text:
EVERETT — David Jolly's Rockefeller Avenue law offices still smell new, thanks to a painstaking, top-to-bottom remodel completed last year.
In the building next door, elegant library shelves, wainscotting and swinging doors give attorney Royce Ferguson's digs an unmistakable old-timey Everett feel.
Both buildings could be demolished in a year or so, following Snohomish County's decision to build a new nine-story courthouse on an adjacent parking lot it already owns. The project would displace a half-dozen property owners who share the block, including attorneys, a bail bonds business and a legal messenger service.
Reactions to last week's decision included resignation and anger.
"As a taxpayer I am outraged and as a building owner, I am absolutely devastated," Jolly wrote Wednesday in an email to County Executive John Lovick. "Frankly, we feel duped and misled."
In late September, the council had removed the parking lot option from consideration. That's why it came as a shock to Jolly and some other affected property owners when it was added back in November.
The County Council on Nov. 25 voted 3-2 to build the courthouse there, on Wall Street between Oakes and Rockefeller avenues. The other choice was the plaza in front of the existing 1960s-era courthouse, about a block west on the other side of Wall Street.
At $150 million, the base price for the parking lot option is an estimated $30 million more than constructing a similar building next to the current courthouse. Security, energy-conservation and other features added another $12 million to the total price.
To pay for it, the council approved a property tax increase that will cost an average homeowner about $20 more per year.
Councilman Brian Sullivan supported the parking lot site. He remains comfortable with the decision, even with the consequences for the neighboring business owners.
"In the end, this really was the best decision," Sullivan said.
The alternative would have erected the new building within about six feet of the old courthouse, while it remained up and running.
"There's no doubt that it would have made it disruptive for the courts during the construction process," he said.
In Sullivan's opinion, temporarily relocating the courts while a new courthouse was built on site would have been too expensive.
The legal businesses aren't the only parts of the landscape that will have to make room for the new court building.
The 100 spaces in the county parking lot would go away during construction. The new building would have a parking garage.
Additionally, the county will have to rebuild Matthew Parsons Park on the corner of Wall Street and Rockefeller. Built in 1999, the park was named in honor of a child homicide victim who was beaten into a coma at age 12 and died several years later.
"We know this park is important to many people in our community," said Rebecca Hover, Lovick's spokeswoman. "We want to respect that as well as continue to honor the memory of Matthew Parsons."
The demolition and eventual redevelopment of the old courthouse also would force the relocation of the veterans memorial in the courthouse plaza. The courthouse design process will look into options for how to go about that.
Tour the law offices on Rockefeller, and it becomes obvious that the attorneys' objections to being displaced are more than courtroom theatrics.
Ferguson moved in about 20 years ago and set about overhauling the one-story building to complement its surroundings, including bricks to match the church across the street.
Inside, a law library is filled with heavy tomes, in an age when many colleagues have gone digital. Framed pictures and newspaper articles on the wall provide windows into the region's past — and some high points in Ferguson's legal career.
"We didn't want it to look brand new," Ferguson said. "We knew we were going to be here a long time."
Cec Tennessen worked as Ferguson's secretary even before they relocated here from a downtown office building.
"So much better, here, so much better," she said.
Tennessen helps people who walk in off the street, trying to navigate the county courthouse a half block away. In spring, she fills the building's sidewalk planters with flowers.
Ferguson had wanted to stay for a few more years, until retiring. Now he's resigned to that not happening.
"You've heard it before: You can't fight city hall," he said.
Janean Jolly manages the office for husband David Jolly. They lease space to six other attorneys.
They bought the building from a printing business last year and gutted it. By the time they were through, they'd spent nearly $500,000. They expected to measure their future there in terms of decades, not months.
"We put a lot of our time, our money and our heart into it," Janean Jolly said. "Our whole retirement is in this building."
Also affected are the law offices of Brian M. Sullivan, not to be confused with the county councilman, Brian J. Sullivan.
"This is where I was hoping to get wheeled out in my 80s when I croaked," said Sullivan, the attorney. "I really just saw myself in here until I died."
Brian M. Sullivan and the Jollys said they were skeptical about the county's plans to get rid of the old courthouse, a place with which they're intimately acquainted.
"I go to the courthouse all the time," Sullivan said. "I see people in shackles all the time. I've never felt unsafe. The staff does a fantastic job."
David Jolly said the county's concerns, particularly safety, could have been addressed with a new building on the plaza next to the old courthouse. Tax money for the more expensive site would have been better used to hire police or deputy prosecuting attorneys, he said.
In his email to the county executive, Jolly urged Lovick to veto the council-backed plan. During the budget process, however, Lovick told the council he would support whatever choice they made. He did not endorse one site over the other.
