The Flare API server in implemented in Node.js using JavaScript. It uses the MongoDB database.
The source code is available as a download, so you can run it yourself.
You have several options for running the server:
See the Readme file for instructions on downloading the necessary software and running the server. Regardless of where you choose to install it, you have the option of installing it directly or running it in a virtual machine using Vagrant.
The Flare API server serves its own documentation. For example, if you have the server running on localhost using port 1234, you can point your browser to http://localhost:1234 to see an outline of all documentation and other resources.
While you can browse the documentation on DevNet or by opening the HTML files directly in your browser, note that some of the documentation is dynamic and needs to be able to connect to the server to work properly. For example, when you use the REST API Console and the Socket.IO API console, you can call APIs and see the results in realtime.
To get started with your own instance of the server, you'll need to add some data to the database by creating some environment, zone, thing, and device objects. You can do this in several ways.
You can load some sample data from a JSON file. See the file model.json for an example of the data format. To load the data into the database, you can use this command:
node import.js model.json
If you have exported some data from a previous installation using MongoDB, you can use mongoimport.
You can call the API directly using curl or poster. For example, here's a command to create a device:
curl --data "{\"data\":{\"color\":\"red\"},\"description\": \"iPhone 6 (32 GB)\",\"name\": \"My iPhone\",\"position\": {\"x\": 3,\"y\": 1}}" -H "Content-Type: application/json" http://localhost:1234/devices
You can use the REST API Console to create objects using POST requests.
You can use the Explorer app for Mac, which is part of the sample code, to create objects using a graphical interface.
You can write a script to get data out of your own enterprise database and add it to Flare.
Flare currently supports two kinds of indoor location technologies, beacons and CMX.
Beacons are tiny devices that transmit a signal over Bluetooth at regular intervals. A device can measure the signal strength of three or more beacons at known locations to determine its own location. The device can then send its location to the Flare server, which can then push the location to other things.
The Flare sample code for iOS uses Apple's iBeacon standard, while the sample code for Android uses Radius Networks' AltBeacon standard. We recommend beacons from Radius Networks as they are compatible with both standards. See the beacons documentation for more information on purchasing and setting up hardware.
CMX (Connected Mobile Experience) is a Cisco platform that uses Wi-Fi access points to detect the location of user devices connected to the network. The location information can be transmitted from the CMX server to the Flare server, and then pushed to devices and things.
A CMX installation requires a controller module and three or more access points. See the CMX documentation for more information on purchasing and setting up hardware, and the CMX DevNet site for developer resources.
Several kinds of clients can talk to the Flare server.
Users can run apps on their personal devices, including tablets, mobile phones and smart watches. The Flare server can track the location of these devices for enhanced interactions as users move around in a space.
Things can run web or native apps that drive interactive displays. For example, when a user walks up to a display, it could greet them with a message and then allow them to control the display from their device.
Connected things can be controlled by small scripts that connect to the thing over a proprietary interface.
Administrators can run web and native apps for creating, browsing and updating data on the server.
Data can be imported into Flare from an enterprise database, either on a one-time or ongoing basis, using an import script written in the language of your choice.
Monitoring scripts can subscribe to receive notifications for logging and analytics purposes.
Sample code is available for the following platforms:


Thanks for the quick reply Albatross,
English is not my native language,so I may have used a wrong word as "to be forced".What I mean is,in many replies (this forum and others) I see something like "get rid of DevC++ (and wxdevc++,too)".Thats why Im looking for a way to switch to Code::Blocks.
I have just finished the document you suggested,and learnt some basics about code::blocks.
Now , can you suggest a beginner document for using wxwidgets with C::B ?
I think wxSmith is for this purpose.
Those with slow connects trying to download Code::Blocks for Windows; I suggest using the sourceforge site and a download manager like getright http://getright.com/.
I would like to also add another good IDE to the list as an alternative to DevC++
Nokia's QT Creator is an excellent alternative as well. Although it is specifically aimed at creating QT applications, it works with MinGW and you can very easily set it up to compile any kind of C++ project given that your libs are correctly linked and your dependencies are satisfied (as with any IDE). When installing on Windows, it sets everything up automatically for you (including the compilers you need).
I use Visual Studio on Windows, but on Ubuntu I use QT Creator because it is a very user-friendly IDE and it has just about everything a C++ dev needs.
Using a basic text editor and terminal is not too hard if you use a program such as 'make' to automatically recompile and link edited files. A shell or batch script works too, but with make many file projects will build faster and you can have more control over the executable(release, test, package files up, etc).
Learning make's syntax is slightly tricky, writing only a simple makefile is quite quick (plenty of resources on google).
Even making a makefile for a more complex library isn't that bad, as long as you remember to update it with your project so you don't end up behind on work. ;)
Chucking in my own views on makefiles, at work I have a makefile that has evolved into understanding the differences between library and executable, release and various levels of debug, and a few other bits and pieces.
The convenience of being able to skip between library/executable/debug1/debug2/release etc is as easy as:
make sample
make sample debug
make sample debug2
make sample library-debug
make sample library-release
and various others. One line to type, and the relevant version gets built, copied into the right place dependent on which version it is, libraries dumped into the directories as needed for test-running and that sort of thing.
When I use an IDE now and have to go through a few menus to change settings, even though is only takes 30 seconds in a compile cycle than might last three or four minutes, I still find myself getting angry with the delay. I know what I want to do, I want to just type it!
At one point I set up a system wherein I had a Templates folder, Source folder, Objects folder and Binary folder, all within my Projects folder. I then wrote a Makefile that could add new projects (make a directory in each folder (except Templates), copy a template Makefile (either Template/Makefile.library or Template/Makefile.program), README file, COPYING file (license specified on the command-line) and Doxyfile. Then it would copy the name of the project into each file (to replace something like "$PROJECT"; I used shell scripts for this part)), compile, build, "release" (create a zipped archive of the entire project; could be bzip2, gzip or lzma), release-source (archive source only), release-bin (archive binaries only), install, clean (remove object files) and "ocdily-clean" (remove everything except the source files, README files, etc.).
I quickly got rid of it because I liked having a different directory structure for each project and because I thought it would make programming with other people or working on other people's projects difficult. I'm thinking of going back to it, and then either writing a script to convert the directory structure of other people's projects to my own (edit: and vice versa), or (more likely) having a separate directory for non-conformant projects.
Huh? Doesn't the IDE you use support multiple build targets? (ehh, and most IDE's support makefiles anyways).
Well no - I don't use one. However, the last time I did use one, it did, and I found it not as easy and convenient as makefiles. It's too slow and painful to set them all up, compared to a makefile. Also, I find that when I'm in a deep code cycle, with various terminals open, once I've done a few iterations, all the commands are stacked in the terminal history and a complete set of everything involves pressing (for example) [UP-ARROW UP-ARROW UP-ARROW, ENTER] three times in the space of a three seconds,and then leaving it to get on with things. These thigns can be automated in an IDE, but compared to automating it with makefiles it's like wading through syrup.
Also, there are a lot of things the IDE still struggles to do for me; the makefile can trigger bash scripts (or indeed, be triggered by bash scripts); also, the chaining of makefiles across projects is lovely (I commonly use it to rebuild libraries I'm not even working on at the time, so I can drag in latest versions of various other things - having to open a half-dozen projects on an IDE to do that really gets to me - even though it would just take a couple of minutes to do each one, knowing I could do it all in seconds with a few typed commands makes doing it by IDE really irritating). Obviously these things don't annoy others as much, hence other people using IDEs. It's all personal preference.
Also, the makefile is fabulously portable and cross-platform; everything I build at work these days is cross-platform, and plain text makefiles have proven themselves to really be the most cross-platform option we could find.


