In this work we render non-opaque anisotropic media. A mathematical formalism is described in which polarization effects resulting from light/material interactions are represented as transformation matrices. When applying the matrices a skewing is performed to ensure that like reference coordinates are used. The intensity and direction of an extraordinary ray is computed.
{"title":"Polarization and birefringency considerations in rendering","authors":"David C. Tannenbaum, P. Tannenbaum, M. Wozny","doi":"10.1145/192161.192204","DOIUrl":"https://doi.org/10.1145/192161.192204","url":null,"abstract":"In this work we render non-opaque anisotropic media. A mathematical formalism is described in which polarization effects resulting from light/material interactions are represented as transformation matrices. When applying the matrices a skewing is performed to ensure that like reference coordinates are used. The intensity and direction of an extraordinary ray is computed.","PeriodicalId":151245,"journal":{"name":"Proceedings of the 21st annual conference on Computer graphics and interactive techniques","volume":"1 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"1994-07-24","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"127941372","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
We describe a representation for multiresolution images—images that have different resolutions in different places—and methods for creating such images using painting and compositing operations. These methods are very easy to implement, and they are efficient in both memory and speed. Only the detail present at a particular resolution is stored, and the most common painting operations, “over” and “erase”, require time proportional only to the number of pixels displayed. We also show how fractional-level zooming can be implemented in order to allow a user to display and edit portions of a multiresolution image at any arbitrary size.
{"title":"Multiresolution painting and compositing","authors":"Deborah Berman, Jason T. Bartell, D. Salesin","doi":"10.1145/192161.192181","DOIUrl":"https://doi.org/10.1145/192161.192181","url":null,"abstract":"We describe a representation for multiresolution images—images that have different resolutions in different places—and methods for creating such images using painting and compositing operations. These methods are very easy to implement, and they are efficient in both memory and speed. Only the detail present at a particular resolution is stored, and the most common painting operations, “over” and “erase”, require time proportional only to the number of pixels displayed. We also show how fractional-level zooming can be implemented in order to allow a user to display and edit portions of a multiresolution image at any arbitrary size.","PeriodicalId":151245,"journal":{"name":"Proceedings of the 21st annual conference on Computer graphics and interactive techniques","volume":"1 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"1994-07-24","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"130745800","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
In previous work, we presented an algorithm to accelerate z-buffer rendering of enormously complex scenes. Here, we extend the approach to antialiased rendering with an algorithm that guarantees that each pixel of the output image is within a user-specified error tolerance of the filtered underlying continuous image. As before, we use an object-space octree to cull hidden geometry rapidly. However, instead of using an image-space depth pyramid to test visibility of collections of pixel samples, we use a quadtree data structure to test visibility throughout image-space regions. When regions are too complex, we use quadtree subdivision to simplify the geometry as in Warnock's algorithm. Subdivison stops when the algorithm can either analytically filter the required region or bound the convolution integral appropriately with interval methods. To the best of our knowledge, this is the first algorithm to antialias with guaranteed accuracy scenes consisting of hundreds of millions of polygons.
{"title":"Error-bounded antialiased rendering of complex environments","authors":"Ned Greene, M. Kass","doi":"10.1145/192161.192173","DOIUrl":"https://doi.org/10.1145/192161.192173","url":null,"abstract":"In previous work, we presented an algorithm to accelerate z-buffer rendering of enormously complex scenes. Here, we extend the approach to antialiased rendering with an algorithm that guarantees that each pixel of the output image is within a user-specified error tolerance of the filtered underlying continuous image. As before, we use an object-space octree to cull hidden geometry rapidly. However, instead of using an image-space depth pyramid to test visibility of collections of pixel samples, we use a quadtree data structure to test visibility throughout image-space regions. When regions are too complex, we use quadtree subdivision to simplify the geometry as in Warnock's algorithm. Subdivison stops when the algorithm can either analytically filter the required region or bound the convolution integral appropriately with interval methods. To the best of our knowledge, this is the first algorithm to antialias with guaranteed accuracy scenes consisting of hundreds of millions of polygons.","PeriodicalId":151245,"journal":{"name":"Proceedings of the 21st annual conference on Computer graphics and interactive techniques","volume":"238 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"1994-07-24","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"117016669","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Justine Cassell, C. Pelachaud, N. Badler, Mark Steedman, Brett Achorn, Tripp Becket, Brett Douville, Scott Prevost, Matthew Stone
We describe an implemented system which automatically generates and animates conversations between multiple human-like agents with appropriate and synchronized speech, intonation, facial expressions, and hand gestures. Conversation is created by a dialogue planner that produces the text as well as the intonation of the utterances. The speaker/listener relationship, the text, and the intonation in turn drive facial expressions, lip motions, eye gaze, head motion, and arm gestures generators. Coordinated arm, wrist, and hand motions are invoked to create semantically meaningful gestures. Throughout we will use examples from an actual synthesized, fully animated conversation.