For now, the Jollys are hiring attorneys of their own as they prepare to negotiate with the county over the price of their building.
"We expect that to be a real battle," David Jolly said.
Sullivan, the councilman, said making sure the property owners get the best possible deal will be a top priority.
Deputy Executive Mark Ericks also promised staff would "figure out a way to make it fair for them." Moreover, it's the law, he said.
The county expects to acquire the properties next year. Under the current timeline, most of the construction would take place in 2015 and 2016, with staff able to move in at some point in 2017.
It's unknown whether the county will demolish the old courthouse right away. The adjacent Mission Building, the courthouse built in 1911, will be preserved.
Noah Haglund: 425-339-3465; firstname.lastname@example.com.
Talk to us
- You can tell us about news and ask us about our journalism by emailing email@example.com or by calling 425-339-3428.
- If you have an opinion you wish to share for publication, send a letter to the editor to email@example.com or by regular mail to The Daily Herald, Letters, P.O. Box 930, Everett, WA 98206.
- More contact information is here.


text:
Booker: My dinner with Ted Cruz
Sen. Cory Booker said Thursday that when he met last week with Republican firebrand Sen. Ted Cruz for dinner, they had a "great intellectual discussion" and "no filibusters."
The New Jersey Democrat said he's trying to work with Republicans, even when finding common ground is difficult — including in restaurant selection.
"First of all, he's a Texas meat-eating cowboy, I'm a Jersey boy, vegetarian, so choosing the restaurant alone," Booker joked Thursday when asked about the meeting on "Good Day New York" on the local Fox affiliate.
Booker and the Texas Republican were spotted dining together at Capitol Hill restaurant Bistro Bis last week.
( Also on POLITICO: Booker shuns spotlight)
"We went to a place close to the Capitol and we sat, what was going to probably be an hour meeting, we sat for three hours," Booker said. "He and I sat for three hours looking for common ground. We found some good areas that we agree on."
The newly installed senator said that the pair discussed the economy, and he praised Cruz's intelligence.
"There was no filibusters going on, he did not read 'Green Eggs and Ham,'" Booker cracked. "We had probably one of the best constitutional law discussions since I got out of law school. And I loved it, we just had a great intellectual discussion, but we quickly moved to … there are trends in the economy that have nothing to do with partisanship that are just bad."
Citing wage stagnation and youth unemployment, Booker added: "We talked about what the facts were and then started trying to find ways we might get solutions."
( Also on POLITICO: Cruz tells CPAC: 'Stand on principle')
Booker said his meeting with Cruz was just one of many he has planned. In fact, he said he intends to sit down with every Republican in the Senate.
"I'm going to meet with every single Republican, every single one of my colleagues," Booker said, saying he has been working with Sen. Tim Scott (R-S.C.) and has met with Sens. John McCain (R-Ariz.) and Orrin Hatch (R-Utah).

subset: commoncrawl


text:
Webster"s Dictionary defines organization as "the act or process of organizing or of being organized."
Webster"s then defines organize as "to arrange elements into a whole of interdependent parts."
All in all, the strict definition as set forth by the dictionary might not be that helpful.
Yes, it gives a literal definition so inquiring minds might better understand the word they use without needing to think about it, but what does organization or to organize mean on a more practical level?
The Custodial Closet
The custodial closet, the utility room, the janitorial closet: This is a room called by many different names but, no matter what it"s called, it has the same general purpose.
The custodial closest is the place a professional custodian starts and ends their job each day.
It is a room that contains all of the equipment and chemicals that a custodian will need each and every day to complete their daily tasks.
While it is considered a storage room, the custodial closet is an integral part of a custodian"s arsenal.
Without a designated place for equipment and chemicals to be stored before and after their use, facilities might run the risk of dangerous chemicals being left just anywhere; equipment could be left lying out, becoming a hazard to those simply walking down a hallway.
While a custodial closet might be housed within a larger space, such as a boiler room, it is important that the space be clean and organized, no matter its size or location.
Setting The Mood
Believe it or not, how well-kept or not a facility"s custodial closet is can dictate the mood and pace of the entire staff for the duration of their shift.
The custodial closet should be seen as the domain of the staff, a place that they can completely control.
It is up to the staff to take pride in their space and, often, the condition of a custodial closet can reflect the type or quality of service the staff is providing throughout the facility.
If they are not taking pride in their own personal space, it is not much of a leap to assume they are taking less pride in the facility as a whole.
A custodial closet that is disorganized, even dirty, can be a sign that the staff is not working as hard as they could be or up to their potential.
The environment in which a staff begins and ends their workday has a direct impact on their productivity throughout the day.