| Total | Coverage | Lines | Executed | Missing |
|---|---|---|---|---|
| All Files |
|
{{totalLinesNumber}} | {{totalLinesExecuted}} | {{totalLinesNotCovered}} |
| {{currentDate}} |
| File | Coverage | Lines | Executed | Missing |
|---|---|---|---|---|
| {{filename}} |
|
{{linesNumber}} | {{linesExecuted}} | {{linesNotCovered}} |


Access keys
{{key_name}}
Access Key
Manage settings of access key {{key_name}}
General Settings
Key Name
A unique key name that also forms the user login ID for all requestes authenticated by this key
Description
A brief description of this access key, which ideally explains why this access key was issued.
Methods
Restrict access to certain HTTP methods.
Access is granted for all HTTP methods by default,
if not HTTP method restriction was selected when the access key has been issued.
HTTP GET
Access key allows to read existing resources
HTTP PUT
Access key allows to store resources
HTTP POST
Access key allows to invoke operations on existing resources
HTTP DELTE
Access key allows to remove existing resources
Paths
Restrict access to certain resource types.
Access is granted for all resource types by default,
if no resource restriction was selected when the access key has been issued.
Images
Access key allows to access image resources located under /api/v1/images
Pods
Access key allows to access pod resources located under /api/v1/pods
Elements
Access key allows to access element resources located under /api/v1/elements
Jobs
Access key allows to access job resources located under /api/v1/jobs
Metrics
Access key allows to access metric resources located under /api/v1/metrics
Users
Access key allows to access user resources located under /api/v1/users
Access Keys
Access key allows to access access key resources located under /api/v1/accesskeys
Save settings
Revoke access key


source: github.com/anyaevostinar/SymbulationEmp Symbulation is a research platform for simulating the evolution of symbionts and hosts, give it a try!