{"title":"Animated conversation: rule-based generation of facial expression, gesture & spoken intonation for multiple conversational agents","authors":"Justine Cassell, C. Pelachaud, N. Badler, Mark Steedman, Brett Achorn, Tripp Becket, Brett Douville, Scott Prevost, Matthew Stone","doi":"10.1145/192161.192272","DOIUrl":"https://doi.org/10.1145/192161.192272","url":null,"abstract":"We describe an implemented system which automatically generates and animates conversations between multiple human-like agents with appropriate and synchronized speech, intonation, facial expressions, and hand gestures. Conversation is created by a dialogue planner that produces the text as well as the intonation of the utterances. The speaker/listener relationship, the text, and the intonation in turn drive facial expressions, lip motions, eye gaze, head motion, and arm gestures generators. Coordinated arm, wrist, and hand motions are invoked to create semantically meaningful gestures. Throughout we will use examples from an actual synthesized, fully animated conversation.","PeriodicalId":151245,"journal":{"name":"Proceedings of the 21st annual conference on Computer graphics and interactive techniques","volume":"22 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"1994-07-24","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"134221279","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
We describe a multiresolution curve representation, based on wavelets, that conveniently supports a variety of operations: smoothing a curve; editing the overall form of a curve while preserving its details; and approximating a curve within any given error tolerance for scan conversion. We present methods to support continuous levels of smoothing as well as direct manipulation of an arbitrary portion of the curve; the control points, as well as the discrete nature of the underlying hierarchical representation, can be hidden from the user. The multiresolution representation requires no extra storage beyond that of the original control points, and the algorithms using the representation are both simple and fast.
{"title":"Multiresolution curves","authors":"Adam Finkelstein, D. Salesin","doi":"10.1145/192161.192223","DOIUrl":"https://doi.org/10.1145/192161.192223","url":null,"abstract":"We describe a multiresolution curve representation, based on wavelets, that conveniently supports a variety of operations: smoothing a curve; editing the overall form of a curve while preserving its details; and approximating a curve within any given error tolerance for scan conversion. We present methods to support continuous levels of smoothing as well as direct manipulation of an arbitrary portion of the curve; the control points, as well as the discrete nature of the underlying hierarchical representation, can be hidden from the user. The multiresolution representation requires no extra storage beyond that of the original control points, and the algorithms using the representation are both simple and fast.","PeriodicalId":151245,"journal":{"name":"Proceedings of the 21st annual conference on Computer graphics and interactive techniques","volume":"21 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"1994-07-24","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"134393324","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Recent developments in video-tracking allow the outlines of moving, natural objects in a video-camera input stream to be tracked live, at full video-rate. Previous systems have been available to do this for specially illuminated objects or for naturally illuminated but polyhedral objects. Other systems have been able to track nonpolyhedral objects in motion, in some cases from live video, but following only centroids or key-points rather than tracking whole curves. The system described here can track accurately the curved silhouettes of moving non-polyhedral objects at frame-rate, for example hands, lips, legs, vehicles, fruit, and without any special hardware beyond a desktop workstation and a video-camera and framestore. The new algorithms are a synthesis of methods in deformable models, B-splines curve representation and control theory. This paper shows how such a facility can be used to turn parts of the body—for instance, hands and lips—into input devices. Rigid motion of a hand can be used as a 3D mouse with non-rigid gestures signalling a button press or the “lifting” of the mouse. Both rigid and non-rigid motions of lips can be tracked independently and used as inputs, for example to animate a computer-generated face.