But, if staffs are given everything they need in one neat and organized place, the likelihood of increased safety and efficiency grows by leaps and bounds.
If equipment is where it is supposed to be, they no longer have to waste time looking for any particular piece.
Having a place for everything allows staffs to complete their tasks in a timely manner, which will make clients and bosses happy.
The Right Stuff
A proper custodial closet should start with the proper lighting.
A dark closet is just that: A dark closet.
The space quickly becomes underused because it"s hard to find things or to see what one is doing when needing to clean equipment or do any other task.
Proper lighting will open up a space and allow for those who use it to fully utilize the space.
Staffs will be more inclined to use the custodial closet for things other than storing equipment and materials if it has proper lighting, allowing them to stay out of the way of building occupants.
The ideal custodial closet should also have safe shelving and enough of it to hold all of the equipment and chemicals that will be used from day to day.
Shelving should be used only for designated equipment and chemicals and always be kept free of dirt and debris.
The proper custodial closet should contain everything needed for the daily upkeep of a facility, including:
- A Material Safety Data Sheet (MSDS) binder
- Safety gear like gloves, goggles, face shields, aprons, etc.
- First-aid kit
- Well-kept cleaning equipment
- Properly stored chemicals.
Convenience Of Location
The location of a facility"s custodial closet should not be, as some might think, out of the way.
While it is true that out of sight does often equal out of mind, this is not an adage that should apply to your custodial closet.
If the custodial closet is not conveniently located, the likelihood that it will be frequently and properly used decreases.
A centrally located space will allow staffs to have only the equipment and chemicals that they need with them.
A closet located at a point that is far from where they are cleaning or working might require staff to bring anything and everything they might need with them at one time, resulting in loss of equipment and chemicals or slip, trip and fall hazards for staff and patrons alike.


text:
Oops! We could not locate your form.
Home / Shop / Saxophones / Tenor Saxophones
Elite V Tenor Saxophone - Brushed Silver Steel Stainless Finish
- Description
Elite V Tenor Saxophone – Brushed Silver Steel Stainless Finish
From the Pianismo to the Altisimo the Brushed Silver Steel Finish is our most Responsive
The Properties of this Special Plating and Finish increase the dynamic range about 24% from our Standard V Models
The Finish is also our most durable-will last for decades
Nicely Finished off with Gold Lacquer Keys
Schiller Elite Saxophone Features:
Saxophone Body:
Schiller Saxophones are tuned completely for a full color resonance using reed sizes from 1.5 to 5. The brass used within the body is virgin and not recycled. The proprietary mix of bronze within the Schiller Brass allows for a thicker molecule stack and is optimized for the sound wave lengths of the saxophone. Schiller customizes the brass thickness for the different sizes of saxophones to produce exact soprano, alto or tenor sounds.
Sound Holes:
The sound holes on the Schiller Elite Saxophones feature a thick 6mm rim that has been deburred and chamfered by hand. Schiller uses precision robotics to cut the holes to exact specifications and then relies on the skilled hands of professionals to certify the holes for exact fit to the pads.
European Goatskin is used for the leather pads on all Schiller Elite Saxophones. Goatskin is an extremely durable and soft material. This leather highly resists moisture while still completing a thick seal on the sound holes. It will not drag upon release from mating with the brass rim and will seal within a thousandth of a second allowing for extremely fast fingering.
Keys and Tension Springs:
Schiller uses precision cut blued-steel springs for use with our keys. Each key is individually measured to open to precisely the exact amount needed for each particular tone. This insures the correct note and pitch for each horn. The blued-steel springs will not bound at the top of the stroke or bobble upon release allowing for a very smooth fingering action. The bluing process on the springs acts as protection of the steel against any moisture the springs are likely to come in contact with.
Heavy Duty Tone Rings:
The proprietary Schiller Tone Rings near the bell of the saxophone act as vibration balances. These rings keep the sound waves produced fore and aft of the mouthpiece balanced as they travel through the body of the saxophone before they are amplified by the bell. This gives the sound a full color and produces beautiful resonance.
Polymer Mouthpiece:
Schiller saxophones come standard with polymer mouthpieces that are a medium chamber and medium facing. These mouthpieces will set your favorite reed perfectly and allow for minute-of-angle adjustments.
Bell Separation:
Schiller Saxophones are equipped with bells that are removable from the saxophone bodies. This allows for easier access when cleaning and easy repair if the bell becomes accidentally damaged.
Standard Features:
- High F# and High G on Most Models
- Artisan Bell Engraving
- Custom Finishes Available: Gold Plated, Vintage Brass, Silver Plated, Copper, Black Nickle
- Travelmate Molded Hard Case for Easy Handling
- EZ Adjustable Key Mechanisms
- 2 Years Part Warranty / 1 Year Labor Warranty


text:
This PDF will be accessible from your Account page after purchase and requires the free Adobe® Reader® software to read it.