Page maintained by Ke-Sen Huang.
If you have additions or changes, send an e-mail.
Information here is provided with the permission of the ACM.
Note that when possible I link to the page containing the link to the actual PDF or PS of the preprint.
I prefer this as it gives some context to the paper and avoids possible copyright problems with direct linking.
Thus you may need to search on the page to find the actual document.
ACM Digital Library:ACM Transactions on Graphics (TOG) Volume 34, Issue 6 (December 2015) Proceedings of ACM SIGGRAPH Asia 2015
ACM Digital Library (DOI) Link for the paper
Paper Abstract
Author Preprint
Paper Video
Paper Presentation
Paper Images
Paper Data
Demo Program or Source Code
Related Links
Changelog
Geometry Processing
- Nested Cages
-
Leonardo Sacht
(Universidade Federal de Santa Catarina),
Etienne Vouga
(University of Texas at Austin),
Alec Jacobson
(Columbia University)
- Generalized Cylinder Decomposition
-
Yang Zhou,
Kangxue Yin,
Hui Huang
(VisuCA/SIAT),
Hao Zhang
(Simon Fraser University),
Minglun Gong
(Memorial University),
Daniel Cohen-Or
(Tel Aviv University)
- Polyhedral Patterns
-
Caigui Jiang*,
Cheng Cheng Tang*
(King Abdullah University of Science and Technology),
Amir Vaxman
(Vienna University of Technology),
Peter Wonka+
(Arizona State University),
Helmut Pottmann+
(King Abdullah University of Science and Technology and TU Wien)
*joint first authors
+joint last authors
- Rolling Guidance Normal Filter For Geometric Processing
-
Peng-Shuai Wang
(Tsinghua University, Beijing),
Xiao-Ming Fu
(University of Science and Technology of China),
Yang Liu
Xin Tong,
Shi-Lin Liu
(Microsoft Research Asia),
Baining Guo
(Microsoft Research Asia and University of Science and Technology of China)
- Efficient Construction and Simplification of Delaunay Meshes
-
Yong-Jin Liu,
Chun-Xu Xu,
Dian Fan
(Tsinghua University, Beijing),
Ying He
(Nanyang Technological University, Singapore)
Color and Sketching
- Adaptive Color Display via Perceptually-driven Factored Spectral Projection
-
Isaac Kauvar
Samuel J. Yang,
Liang Shi,
(Stanford University),
Ian McDowall
(Intuitive Surgical / Fakespace Labs),
Gordon Wetzstein
(Stanford University)
- A Model of Local Adaptation
-
Peter Vangorp
(Bangor University and MPI Informatik),
Karol Myszkowski
(MPI Informatik),
Erich W. Graf
(University of Southampton),
Rafał K. Mantiuk
(Bangor University and University of Cambridge)
- Color changing effects with anisotropic halftone prints on metal
-
Petar Pjanic,
Roger D. Hersch
(EPFL)
- Closure-Aware Sketch Simplification
-
Xueting Liu,
Tien-Tsin Wong,
Pheng-Ann Heng
(The Chinese University of Hong Kong)
- Autocomplete Hand-Drawn Animations
-
Jun Xing,
Li-Yi Wei
(University of Hong Kong),
Takaaki Shiratori
(Microsoft Research Asia),
Koji Yatani
(The University of Tokyo)
Faces and Characters
- Push-Recovery Stability of Biped Locomotion
-
Yoonsang Lee
(Samsung Electronics Co., Ltd.),
Kyungho Lee
(Seoul National University),
Soon-Sun Kwon
(Ajou University),
Jiwon Jeong
(Samsung Electronics Co., Ltd.),
Carol Oˇ¦Sullivan
(Disney Research),
Moon Seok Park
(Seoul National University Bundang Hospital),
Jehee Lee
(Seoul National University)
- Generalizing Wave Gestures from Sparse Examples for Real-time Character Control
-
Helge Rhodin
(MPI fur Informatik),
James Tompkin
(Harvard Paulson SEAS),
Kwang In Kim
(Lancaster University),
Edilson de Aguiar
(Federal University of Espirito Santo),
Hanspeter Pfister
(Harvard Paulson SEAS),
Hans-Peter Seidel,
Christian Theobalt
(MPI fur Informatik)
- Video-Audio Driven Real-Time Facial Animation
-
Yilong Liu,
Feng Xu
(Tsinghua University, Beijing),
Jinxiang Chai
(Texas A&M University),
Xin Tong
(Microsoft Research Asia)
Lijuan Wang,
Qiang Huo
(Microsoft Research Asia)
- Real-time Expression Transfer for Facial Reenactment
-
Justus Thies
(University of Erlangen-Nuremberg),
Michael Zollhofer
(Max Planck Institute for Informatics),
Matthias Niesner
(Stanford University),
Levi Valgaerts
(Max Planck Institute for Informatics),
Marc Stamminger
(University of Erlangen-Nuremberg),
Christian Theobalt
(Max Planck Institute for Informatics)
- To Stylize or not to Stylize? The Effect of Shape and Material Stylization on the Perception of Computer-Generated Faces
-
Eduard Zell,
Carlos Aliaga,
Adrian Jarabo
Katja Zibrek,
Diego Gutierrez
(University of Zaragoza),
Rachel McDonnell
(Trinity College Dublin),
Mario Botsch
(Bielefeld University)
3D Scanning
- Data-Driven Structural Priors for Shape Completion
-
Minhyuk Sung,
Vladimir G. Kim,
Roland Angst,
Leonidas Guibas
(Stanford University)
- Deep Points Consolidation
-
Shihao Wu
(University of Bern),
Hui Huang
(VisuCA/SIAT),
Minglun Gong
(Memorial University),
Matthias Zwicker
(University of Bern),
Daniel Cohen-Or
(Tel Aviv University)
- Autoscanning for Coupled Scene Reconstruction and Proactive Object Analysis
-
Kai Xu
(VisuCA/SIAT and National University of Defense Technology),
Hui Huang
(VisuCA/SIAT),
Yifei Shi
(National University of Defense Technology),
Hao Li
(Shandong University),
Pinxin Long
(VisuCA/SIAT),
Jianong Caichen
(National University of Defense Technology and VisuCA/SIAT),
Wei Sun
(VisuCA/SIAT),
Baoquan Chen
(Shandong University)
- Unsynchronized structured light
-
Daniel Moreno,
Fatih Calakli,
Gabriel Taubin
(Brown University)
- Activity-centric Scene Synthesis for Functional 3D Scene Modeling
-
Matthew Fisher,
Manolis Savva,
Yangyan Li,
Pat Hanrahan,
Matthias Niesner
(Stanford University)
Illumination and Real-Time
- Physically-Accurate Fur Reflectance: Modeling, Measurement and Rendering
-
Ling-Qi Yan
(University of California at Berkeley),
Chi-Wei Tseng,
Henrik Wann Jensen,
Ravi Ramamoorthi
(University of California, San Diego)
- On Optimal, Minimal BRDF Sampling for Reflectance Acquisition
-
Jannik Boll Nielsen
(Technical University of Denmark),
Henrik Wann Jensen,
Ravi Ramamoorthi
(University of California, San Diego)
- Efficient and Accurate Spherical Kernel Integrals using Isotropic Decomposition
(TOG Paper)
-
Cyril Soler,
Mahdi Bagher
(Inria),
Derek Nowrouzezahrai
(Universite de Montreal, Canada)
- A System for Rapid, Automatic Shader Level-of-Detail
-
Yong He
(Carnegie Mellon University),
Tim Foley
(NVIDIA Corporation),
Natalya Tatarchuk
(Bungie),
Kayvon Fatahalian
(Carnegie Mellon University)
- Masked Depth Culling for Graphics Hardware
-
Magnus Andersson
(Lund University and Intel Corporation),
Jon Hasselgren
(Intel Corporation),
Tomas Akenine-Moller
(Lund University and Intel Corporation)
Mappings and Parameterizations
- Instant Field-Aligned Meshes
-
Wenzel Jakob,
Daniele Panozzo
(ETH Zurich),
Marco Tarini
(Universita dell'Insubria, Varese),
Olga Sorkine-Hornung
(ETH Zurich)
- Orbifold Tutte Embeddings
-
Noam Aigerman,
Yaron Lipman
(Weizmann Institute of Science)
- Large-Scale Bounded Distortion Mappings
-
Shahar Kovalsky,
Noam Aigerman,
Ronen Basri,
Yaron Lipman
(Weizmann Institute of Science)
- Quantized Global Parametrization
-
Marcel Campen,
David Bommes,
Leif Kobbelt
(RWTH Aachen University)
- Spherical Fibonacci Mapping
-
Benjamin Keinert,
Matthias Innmann
(University of Erlangen-Nuremberg),
Michael Sanger
(hypnolords GbR),
Marc Stamminger
(University of Erlangen-Nuremberg)
Video Processing
- Video Diff: Highlighting Differences Between Similar Actions In Videos
-
Guha Balakrishnan,
Fredo Durand,
John Guttag
(MIT CSAIL)
- JumpCut: Non-Successive Mask Transfer and Interpolation for Video Cutout
-
Qingnan Fan,
Fan Zhong
(Shandong University),
Dani Lischinski
(The Hebrew University of Jerusalem),
Daniel Cohen-Or
(Tel Aviv University),
Baoquan Chen
(Shandong University)
- Blind Video Temporal Consistency
-
Nicolas Bonneel
(CNRS),
James Tompkin
(Harvard University),
Kalyan Sunkavalli
(Adobe Research),
Deqing Sun
(Harvard University),
Sylvain Paris
(Adobe Research),
Hanspeter Pfister
(Harvard University)
- Fast Computation of Seamless Video Loops
-
Jing Liao
(Hong Kong University of Science and Technology),
Mark Finch,
Hugues Hoppe
(Microsoft Research),
- Real-time noise-aware tone mapping
-
Gabriel Eilertsen
(Linkoping University, Sweden),
Rafal K. Mantiuk
(Bangor University, UK and University of Cambridge, UK),
Jonas Unger
(Linkoping University, Sweden)
Particle Fluids
- Continuum Foam: A Material Point Method for Shear-Dependent Flows
(TOG Paper)
-
Yonghao Yue,
Breannan Smith
(Columbia University),
Christopher Batty
(University of Waterloo),
Changxi Zheng,
Eitan Grinspun
(Columbia University)
- Data-driven Fluid Simulations using Regression Forests
-
Lubor Ladicky,
SoHyeon Jeong,
Barbara Solenthaler,
Marc Pollefeys
Markus Gross
(ETH Zurich)
- Wetbrush: GPU-based 3D painting simulation at the bristle level
-
Zhili Chen,
(Ohio State University),
Byungmoon Kim,
Daichi Ito
(Adobe Research),
Huamin Wang
(Ohio State University)
- Fast Multiple-fluid Simulation Using Helmholtz Free Energy
-
Tao Yang
(Tsinghua University, Beijing),
Jian Chang
(Bournemouth University),
Bo Ren
(Nankai University),
Ming C. Lin
(Tsinghua University, Beijing and University of North Carolina at Chapel Hill),
Jian Jun Zhang
(Bournemouth University),
Shi-Min Hu
(Tsinghua University, Beijing)
- Surface Turbulence for Particle-Based Liquid Simulations
-
Olivier Mercier,
Cynthia Beauchemin
(Universite de Montreal, Canada),
Nils Thuerey
(TU Munich),
Theodore Kim
(University of California, Santa Barbara),
Derek Nowrouzezahrai
(Universite de Montreal, Canada)
Modelling and More
- Garment Modeling with a Depth Camera
-
Xiaowu Chen,
Bin Zhou,
Feixiang Lu,
Lin Wang,
Lang Bi
(Beihang University),
Ping Tan
(Simon Fraser University)
- High-Quality Hair Modeling from a Single Portrait Photo
-
Menglei Chai
(Zhejiang University),
Linjie Luo,
Kalyan Sunkavalli,
Nathan Carr,
Sunil Hadap
(Adobe Research),
Kun Zhou
(Zhejiang University)
- MeshHisto: Collaborative Modeling by Sharing and Retargeting Editing Histories
-
Gabriele Salvati,
Christian Santoni,
Valentina Tibaldo,
Fabio Pellacini
(Sapienza University of Rome)
- Interactive Design of Probability Density Functions for Shape Grammars
-
Minh Dang,
Stefan Lienhard,
Duygu Ceylan
Boris Neubert,
Mark Pauly
(EPFL),
Peter Wonka
(Arizona State University)
- AniMesh: Interleaved Animation, Modeling, and Editing