{"title":"3D position, attitude and shape input using video tracking of hands and lips","authors":"A. Blake, M. Isard","doi":"10.1145/192161.192197","DOIUrl":"https://doi.org/10.1145/192161.192197","url":null,"abstract":"Recent developments in video-tracking allow the outlines of moving, natural objects in a video-camera input stream to be tracked live, at full video-rate. Previous systems have been available to do this for specially illuminated objects or for naturally illuminated but polyhedral objects. Other systems have been able to track nonpolyhedral objects in motion, in some cases from live video, but following only centroids or key-points rather than tracking whole curves. The system described here can track accurately the curved silhouettes of moving non-polyhedral objects at frame-rate, for example hands, lips, legs, vehicles, fruit, and without any special hardware beyond a desktop workstation and a video-camera and framestore. The new algorithms are a synthesis of methods in deformable models, B-splines curve representation and control theory. This paper shows how such a facility can be used to turn parts of the body—for instance, hands and lips—into input devices. Rigid motion of a hand can be used as a 3D mouse with non-rigid gestures signalling a button press or the “lifting” of the mouse. Both rigid and non-rigid motions of lips can be tracked independently and used as inputs, for example to animate a computer-generated face.","PeriodicalId":151245,"journal":{"name":"Proceedings of the 21st annual conference on Computer graphics and interactive techniques","volume":"3 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"1994-07-24","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"122572290","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
N. Gershon, Colleen Bushell, J. Mackinlay, William A. Ruh, A. Spoerri, Joel Tesler
knowledge of data visualization methods, software, and hardware in presenting the rather abstract information contained in data bases, digital libraries, and other massive collections of data and information. The panelists and audience will examine and debate how to create effective information visualizations and how to use them effectively in information navigation, retrieval, and access (e.g., in the information highway environment). Bringing this technology to the users, taking their needs into account, may transform business, science, medicine, engineering, and education. The audience and the public have been encouraged to submit samples of slides and video material illustrating effective and valuable visualizations.
{"title":"Information visualization: the next frontier","authors":"N. Gershon, Colleen Bushell, J. Mackinlay, William A. Ruh, A. Spoerri, Joel Tesler","doi":"10.1145/192161.192295","DOIUrl":"https://doi.org/10.1145/192161.192295","url":null,"abstract":"knowledge of data visualization methods, software, and hardware in presenting the rather abstract information contained in data bases, digital libraries, and other massive collections of data and information. The panelists and audience will examine and debate how to create effective information visualizations and how to use them effectively in information navigation, retrieval, and access (e.g., in the information highway environment). Bringing this technology to the users, taking their needs into account, may transform business, science, medicine, engineering, and education. The audience and the public have been encouraged to submit samples of slides and video material illustrating effective and valuable visualizations.","PeriodicalId":151245,"journal":{"name":"Proceedings of the 21st annual conference on Computer graphics and interactive techniques","volume":"9 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"1994-07-24","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"116223541","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Virtual reality systems are placing never before seen demands on computer graphics hardware, yet few graphics systems are designed specifically for virtural reality. An address recalculation pipeline is a graphics display controller specifically designed for use with head mounted virtual reality systems, it performs orientation viewport mapping after rendering which means the users head orientation does not need to be known accurately until less than a microsecond before the first pixel of an update frame is actually sent to the head mounted display device. As a result the user perceived latency to head rotations is minimal. Using such a controller with image composition it is possible to render different objects within the world at different rate, thus it is possible to concentrate the available rendering power on the sections of the scene that change the most. The concentration of rendering power is known as priority rendering. Reductions of one order of magnitude in the number of objects rendered for an entire scene have been observed when using priority rendering. When non interactive background scenes which are rendered with a high quality rendering algorithm such as ray tracing are added to the world, highly realistic virtual worlds are possible with little or no latency.