The eBook requires no passwords or activation to read. We customize your eBook by discreetly watermarking it with your name, making it uniquely yours.
Also available in other formats.
Register your product to gain access to bonus material or receive a coupon.
Computer Graphics: Principles and Practice, Third Edition, remains the most authoritative introduction to the field. The first edition, the original "Foley and van Dam," helped to define computer graphics and how it could be taught. The second edition became an even more comprehensive resource for practitioners and students alike. This third edition has been completely rewritten to provide detailed and up-to-date coverage of key concepts, algorithms, technologies, and applications.
The authors explain the principles, as well as the mathematics, underlying computer graphics–knowledge that is essential for successful work both now and in the future. Early chapters show how to create 2D and 3D pictures right away, supporting experimentation. Later chapters, covering a broad range of topics, demonstrate more sophisticated approaches. Sections on current computer graphics practice show how to apply given principles in common situations, such as how to approximate an ideal solution on available hardware, or how to represent a data structure more efficiently. Topics are reinforced by exercises, programming problems, and hands-on projects.
This revised edition features
The text and hundreds of figures are presented in full color throughout the book. Programs are written in C++, C#, WPF, or pseudocode–whichever language is most effective for a given example. Source code and figures from the book, testbed programs, and additional content will be available from the authors' website (cgpp.net) or the publisher's website (informit.com/title/9780321399526). Instructor resources will be available from the publisher. The wealth of information in this book makes it the essential resource for anyone working in or studying any aspect of computer graphics.
Preface xxxv
About the Authors xlv
Chapter 1: Introduction 1
Graphics is a broad field; to understand it, you need information from perception, physics, mathematics, and engineering. Building a graphics application entails user-interface work, some amount of modeling (i.e., making a representation of a shape), and rendering (the making of pictures of shapes). Rendering is often done via a "pipeline" of operations; one can use this pipeline without understanding every detail to make many useful programs. But if we want to render things accurately, we need to start from a physical understanding of light. Knowing just a few properties of light prepares us to make a first approximate renderer.
1.1 An Introduction to Computer Graphics 1
1.2 A Brief History 7
1.3 An Illuminating Example 9
1.4 Goals, Resources, and Appropriate Abstractions 10
1.5 Some Numbers and Orders of Magnitude in Graphics 12
1.6 The Graphics Pipeline 14
1.7 Relationship of Graphics to Art, Design, and Perception 19
1.8 Basic Graphics Systems 20
1.9 Polygon Drawing As a Black Box 23
1.10 Interaction in Graphics Systems 23
1.11 Different Kinds of Graphics Applications 24
1.12 Different Kinds of Graphics Packages 25
1.13 Building Blocks for Realistic Rendering: A Brief Overview 26
1.14 Learning Computer Graphics 31
Chapter 2: Introduction to 2D Graphics Using WPF 35
A graphics platform acts as the intermediary between the application and the underlying graphics hardware, providing a layer of abstraction to shield the programmer from the details of driving the graphics processor. As CPUs and graphics peripherals have increased in speed and memory capabilities, the feature sets of graphics platforms have evolved to harness new hardware features and to shoulder more of the application development burden. After a brief overview of the evolution of 2D platforms, we explore a modern package (Windows Presentation Foundation), showing how to construct an animated 2D scene by creating and manipulating a simple hierarchical model. WPF's declarative XML-based syntax, and the basic techniques of scene specification, will carry over to the presentation of WPF's 3D support in Chapter 6.
2.1 Introduction 35
2.2 Overview of the 2D Graphics Pipeline 36
2.3 The Evolution of 2D Graphics Platforms 37
2.4 Specifying a 2D Scene Using WPF 41
2.5 Dynamics in 2D Graphics Using WPF 55
2.6 Supporting a Variety of Form Factors 58
2.7 Discussion and Further Reading 59
Chapter 3: An Ancient Renderer Made Modern 61
We describe a software implementation of an idea shown by Dürer. Doing so lets us create a perspective rendering of a cube, and introduces the notions of transforming meshes by transforming vertices, clipping, and multiple coordinate systems. We also encounter the need for visible surface determination and for lighting computations.
3.1 A Dürer Woodcut 61
3.2 Visibility 65
3.3 Implementation 65
3.4 The Program 72
3.5 Limitations 75
3.6 Discussion and Further Reading 76
3.7 Exercises 78
Chapter 4: A 2D Graphics Test Bed 81
We want you to rapidly test new ideas as you learn them. For most ideas in graphics, even 3D graphics, a simple 2D program suffices. We describe a test bed, a simple program that's easy to modify to experiment with new ideas, and show how it can be used to study corner cutting on polygons. A similar 3D program is available on the book's website.