-
Ming Jin,
Dan Gopstein
(NYU Polytechnic School of Engineering),
Yotam Gingold
(George Mason University),
Andy Nealen
(NYU Polytechnic School of Engineering)
Sampling and Light Transport
- Unbiased photon gathering for light transport simulation
-
Hao Qin
(Zhejiang University),
Xin Sun
(Microsoft Research Asia),
Qiming Hou
(Zhejiang University),
Baining Guo
(Microsoft Research Asia),
Kun Zhou
(Zhejiang University)
- Anisotropic Gaussian Mutations for Metropolis Light Transport through Hessian-Hamiltonian Dynamics
-
Tzu-Mao Li
(MIT CSAIL),
Jaakko Lehtinen
(Aalto University and NVIDIA),
Ravi Ramamoorthi
(University of California, San Diego),
Wenzel Jakob
(ETH Zurich),
Fredo Durand
(MIT CSAIL)
- A Matrix Sampling-and-Recovery Approach for Many-Lights Rendering
-
Yuchi Huo,
Rui Wang
(Zhejiang University),
Shihao Jin,
Xinguo Liu,
Hujun Bao
(Zhejiang University)
- Blue noise sampling using an SPH-based method
-
Min Jiang
(Bournemouth University),
Yahan Zhou,
Rui Wang
(University of Massachusetts),
Richard Southern,
Jian Jun Zhang
(Bournemouth University)
- AA Patterns for Point Sets with Controlled Spectral Properties
-
Abdalla G. M. Ahmed
(University of Konstanz, Germany),
Hui Huang
(VisuCA/SIAT),
Oliver Deussen
(University of Konstanz, Germany and VisuCA/SIAT)
Tracking and Transients
- IM6D: magnetic tracking system with 6-DOF passive markers for dexterous 3D interaction and motion
-
Jiawei Huang,
Tsuyoshi Mori,
Kazuki Takashima,
Shuichiro Hashi,
Yoshifumi Kitamura
(Tohoku University)
- 3D motion sensing of any object without prior knowledge
-
Leo Miyashita,
Ryota Yonezawa,
Yoshihiro Watanabe,
Masatoshi Ishikawa
(University of Tokyo)
- Capturing the human figure through a wall
-
Fadel Adib,
Chen-Yu Hsu,
Hongzi Mao,
Dina Katabi,
Fredo Durand
(MIT CSAIL)
- Solving Trigonometric Moment Problems for Fast Transient Imaging
-
Christoph Peters,
Jonathan Klein,
Matthias B. Hullin,
Reinhard Klein
(University of Bonn)
- Online Structure Analysis for Real-time Indoor Scene Reconstruction
(TOG Paper)
-
Yizhong Zhang
(Zhejiang University),
Weiwei Xu
(Hangzhou Normal University),
Yiying Tong
(Michigan State University),
Kun Zhou
(Zhejiang University)
Fabrication
- Dapper: Decompose-and-Pack for 3D Printing
-
Xuelin Chen
(Shandong University),
Hao Zhang
(Simon Fraser University),
Jinjie Lin
(Shandong University),
Ruizhen Hu
(VisuCA/SIAT),
Lin Lu
(Shandong University),
Qixing Huang
(Toyota Technological Institute at Chicago),
Bedrich Benes
(Purdue University),
Daniel Cohen-Or
(Tel Aviv University),
Baoquan Chen
(Shandong University)
- Level-Set-Based Partitioning and Packing Optimization of a Printable Model
-
Miaojun Yao,
Zhili Chen,
(Ohio State University),
Linjie Luo
(Adobe Research),
Rui Wang,
Huamin Wang
(Ohio State University)
- Perceptual models of preference in 3D printing direction
-
Xiaoting Zhang,
Xinyi Le
(The Chinese University of Hong Kong),
Athina Panotopoulou,
Emily Whiting
(Dartmouth College),
Charlie C. L. Wang
(The Chinese University of Hong Kong)
- Interactive design of 3D-printable robotic creatures
-
Vittorio Megaro
(ETH Zurich),
Bernhard Thomaszewski,
Maurizio Nitti
(Disney Research Zurich),
Otmar Hilliges
(ETH Zurich),
Markus Gross
(ETH Zurich and Disney Research Zurich),
Stelian Coros
(Carnegie Mellon University)
Single Images
- Break Ames Room Illusion: Depth from General Single Images
-
Jianping Shi
Xin Tao, Li Xu,
Jiaya Jia
(The Chinese University of Hong Kong)
- Deviation Magnification: Revealing Geometric Deviation in a Single Image
-
Tali Dekel,
Fredo Durand,
William Freeman,
Neal Wadhwa,
Donglai Wei
(MIT CSAIL)
- Revealing and modifying non-local variations in a single image
-
Tali Dekel,
(MIT CSAIL),
Tomer Michaeli
(Technion),
Michal Irani
(Weizmann Institute of Science),
William Freeman,
(MIT CSAIL)
- Transform recipes for efficient cloud photo enhancement
-
Michael Gharbi
YiChang Shih,
Gaurav Chaurasia
(MIT CSAIL),
Jonathan Ragan-Kelley
(Stanford University),
Sylvain Paris
(Adobe Systems, Inc.),
Fredo Durand
(MIT CSAIL)
Specialized Design
- WrapIt: Computer-Assisted Crafting of Wire Wrapped Jewelry
-
Emmanuel Iarussi
(INRIA),
Wilmot Li
(Adobe Research),
Adrien Bousseau
(INRIA)
- Legolization: Optimizing LEGO Designs
-
Sheng-Jie Luo
(National Taiwan University),
Yonghao Yue
(Columbia University),
Chun-Kai Huang,
Yu-Huan Chung
(National Taiwan University),
Sei Imai
(The University of Tokyo),
Tomoyuki Nishita
(UEI Research and Hiroshima Shudo University),
Bing-Yu Chen
(National Taiwan University and UEI Research)
- Computational Design of Metallophone Contact Sounds
-
Gaurav Bharaj
(Harvard University),
David Levin
(Massachusetts Institute of Technology and The Walt Disney Company),
James Tompkin
(Harvard University),
Yun Fei
(Columbia University),
Hanspeter Pfister
(Harvard University),
Wojciech Matusik
(MIT CSAIL),
Changxi Zheng
(Columbia University)
- Interactive surface design with interlocking elements
-
Melina Skouras
(Disney Research Zurich and Carnegie Mellon University and MIT CSAIL)
Stelian Coros
(Disney Research Zurich and Carnegie Mellon University)
Eitan Grinspun
(Columbia University),
Bernhard Thomaszewski,
(Disney Research Zurich)
Shapes and Images
- CrossLink: Joint Understanding of Image and 3D Model Collections through Shape and Camera Pose Variations
-
Moos Hueting
(University College London),
Maks Ovsjanikov
(Ecole Polytechnique),
Niloy Mitra
(University College London)
- Joint Embeddings of Shapes and Images via CNN Image Purification
-
Yangyan Li*,
Hao Su*,
Charles Ruizhongtai Qi
(Stanford University),
Noa Fish,
Daniel Cohen-Or
(Tel Aviv University),
Leonidas Guibas
(Stanford University)
*joint first authors
- SHED: Shape Edit Distance for Fine-grained Shape Similarity
-
Yanir Kleiman,
Oliver van Kaick
(Tel Aviv University),
Olga Sorkine-Hornung
(ETH Zurich),
Daniel Cohen-Or
(Tel Aviv University)
- Deformation-Driven Topology-Varying 3D Shape Correspondence
-
Ibraheem Alhashim
(Simon Fraser University),
Kai Xu
(VisuCA/SIAT and National University of Defense Technology),
Yixin Zhuang,
Junjie Cao,
Patricio Simari
(Catholic University of America),
Hao Zhang
(Simon Fraser University),
- Extraction of the Quad Layout of a Triangle Mesh Guided by its Curve-Skeleton
(TOG Paper)
-
Francesco Usai,
Marco Livesu
(University of Cagliari),
E. Puppo
(University of Genoa),
M.Tarini,
R. Scateni
(University of Cagliari)
Assisted Design
- Structure and Appearance Optimization for Controllable Shape Design
-
Jonas Martinez
(INRIA),
Jeremie Dumas
(Universite de Lorraine and INRIA),
Sylvain Lefebvre
(INRIA),
Li-Yi Wei
(University of Hong Kong)
- Topology-based Catalogue Exploration Framework for Identifying View-Enhanced Tower Designs
-
H. Doraiswamy,
Nivan Ferreira
(New York University),
Marcos Lage
(Fluminense Federal University),
H. Vo
(New York University),
L. Wilson, H. Werner, M. Park
(Kohn Pedersen Fox),
Claudio Silva
(New York University)
- AutoConnect: Computational Design of 3D-Printable Connectors
-
Yuki Koyama
(The University of Tokyo),
Shinjiro Sueda
(California Polytechnic State University),
Emma Steinhardt
(Disney Research Boston),
Takeo Igarashi
(The University of Tokyo),
Ariel Shamir
(Interdisciplinary Center),
Wojciech Matusik
(MIT CSAIL)
- Magic Decorator: automatic material suggestion for indoor digital scenes
-
Kang Chen,
Kun Xu
(Tsinghua University, Beijing),
Yizhou Yu
(The University of Hong Kong),
Tian-Yi Wang,
Shi-Min Hu
(Tsinghua University, Beijing)
- Sketching Folds: Developable Surfaces from Non-Planar Silhouettes
(TOG Paper)
-
Amaury Jung,
Stefanie Hahmann
(IMAGINE),
Damien Rohmer
(CPE Lyon and IMAGINE),
Antoine Begault
(IMAGINE),
Laurence Boissieux
(INRIA Rhone-Alpes),
Marie-Paule Cani,
(IMAGINE)
Cinematography and Video Processing
- Real-Time Pixel Luminance Optimization for Dynamic Multi-Projection Mapping
-
Christian Siegl,
Matteo Colaianni,
Lucas Thies,
Justus Thies
(University of Erlangen-Nuremberg),
Michael Zollhofer
(Max Planck Institute for Informatics),
Sharam Izadi
(Microsoft Research),
Marc Stamminger,
Bauer Frank
(University of Erlangen-Nuremberg)
- An Interactive Tool for Designing Quadrotor Camera Shots
-
Niels Joubert*
Mike Roberts
Anh Truong
(Stanford University),
Floraine Berthouzoz
(Adobe Research),
Pat Hanrahan
(Stanford University)
* Authors contributed equally
- Image-Space Modal Bases for Plausible Manipulation of Objects in Video
-
Abe Davis,
Justin Chen,
Fredo Durand
(MIT CSAIL)
- Visual Transcript: Readable, Skimmable Layout of Blackboard-Style Lecture Videos
-
Hijung Valentina Shin
(MIT CSAIL),
Floraine Berthouzoz,
Wilmot Li
(Adobe Research),
Fredo Durand
(MIT CSAIL)
Simulation in Subspaces
- A unified approach for subspace simulation of deformable bodies in multiple domains
-
Xiaofeng Wu,
Rajaditya Mukherjee,
Huamin Wang
(Ohio State University)
- Subspace Dynamic Simulation Using Rotation-Strain Coordinates
-
Zherong Pan,
Hujun Bao,
Jin Huang
(State Key Lab of CAD&CG, Zhejiang University)
- Expediting Precomputation for Reduced Deformable Simulation
-
Yin Yang
(The University of New Mexico.),
Dingzeyu Li,
Weiwei Xu,
Yuan Tian,
Changxi Zheng
(Columbia University)
- Model-Reduced Variational Fluid Simulation
-
Beibei Liu
(Michigan State University),
Gemma Mason
(California Institute of Technology),
Julian Hodgson
(University College London),
Yiying Tong
(Michigan State University),
Mathieu Desbrun
(California Institute of Technology)
Deformable Models
- Smoothed Aggregation Multigrid for Cloth Simulation
-
Rasmus Tamstorf,
Toby Jones
(Walt Disney Animation Studios),
Stephen F. McCormick
(University of Colorado)
- A Chebyshev semi-iterative approach for accelerating projective and position-based dynamics
-
Huamin Wang
(Ohio State University)
- Non-manifold level sets: a multivalued implicit surface representation with applications to self-collision processing
-
Nathan Mitchell,
Mridul Aanjaneya,
Rajsekhar Setaluri,
Eftychios Sifakis
(University of Wisconsin-Madison)
- SMPL: A Skinned Multi-Person Linear Model
-
Matthew Loper,
Naureen Mahmood,
Javier Romero,
Gerard Pons-Moll,
Michael J. Black
(Max Planck Institute for Intelligent Systems - Perceiving Systems Departmnent)
kesen.huang@gmail.com


