTC II?

How smart do you need to be to get it wrong? The role of cognitive capacity in the development of heuristic-based judgment

We examined the relationship between cognitive capacity and heuristic responding on four types of reasoning and decision-making tasks. A total of 84 children, between 5 years 2 months and 11 years 7 months of age, participated in the study. There was a marked increase in heuristic responding with age that was related to increases in cognitive capacity. These findings are inconsistent with the predominant dual-process accounts of reasoning and decision making as applied to development. We offer an alternative explanation of the findings, considering them in the context of recent claims concerning the role of working memory in contextualized reasoning.