4.1 Introduction 81
4.2 Details of the Test Bed 82
4.3 The C# Code 88
4.4 Animation 94
4.5 Interaction 95
4.6 An Application of the Test Bed 95
4.7 Discussion 98
4.8 Exercises 98
Chapter 5: An Introduction to Human Visual Perception 101
The human visual system is the ultimate "consumer" of most imagery produced by graphics. As such, it provides design constraints and goals for graphics systems. We introduce the visual system and some of its characteristics, and relate them to engineering decisions in graphics. The visual system is both tolerant of bad data (which is why the visual system can make sense of a child's stick-figure drawing), and at the same time remarkably sensitive. Understanding both aspects helps us better design graphics algorithms and systems. We discuss basic visual processing, constancy, and continuation, and how different kinds of visual cues help our brains form hypotheses about the world. We discuss primarily static perception of shape, leaving discussion of the perception of motion to Chapter 35, and of the perception of color to Chapter 28.
5.1 Introduction 101
5.2 The Visual System 103
5.3 The Eye 106
5.4 Constancy and Its Influences 110
5.5 Continuation 111
5.6 Shadows 112
5.7 Discussion and Further Reading 113
5.8 Exercises 115
Chapter 6: Introduction to Fixed-Function 3D Graphics and Hierarchical Modeling 117
The process of constructing a 3D scene to be rendered using the classic fixed-function graphics pipeline is composed of distinct steps such as specifying the geometry of components, applying surface materials to components, combining components to form complex objects, and placing lights and cameras. WPF provides an environment suitable for learning about and experimenting with this classic pipeline. We first present the essentials of 3D scene construction, and then further extend the discussion to introduce hierarchical modeling.
6.1 Introduction 117
6.2 Introducing Mesh and Lighting Specification 120
6.3 Curved-Surface Representation and Rendering 128
6.4 Surface Texture in WPF 130
6.5 The WPF Reflectance Model 133
6.6 Hierarchical Modeling Using a Scene Graph 138
6.7 Discussion 147
Chapter 7: Essential Mathematics and the Geometry of 2-Space and 3-Space 149
We review basic facts about equations of lines and planes, areas, convexity, and parameterization. We discuss inside-outside testing for points in polygons. We describe barycentric coordinates, and present the notational conventions that are used throughout the book, including the notation for functions. We present a graphics-centric view of vectors, and introduce the notion of covectors.
7.1 Introduction 149
7.2 Notation 150
7.3 Sets 150
7.4 Functions 151
7.5 Coordinates 153
7.6 Operations on Coordinates 153
7.7 Intersections of Lines 165
7.8 Intersections, More Generally 167
7.9 Triangles 171
7.10 Polygons 175
7.11 Discussion 182
7.12 Exercises 182
Chapter 8: A Simple Way to Describe Shape in 2D and 3D 187
The triangle mesh is a fundamental structure in graphics, widely used for representing shape. We describe 1D meshes (polylines) in 2D and generalize to 2D meshes in 3D. We discuss several representations for triangle meshes, simple operations on meshes such as computing the boundary, and determining whether a mesh is oriented.
8.1 Introduction 187
8.2 "Meshes" in 2D: Polylines 189
8.3 Meshes in 3D 192
8.4 Discussion and Further Reading 198
8.5 Exercises 198
Chapter 9: Functions on Meshes 201
A real-valued function defined at the vertices of a mesh can be extended linearly across each face by barycentric interpolation to define a function on the entire mesh. Such extensions are used in texture mapping, for instance. By considering what happens when a single vertex value is 1, and all others are 0, we see that all our piecewise-linear extensions are combinations of certain basic piecewise linear mesh functions; replacing these basis functions with other, smoother functions can lead to smoother interpolation of values.
9.1 Introduction 201
9.2 Code for Barycentric Interpolation 203
9.3 Limitations of Piecewise Linear Extension 210
9.4 Smoother Extensions 211
9.5 Functions Multiply Defined at Vertices 213
9.6 Application: Texture Mapping 214
9.7 Discussion 217
9.8 Exercises 217
Chapter 10: Transformations in Two Dimensions 221
Linear and affine transformations are the building blocks of graphics. They occur in modeling, in rendering, in animation, and in just about every other context imaginable. They are the natural tools for transforming objects represented as meshes, because they preserve the mesh structure perfectly. We introduce linear and affine transformations in the plane, because most of the interesting phenomena are present there, the exception being the behavior of rotations in three dimensions, which we discuss in Chapter 11. We also discuss the relationship of transformations to matrices, the use of homogeneous coordinates, the uses of hierarchies of transformations in modeling, and the idea of coordinate "frames."