{% extends 'base_admin.html' %} {% load lnldb_tags %} {% block content %}
It has been more than {{ days }} days since the end of {{ event.event_name|public_field }}, so the deadline for entering crew chief reports and crew hours has passed. In the future, we encourage you to submit a crew chief report shortly after an event while you still have all details of the event fresh in your mind. Delaying submitting your crew chief report directly delays the billing of this event because your report allows those responsible for billing the event to know what work was actually done and equipment was actually used, so that the event can be billed accordingly.
Despite this, we still urge you to submit a crew chief report for this event! Please send it to a member of the executive board (or to lnl@wpi.edu), who will upload it to the database for you. These reports are invaluable to future LNL members, and we thank you in advance for filling one out and sending it to us!
{% endblock %}


CAPE FEAR A film review by Ken Johnson Copyright 1992 Ken Johnson
135 min., R, Horror/Suspense, 1991 Director: Martin Scorsese Cast: Robert DeNiro, Nick Nolte, Jessica Lange, Juliette Lewis, Gregory Peck, Robert Mitchum, Martin Balsam, Joe Don Baker, Fred Dalton Thompson
Years ago Nolte was the lawyer for illiterate DeNiro who brutally raped a sixteen-year-old girl. DeNiro went to prison on a lesser charge of battery. Now DeNiro has gotten out of prison and has moved into the town where Nolte lives with his wife Lange and their fifteen-year-old daughter Lewis. DeNiro starts terrorizing Nolte and his family but in such a way that the law can't touch him.
CAPE FEAR, like the film DEAD CALM, is more of a suspense film than a horror film. I found CAPE FEAR to be a very good, suspenseful, film. Part of the impact of this film is seeing it on a large screen. For instance in the film there is a storm scene which will not be nearly as spectacular on a television set. For this reason I highly suggest if you are one of the few people who hasn't seen this film that you go to see it at a theater, if any theaters in your area are still playing it. On a scale of zero to five, I rate CAPE FEAR a four. CAPE FEAR is rated R for graphic violence, explicit language, and adult situations.
CAPE FEAR was in most of the large theaters near the end of 1991 and it had a long theatrical run before leaving most of the theaters in early 1992. Small theaters, like the one I saw it in, are now getting CAPE FEAR, and it will be coming out on video soon.
The photography, using reverse (negative) images in the beginning and at the very end of the film is well done. It added an arty aspect to the film, although in the middle of the film they used the reverse image in a scene and that didn't fit in as well. The opening credits for the film were also well done with the water rippling and the pictures superimposed.
For the most part the script for the film was well done. The one part that I really didn't like about the script was how indestructable Robert DeNiro's character was. I don't think that prison could really have toughened him up enough to just come walking back after some of the things that happen to him in the film.  Juliette Lewis's character was especially well written, and well acted. I found that she did a very convincing job. Nick Nolte and Jessica Lange did a very spectacular job of the sometimes fighting husband and wife.
CAPE FEAR is based on a 1962 black-and-white drama also called CAPE FEAR by J. Lee Thompson. It starred Gregory Peck, Robert Mitchum, and Martin Balsam, all of whom have cameos in this film. I haven't seen the earlier version of CAPE FEAR so I can't comment on how closely related they are. Both versions are based on a novel by John D. MacDonald [titled THE EXECUTIONERS -Moderator].
Ken J<EMAIL_ADDRESS>.
The review above was posted to the
rec.arts.movies.reviews newsgroup (de.rec.film.kritiken for German reviews).
The Internet Movie Database accepts no responsibility for the contents of the
review and has no editorial control. Unless stated otherwise, the copyright
belongs to the author.
Please direct comments/criticisms of the review to relevant newsgroups.
Broken URLs inthe reviews are the responsibility of the author.
The formatting of the review is likely to differ from the original due
to ASCII to HTML conversion.
Related links: index of all rec.arts.movies.reviews reviews