{"title":"Priority rendering with a virtual reality address recalculation pipeline","authors":"Matthew J. P. Regan, R. Pose","doi":"10.1145/192161.192192","DOIUrl":"https://doi.org/10.1145/192161.192192","url":null,"abstract":"Virtual reality systems are placing never before seen demands on computer graphics hardware, yet few graphics systems are designed specifically for virtural reality. An address recalculation pipeline is a graphics display controller specifically designed for use with head mounted virtual reality systems, it performs orientation viewport mapping after rendering which means the users head orientation does not need to be known accurately until less than a microsecond before the first pixel of an update frame is actually sent to the head mounted display device. As a result the user perceived latency to head rotations is minimal. Using such a controller with image composition it is possible to render different objects within the world at different rate, thus it is possible to concentrate the available rendering power on the sections of the scene that change the most. The concentration of rendering power is known as priority rendering. Reductions of one order of magnitude in the number of objects rendered for an entire scene have been observed when using priority rendering. When non interactive background scenes which are rendered with a high quality rendering algorithm such as ray tracing are added to the world, highly realistic virtual worlds are possible with little or no latency.","PeriodicalId":151245,"journal":{"name":"Proceedings of the 21st annual conference on Computer graphics and interactive techniques","volume":"189 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"1994-07-24","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"126795882","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
A system of algorithms is presented for material removal simulation, dimensional error assessment and automated correction of five-axis numerically controlled (NC) milling tool paths. The methods are based on a spatial partitioning technique which incorporates incremental proximity calculations between milled and design surfaces. Hence, in addition to real-time animated five-axis milling simulation, milling errors are measured and displayed simultaneously. Using intermediate error assessment results, a reduction of intersection volume algorithm is developed to eliminate gouges on the workpiece via tool path correction. Finally, the view dependency typical of previous spatial partitioning-based NC simulation methods is overcome by a contour display technique which generates parallel planar contours to represent the workpiece, thus enabling dynamic viewing transformations without reconstruction of the entire data structure.
{"title":"NC milling error assessment and tool path correction","authors":"Yunching Huang, J. Oliver","doi":"10.1145/192161.192231","DOIUrl":"https://doi.org/10.1145/192161.192231","url":null,"abstract":"A system of algorithms is presented for material removal simulation, dimensional error assessment and automated correction of five-axis numerically controlled (NC) milling tool paths. The methods are based on a spatial partitioning technique which incorporates incremental proximity calculations between milled and design surfaces. Hence, in addition to real-time animated five-axis milling simulation, milling errors are measured and displayed simultaneously. Using intermediate error assessment results, a reduction of intersection volume algorithm is developed to eliminate gouges on the workpiece via tool path correction. Finally, the view dependency typical of previous spatial partitioning-based NC simulation methods is overcome by a contour display technique which generates parallel planar contours to represent the workpiece, thus enabling dynamic viewing transformations without reconstruction of the entire data structure.","PeriodicalId":151245,"journal":{"name":"Proceedings of the 21st annual conference on Computer graphics and interactive techniques","volume":"33 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"1994-07-24","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"130259022","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Jane Flint DeKoven, Timothy Binkley, Glenn Entis, Delle Maxwell, A. R. Smith
create a dialog between artists and engineers, people in the computer graphics industry and those in the field in academia. The panel will discuss the roles that engineers, commercial artists and art academicians play in influencing the development of the process, the content, the product and the context of computer art. One of the main social functions of art is to understand and communicate the human experience. Because the foundation of understanding is creating relationship and correlation between thoughts, computer technology, with its ability to store many “thoughts,” is ideally suited to expanding our base of understanding. And because the nature of communication is connection, computer technology, with its ability to connect the “thoughts” it stores and present a variety of different views and relationships of those thoughts, is a powerful means of elucidating the very process of communication. However, as Richard Saul Wurman stated several years ago, from his position outside the computer technology arena, “There are only three businesses involved in communication today. The first is the transmission business, all companies starting with tele: television, telephone, telex, etc. The second is the storage business. There, the technology is exploding because of the compression of storage: laser, compact disk, ROM, CD ROM, CDI and all kinds of floppy and hard disks. The third business is the understanding business, and nobody is in it... writers... serve the god of style and the god of accuracy. Graphic designers... and all the universities serve... the god of looking good.” If we notice how other high tech communication forms of this century such as film and video have evolved, we can see what Mr. Wurman means. Both media have been influenced greatly by the gods of style and looking good. In addition, because of the high cost of use, mass market saleability has dictated product and the limited accessibility of the media has led to a narrowness of the language and a dearth of form. If we do not want the high tech nature of the computer to force the art which it mediates to devolve toward either the banal or the overly precious, and if we desire the growth of the understanding business, we must become aware and make use of the essential changes that the computer has wrought. This awareness is being forged in a number of ways: peoples work and leisure are merging as computer technology becomes a presence in all aspects of living; engineers and artists are becoming collaborators in ways that breed a healthy respect in each for the process of the other; engineers are noticing how people really work and incorporating the unintended use that people make of their tools back in to the tools themselves; artists are rejecing the classic role of standing outside the culture in order to see it and instead infusing themselves into the very heart of the culture... the computer communications industry... and changing it. We are at the crossroads of develop
{"title":"Computer technology and the artistic process: how the computer industry changes the form and function of art","authors":"Jane Flint DeKoven, Timothy Binkley, Glenn Entis, Delle Maxwell, A. R. Smith","doi":"10.1145/192161.192301","DOIUrl":"https://doi.org/10.1145/192161.192301","url":null,"abstract":"create a dialog between artists and engineers, people in the computer graphics industry and those in the field in academia. The panel will discuss the roles that engineers, commercial artists and art academicians play in influencing the development of the process, the content, the product and the context of computer art. One of the main social functions of art is to understand and communicate the human experience. Because the foundation of understanding is creating relationship and correlation between thoughts, computer technology, with its ability to store many “thoughts,” is ideally suited to expanding our base of understanding. And because the nature of communication is connection, computer technology, with its ability to connect the “thoughts” it stores and present a variety of different views and relationships of those thoughts, is a powerful means of elucidating the very process of communication. However, as Richard Saul Wurman stated several years ago, from his position outside the computer technology arena, “There are only three businesses involved in communication today. The first is the transmission business, all companies starting with tele: television, telephone, telex, etc. The second is the storage business. There, the technology is exploding because of the compression of storage: laser, compact disk, ROM, CD ROM, CDI and all kinds of floppy and hard disks. The third business is the understanding business, and nobody is in it... writers... serve the god of style and the god of accuracy. Graphic designers... and all the universities serve... the god of looking good.” If we notice how other high tech communication forms of this century such as film and video have evolved, we can see what Mr. Wurman means. Both media have been influenced greatly by the gods of style and looking good. In addition, because of the high cost of use, mass market saleability has dictated product and the limited accessibility of the media has led to a narrowness of the language and a dearth of form. If we do not want the high tech nature of the computer to force the art which it mediates to devolve toward either the banal or the overly precious, and if we desire the growth of the understanding business, we must become aware and make use of the essential changes that the computer has wrought. This awareness is being forged in a number of ways: peoples work and leisure are merging as computer technology becomes a presence in all aspects of living; engineers and artists are becoming collaborators in ways that breed a healthy respect in each for the process of the other; engineers are noticing how people really work and incorporating the unintended use that people make of their tools back in to the tools themselves; artists are rejecing the classic role of standing outside the culture in order to see it and instead infusing themselves into the very heart of the culture... the computer communications industry... and changing it. We are at the crossroads of develop","PeriodicalId":151245,"journal":{"name":"Proceedings of the 21st annual conference on Computer graphics and interactive techniques","volume":"68 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"1994-07-24","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"127945101","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
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