10.1 Introduction 221
10.2 Five Examples 222
10.3 Important Facts about Transformations 224
10.4 Translation 233
10.5 Points and Vectors Again 234
10.6 Why Use 3 × 3 Matrices Instead of a Matrix and a Vector? 235
10.7 Windowing Transformations 236
10.8 Building 3D Transformations 237
10.9 Another Example of Building a 2D Transformation 238
10.10 Coordinate Frames 240
10.11 Application: Rendering from a Scene Graph 241
10.12 Transforming Vectors and Covectors 250
10.13 More General Transformations 254
10.14 Transformations versus Interpolation 259
10.15 Discussion and Further Reading 259
10.16 Exercises 260
Chapter 11: Transformations in Three Dimensions 263
Transformations in 3-space are analogous to those in the plane, except for rotations: In the plane, we can swap the order in which we perform two rotations about the origin without altering the result; in 3-space, we generally cannot. We discuss the group of rotations in 3-space, the use of quaternions to represent rotations, interpolating between quaternions, and a more general technique for interpolating among any sequence of transformations, provided they are "close enough" to one another. Some of these techniques are applied to user-interface designs in Chapter 21.
11.1 Introduction 263
11.2 Rotations 266
11.3 Comparing Representations 278
11.4 Rotations versus Rotation Specifications 279
11.5 Interpolating Matrix Transformations 280
11.6 Virtual Trackball and Arcball 280
11.7 Discussion and Further Reading 283
11.8 Exercises 284
Chapter 12: A 2D and 3D Transformation Library for Graphics 287
Because we represent so many things in graphics with arrays of three floating-point numbers (RGB colors, locations in 3-space, vectors in 3-space, covectors in 3-space, etc.) it's very easy to make conceptual mistakes in code, performing operations (like adding the coordinates of two points) that don't make sense.We present a sample mathematics library that you can use to avoid such problems. While such a library may have no place in high-performance graphics, where the overhead of type checking would be unreasonable, it can be very useful in the development of programs in their early stages.
12.1 Introduction 287
12.2 Points and Vectors 288
12.3 Transformations 288
12.4 Specification of Transformations. 290
12.5 Implementation 290
12.6 Three Dimensions 293
12.7 Associated Transformations 294
12.8 Other Structures 294
12.9 Other Approaches 295
12.10 Discussion 297
12.11 Exercises 297
Chapter 13: Camera Specifications and Transformations 299
To convert a model of a 3D scene to a 2D image seen from a particular point of view, we have to specify the view precisely. The rendering process turns out to be particularly simple if the camera is at the origin, looking along a coordinate axis, and if the field of view is 90 degrees in each direction. We therefore transform the general problem to the more specific one. We discuss how the virtual camera is specified, and how we transform any rendering problem to one in which the camera is in a standard position with standard characteristics. We also discuss the specification of parallel (as opposed to perspective) views.
13.1 Introduction 299
13.2 A 2D Example 300
13.3 Perspective Camera Specification 301
13.4 Building Transformations from a View Specification 303
13.5 Camera Transformations and the Rasterizing Renderer Pipeline 310
13.6 Perspective and z-values 313
13.7 Camera Transformations and the Modeling Hierarchy. 313
13.8 Orthographic Cameras 315
13.9 Discussion and Further Reading 317
13.10 Exercises 318
Chapter 14: Standard Approximations and Representations 321
The real world contains too much detail to simulate efficiently from first principles of physics and geometry. Models make graphics computationally tractable but introduce restrictions and errors. We explore some pervasive approximations and their limitations. In many cases, we have a choice between competing models with different properties.
14.1 Introduction 321
14.2 Evaluating Representations 322
14.3 Real Numbers 324
14.4 Building Blocks of Ray Optics 330
14.5 Large-Scale Object Geometry 337
14.6 Distant Objects 346
14.7 Volumetric Models 349
14.8 Scene Graphs 351
14.9 Material Models 353
14.10 Translucency and Blending 361
14.11 Luminaire Models 369
14.12 Discussion 384
14.13 Exercises 385
Chapter 15: Ray Casting and Rasterization 387
A 3D renderer identifies the surface that covers each pixel of an image, and then executes some shading routine to compute the value of the pixel. We introduce a set of coverage algorithms and some straw-man shading routines, and revisit the graphics pipeline abstraction. These are practical design points arising from general principles of geometry and processor architectures. For coverage, we derive the ray-casting and rasterization algorithms and then build the complete source code for a render on top of it. This requires graphics-specific debugging techniques such as visualizing intermediate results. Architecture-aware optimizations dramatically increase the performance of these programs, albeit by limiting abstraction. Alternatively, we can move abstractions above the pipeline to enable dedicated graphics hardware. APIs abstracting graphics processing units (GPUs) enable efficient rasterization implementations. We port our render to the programmable shading framework common to such APIs.