{% extends "layout.html" %} {% block page_title %} Pensions {% endblock %} {% block content %} {% include "../includes/phase_banner_beta.html" %} Back Pensions Are you getting a pension? Yes No Will you be getting a private or occupational pension in the next 6 months? Yes No Pension 1 Who is your pension provider? Pension provider address Building and street Town or city County (optional) Postcode Your pension provider's phone number Policy reference number How often do you get your pension? Weekly Every 4 weeks Monthly Quarterly How much is the pension before tax? £ How much is the pension after tax? £ Date of first payment DD MM YYYY Day Month Year Will your pension increase? Yes No When will your pension increase? DD MM YYYY Day Month Year Did you inherit your pension? Yes No Add another Pension 2 Who is your pension provider? Pension provider address Building and street Town or city County (optional) Postcode Your pension provider's phone number Policy reference number How much is the pension before tax? £ How much is the pension after tax? £ How often do you get your pension? Weekly Every 4 weeks Monthly Quarterly Date of first payment DD MM YYYY Day Month Year Will your pension increase? Yes No When will your pension increase? DD MM YYYY Day Month Year Did you inherit your pension? Yes No Add another Pension 3 Who is your pension provider? Pension provider address Building and street Town or city County (optional) Postcode Your pension provider's phone number Policy reference number How much is the pension before tax? £ How much is the pension after tax? £ How often do you get your pension? Weekly Every 4 weeks Monthly Quarterly Date of first payment DD MM YYYY Day Month Year Will your pension increase? Yes No When will your pension increase? DD MM YYYY Day Month Year Did you inherit your pension? Yes No {% include "../includes/help.html" %} {% endblock %} {% block body_end %} {% include "includes/scripts.html" %} {% endblock %}
DD MM YYYY
Add another


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$toDecimal
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$toDouble
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$toInt
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$toLong
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$toString
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Globals
"operators/expression/type/index"
$convert
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Double
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Int
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Long
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French painters who prepared the way for Impressionism include the Romantic colourist Eugène Delacroix, the leader of the realists Gustave Courbet, and painters of the Barbizon school such as Théodore Rousseau. The Impressionists learned much from the work of Johan Barthold Jongkind, Jean-Baptiste-Camille Corot and Eugène Boudin, who painted from nature in a direct and spontaneous style that prefigured Impressionism, and who befriended and advised the younger artists.
Identifiable Techniques
A number of identifiable techniques and working habits contributed to the innovative style of the Impressionists. Although these methods had been used by previous artists—and are often conspicuous in the work of artists such as Frans Hals, Diego Velázquez, Peter Paul Rubens, John Constable, and J. M. W. Turner—the Impressionists were the first to use them all together, and with such consistency. These techniques include:
- Short, thick strokes of paint quickly capture the essence of the subject, rather than its details. The paint is often applied impasto.
- Colours are applied side-by-side with as little mixing as possible, a technique that exploits the principle of simultaneous contrast to make the colour appear more vivid to the viewer.
- Greys and dark tones are produced by mixing complementary colours. Pure impressionism avoids the use of black paint.
- Wet paint is placed into wet paint without waiting for successive applications to dry, producing softer edges and intermingling of colour.
- Impressionist paintings do not exploit the transparency of thin paint films (glazes), which earlier artists manipulated carefully to produce effects. The impressionist painting surface is typically opaque.
- The paint is applied to a white or light-coloured ground. Previously, painters often used dark grey or strongly coloured grounds.
- The play of natural light is emphasized. Close attention is paid to the reflection of colours from object to object. Painters often worked in the evening to produce effets de soir—the shadowy effects of evening or twilight.
- In paintings made en plein air (outdoors), shadows are boldly painted with the blue of the sky as it is reflected onto surfaces, giving a sense of freshness previously not represented in painting. (Blue shadows on snow inspired the technique.)
"Lydia Leaning on Her Arms (in a theatre box)", Mary Cassat, 1879
New Technology
New technology played a role in the development of the style. Impressionists took advantage of the mid-century introduction of premixed paints in tin tubes (resembling modern toothpaste tubes), which allowed artists to work more spontaneously, both outdoors and indoors. Previously, painters made their own paints individually, by grinding and mixing dry pigment powders with linseed oil, which were then stored in animal bladders.
Many vivid synthetic pigments became commercially available to artists for the first time during the 19th century. These included cobalt blue, viridian, cadmium yellow, and synthetic ultramarine blue, all of which were in use by the 1840s, before Impressionism. The Impressionists' manner of painting made bold use of these pigments, and of even newer colours such as cerulean blue, which became commercially available to artist s in the 1860s.
The Impressionists' progress toward a brighter style of painting was gradual. During the 1860s, Monet and Renoir sometimes painted on canvases prepared with the traditional red-brown or grey ground. By the 1870s, Monet, Renoir, and Pissarro usually chose to paint on grounds of a lighter grey or beige colour, which functioned as a middle tone in the finished painting. By the 1880s, some of the Impressionists had come to prefer white or slightly off-white grounds, and no longer allowed the ground colour a significant role in the finished painting.
"Monet Painting In His Garden At Argenteuil", Pierre Auguste Renoir, 1873
Composition
Prior to the Impressionists, other painters, notably such 17th-century Dutch painters as Jan Steen, had emphasized common subjects, but their methods of composition were traditional. They arranged their compositions so that the main subject commanded the viewer's attention. J. M. W. Turner, while an artist of the Romantic era, anticipated the style of impressionism with his artwork. The Impressionists relaxed the boundary between subject and background so that the effect of an Impressionist painting often resembles a snapshot, a part of a larger reality captured as if by chance. Photography was gaining popularity, and as cameras became more portable , photographs became more candid. Photography inspired Impressionists to represent momentary action, not only in the fleeting lights of a landscape, but in the day-to-day lives of people.
"Hay Harvest at Éragny", Camille Pissaro, 1901
Influence of Photography
The development of Impressionism can be considered partly as a reaction by artists to the challenge presented by photography, which seemed to devalue the artist's skill in reproducing reality. Both portrait and landscape paintings were deemed somewhat deficient and lacking in truth as photography "produced lifelike images much more efficiently and reliably".
In spite of this, photography actually inspired artists to pursue other means of creative expression, and rather than compete with photography to emulate reality, artists focused "on the one thing they could inevitably do better than the photograph—by further developing into an art form its very subjectivity in the conception of the image, the very subjectivity that photography eliminated". The Impressionists sought to express their perceptions of nature, rather than create exact representations. This allowed artists to depict subjectively what they saw with their "tacit imperatives of taste and conscience". Photography encouraged painters to exploit aspects of the painting medium, like colour, which photography then lacked: "The Impressionists were the first to consciously offer a subjective alternative to the photograph".
"Reading", Berthe Morisot, 1873
Japanese Influence
Another major influence was Japanese ukiyo-e art prints (Japonism). The art of these prints contributed significantly to the "snapshot" angles and unconventional compositions that became characteristic of Impressionism. An example is Monet's Jardin à Sainte-Adresse, 1867, with its bold blocks of colour and composition on a strong diagonal slant showing the influence of Japanese prints
"Jardin à Sainte-Adresse", Claude Monet, 1867


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Provide contextual feedback messages for user actions with alert messages. Wrap any text and an optional dismiss button in .alert
and one of the four contextual classes (e.g., .alert-success
) for basic alert messages. Responsive behavior is built in.
// alert with an icon and header

<svg class="cyclops-icon" aria-hidden="true"><use xlink:href='#icon-plus-circle'></svg>

Success!