15.1 Introduction 387
15.2 High-Level Design Overview 388
15.3 Implementation Platform 393
15.4 A Ray-Casting Renderer 403
15.5 Intermezzo 417
15.6 Rasterization 418
15.7 Rendering with a Rasterization API 432
15.8 Performance and Optimization 444
15.9 Discussion 447
15.10 Exercises 449
Chapter 16: Survey of Real-Time 3D Graphics Platforms 451
There is great diversity in the feature sets and design goals among 3D graphics platforms. Some are thin layers that bring the application as close to the hardware as possible for optimum performance and control; others provide a thick layer of data structures for the storage and manipulation of complex scenes; and at the top of the power scale are the game-development environments that additionally provide advanced features like physics and joint/skin simulation. Platforms supporting games render with the highest possible speed to ensure interactivity, while those used by the special effects industry sacrifice speed for the utmost in image quality. We present a broad overview of modern 3D platforms with an emphasis on the design goals behind the variations.
16.1 Introduction 451
16.2 The Programmer's Model: OpenGL Compatibility (Fixed-Function) Profile 454
16.3 The Programmer's Model: OpenGL Programmable Pipeline 464
16.4 Architectures of Graphics Applications 466
16.5 3D on Other Platforms 478
16.6 Discussion 479
Chapter 17: Image Representation and Manipulation 481
Much of graphics produces images as output. We describe how images are stored, what information they can contain, and what they can represent, along with the importance of knowing the precise meaning of the pixels in an image file. We show how to composite images (i.e., blend, overlay, and otherwise merge them) using coverage maps, and how to simply represent images at multiple scales with MIP mapping.
17.1 Introduction 481
17.2 What Is an Image? 482
17.3 Image File Formats 483
17.4 Image Compositing 485
17.5 Other Image Types 490
17.6 MIP Maps 491
17.7 Discussion and Further Reading 492
17.8 Exercises 493
Chapter 18: Images and Signal Processing 495
The pattern of light arriving at a camera sensor can be thought of as a function defined on a 2D rectangle, the value at each point being the light energy density arriving there. The resultant image is an array of values, each one arrived at by some sort of averaging of the input function. The relationship between these two functions—one defined on a continuous 2D rectangle, the other defined on a rectangular grid of points—is a deep one. We study the relationship with the tools of Fourier analysis, which lets us understand what parts of the incoming signal can be accurately captured by the discrete signal. This understanding helps us avoid a wide range of image problems, including "jaggies" (ragged edges). It's also the basis for understanding other phenomena in graphics, such as moiré patterns in textures.
18.1 Introduction 495
18.2 Historical Motivation 498
18.3 Convolution 500
18.4 Properties of Convolution 503
18.5 Convolution-like Computations 504
18.6 Reconstruction 505
18.7 Function Classes 505
18.8 Sampling 507
18.9 Mathematical Considerations 508
18.10 The Fourier Transform: Definitions 511
18.11 The Fourier Transform of a Function on an Interval 511
18.12 Generalizations to Larger Intervals and All of R 516
18.13 Examples of Fourier Transforms 516
18.14 An Approximation of Sampling 519
18.15 Examples Involving Limits 519
18.16 The Inverse Fourier Transform 520
18.17 Properties of the Fourier Transform 521
18.18 Applications 522
18.19 Reconstruction and Band Limiting 524
18.20 Aliasing Revisited 527
18.21 Discussion and Further Reading 529
18.22 Exercises 532
Chapter 19: Enlarging and Shrinking Images 533
We apply the ideas of the previous two chapters to a concrete example—enlarging and shrinking of images—to illustrate their use in practice. We see that when an image, conventionally represented, is shrunk, problems will arise unless certain high-frequency information is removed before the shrinking process.
19.1 Introduction 533
19.2 Enlarging an Image 534
19.3 Scaling Down an Image 537
19.4 Making the Algorithms Practical 538
19.5 Finite-Support Approximations 540
19.6 Other Image Operations and Efficiency 541
19.7 Discussion and Further Reading 544
19.8 Exercises 545
Chapter 20: Textures and Texture Mapping 547
Texturing, and its variants, add visual richness to models without introducing geometric complexity. We discuss basic texturing and its implementation in software, and some of its variants, like bump mapping and displacement mapping, and the use of 1D and 3D textures. We also discuss the creation of texture correspondences (assigning texture coordinates to points on a mesh) and of the texture images themselves, through techniques as varied as "painting the model" and probabilistic texture synthesis algorithms.