This is a successful message.

// text only alert

...

Alert banners should be used for portal or service wide notifications. It should be the first element inside
so that it appears immediately below the page header navigation. Use an optional .alert--texture
modifier to adds an angled texture background pattern.

This is a system alert.

This is a system alert.

This is a system alert.

This is a system alert.

If an alert should be dismissible, add .alert-dismissible
, which adds extra padding to the right of the alert, and positions the .close
button.

<button type="button" class="close" data-dismiss="alert" aria-label="Close">×</button>
This is a dismissible system alert.

<button type="button" class="close" data-dismiss="alert" aria-label="Close">×</button>

<svg class="cyclops-icon" aria-hidden="true"><use xlink:href='#icon-plus-circle' /></svg>

This is a dismissible alert warning!

This is a warning message.


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By default, every note you write is public, which means that anyone on the internet can see it, along with your full name.
Your public notes and any feedback information which you provide us (replies to questionnaires etc...) may be quoted in our research publications, after having been anonymized.


Star Wars: First Rise of Skywalker Clip Shows the Jet Troopers in Action
by L.D. NolanStar Wars: The Rise of Skywalker's first clip is here, and it show the movie's jet troopers in action.
The scene was released by the Star Wars Twitter and shows Rey, Finn, Poe Dameron, Chewbacca and C-3PO attempting to escape a team of jet troopers. As the two exchange fire, the jet troopers take to the air, much to the shock and dismay of the heroes.
The Rise of Skywalker is said to be the final film in the Skywalker Saga, which began in 1977's Star Wars: A New Hope. At this time, little is known about the movie, though the first trailer teased the return of Emperor Palpatine, who died during the events of 1983's Return of the Jedi. Later footage from D23 then teased the possibility of Rey going to the Dark Side.
Directed and co-written by J.J. Abrams, Star Wars: The Rise of Skywalker stars Daisy Ridley, Adam Driver, John Boyega, Oscar Isaac, Lupita Nyong’o, Domhnall Gleeson, Kelly Marie Tran, Joonas Suotamo, Billie Lourd, Keri Russell, Anthony Daniels, Mark Hamill, Billy Dee Williams, and Carrie Fisher, with Naomi Ackie and Richard E. Grant. The film arrives on Dec. 20.
https://schema.orgBreadcrumbListListItem1Homehttps://www.cbr.com/ListItem2Movieshttps://www.cbr.com/category/movies/ListItem3Movie Newshttps://www.cbr.com/category/movies/news-movies/ListItem4Star Wars: First Rise of Skywalker Clip Shows the Jet Troopers in Actionhttps://www.cbr.com/star-wars-rise-skywalker-first-clip/


We are here to provide electrical services, whether it is consumer design consulting, prototype designing, or troubleshooting.
If you like,lessons on the basics of electrical design for you to do yourself!


Abstract
An ontology for describing software metadata, including its inputs, outputs and variables. The Software description ontology aims to capture software metadata to make software findable, understandable and executable.


| Author Code
{{getArrowType('m_code')}} |
Author Name
{{getArrowType('full_name')}} |
Shops
{{getArrowType('shops')}} |
Evaluated Shops
{{getArrowType('evaluated_shops')}} |
Approved Shops
{{getArrowType('approved_shops')}} |
Pending Shops
{{getArrowType('pending_shops')}} |
Red Flag
{{getArrowType('red_flag_shops')}} |
|||
|---|---|---|---|---|---|---|---|---|---|
| {{item.m_code}} | {{item.full_name}} | {{item.shops}} | {{item?.evaluated_shops}} | {{item?.evaluated_shops}} | {{item?.approved_shops}} | {{item?.approved_shops}} | {{item?.pending_shops}} | {{item?.pending_shops}} | {{item.red_flag_shops}} |


| Enum Constant and Description |
|---|
Hybrid
A combination of various triangle modes.
|
LineLoop
Identical to
LineStrip except that at the end
the last vertex is connected with the first to form a line. |
Lines
A primitive is a line segment.
|
LineStrip
A primitive is a line segment.
|
Patch
Used for Tesselation only.
|
Points
A primitive is a single point in space.
|
TriangleFan
Similar to
Triangles , the first 3 vertices
specify a triangle, each 2 subsequent vertices are combined
with the very first vertex to make a triangle. |
Triangles
A primitive is a triangle.
|
TriangleStrip
Similar to
Triangles , the first 3 vertices
specify a triangle, while subsequent vertices are combined with
the previous two to form a triangle. |
| Modifier and Type | Method and Description |
|---|---|
boolean |
isListMode()
Returns true if the specified mode is a list mode (meaning
,it specifies the indices as a linear list and not some special
format).
|
static Mesh.Mode |
valueOf(java.lang.String name)
Returns the enum constant of this type with the specified name.
|
static Mesh.Mode[] |
values()
Returns an array containing the constants of this enum type, in
the order they are declared.
|
public static final Mesh.Mode Points
Mesh.setPointSize(float)
.public static final Mesh.Mode Lines
Material.getAdditionalRenderState()
and RenderState.setLineWidth(float)
can be used
to set the width of the lines.public static final Mesh.Mode LineStrip
Material.getAdditionalRenderState()
and RenderState.setLineWidth(float)
can
be used to set the width of the lines.public static final Mesh.Mode LineLoop
LineStrip
except that at the end
the last vertex is connected with the first to form a line.
Material.getAdditionalRenderState()
and RenderState.setLineWidth(float)
can be used
to set the width of the lines.public static final Mesh.Mode Triangles
public static final Mesh.Mode TriangleStrip
Triangles
, the first 3 vertices
specify a triangle, while subsequent vertices are combined with
the previous two to form a triangle.public static final Mesh.Mode TriangleFan
Triangles
, the first 3 vertices
specify a triangle, each 2 subsequent vertices are combined
with the very first vertex to make a triangle.public static final Mesh.Mode Hybrid
mode start points
and
element lengths
must
be specified for this mode.public static final Mesh.Mode Patch
public static Mesh.Mode[] values()
for (Mesh.Mode c : Mesh.Mode.values()) System.out.println(c);
public static Mesh.Mode valueOf(java.lang.String name)
name
- the name of the enum constant to be returned.java.lang.IllegalArgumentException
- if this enum type has no constant with the specified namejava.lang.NullPointerException
- if the argument is null