20.1 Introduction 547
20.2 Variations of Texturing 549
20.3 Building Tangent Vectors from a Parameterization 552
20.4 Codomains for Texture Maps 553
20.5 Assigning Texture Coordinates 555
20.6 Application Examples 557
20.7 Sampling, Aliasing, Filtering, and Reconstruction 557
20.8 Texture Synthesis 559
20.9 Data-Driven Texture Synthesis 562
20.10 Discussion and Further Reading 564
20.11 Exercises 565
Chapter 21: Interaction Techniques 567
Certain interaction techniques use a substantial amount of the mathematics of transformations, and therefore are more suitable for a book like ours than one that concentrates on the design of the interaction itself, and the human factors associated with that design. We illustrate these ideas with three 3D manipulators—the arcball, trackball, and Unicam—and with a a multitouch interface for manipulating images.
21.1 Introduction 567
21.2 User Interfaces and Computer Graphics 567
21.3 Multitouch Interaction for 2D Manipulation 574
21.4 Mouse-Based Object Manipulation in 3D 580
21.5 Mouse-Based Camera Manipulation: Unicam 584
21.6 Choosing the Best Interface 587
21.7 Some Interface Examples 588
21.8 Discussion and Further Reading 591
21.9 Exercises 593
Chapter 22: Splines and Subdivision Curves 595
Splines are, informally, curves that pass through or near a sequence of "control points." They're used to describe shapes, and to control the motion of objects in animations, among other things. Splines make sense not only in the plane, but also in 3-space and in 1-space, where they provide a means of interpolating a sequence of values with various degrees of continuity. Splines, as a modeling tool in graphics, have been in part supplanted by subdivision curves (which we saw in the form of corner cutting curves in Chapter 4) and subdivision surfaces. The two classes—splines and subdivision—are closely related. We demonstrate this for curves in this chapter; a similar approach works for surfaces.
22.1 Introduction 595
22.2 Basic Polynomial Curves 595
22.3 Fitting a Curve Segment between Two Curves: The Hermite Curve 595
22.4 Gluing Together Curves and the Catmull-Rom Spline 598
22.5 Cubic B-splines 602
22.6 Subdivision Curves 604
22.7 Discussion and Further Reading 605
22.8 Exercises 605
Chapter 23: Splines and Subdivision Surfaces 607
Spline surfaces and subdivision surfaces are natural generalizations of spline and subdivision curves. Surfaces are built from rectangular patches, and when these meet four at a vertex, the generalization is reasonably straightforward. At vertices where the degree is not four, certain challenges arise, and dealing with these "exceptional vertices" requires care. Just as in the case of curves, subdivision surfaces, away from exceptional vertices, turn out to be identical to spline surfaces. We discuss spline patches, Catmull-Clark subdivision, other subdivision approaches, and the problems of exceptional points.
23.1 Introduction 607
23.2 Bézier Patches 608
23.3 Catmull-Clark Subdivision Surfaces 610
23.4 Modeling with Subdivision Surfaces 613
23.5 Discussion and Further Reading 614
Chapter 24: Implicit Representations of Shape 615
Implicit curves are defined as the level set of some function on the plane; on a weather map, the isotherm lines constitute implicit curves. By choosing particular functions, we can make the shapes of these curves controllable. The same idea applies in space to define implicit surfaces. In each case, it's not too difficult to convert an implicit representation to a mesh representation that approximates the surface. But the implicit representation itself has many advantages. Finding a ray-shape intersection with an implicit surface reduces to root finding, for instance, and it's easy to combine implicit shapes with operators that result in new shapes without sharp corners.
24.1 Introduction 615
24.2 Implicit Curves 616
24.3 Implicit Surfaces 619
24.4 Representing Implicit Functions 621
24.5 Other Representations of Implicit Functions 624
24.6 Conversion to Polyhedral Meshes 625
24.7 Conversion from Polyhedral Meshes to Implicits 629
24.8 Texturing Implicit Models 629
24.9 Ray Tracing Implicit Surfaces 631
24.10 Implicit Shapes in Animation 631
24.11 Discussion and Further Reading 632
24.12 Exercises 633
Chapter 25: Meshes 635
Meshes are a dominant structure in today's graphics. They serve as approximations to smooth curves and surfaces, and much mathematics from the smooth category can be transferred to work with meshes. Certain special classes of meshes—height field meshes, and very regular meshes—support fast algorithms particularly well. We discuss level of detail in the context of meshes, where practical algorithms abound, but also in a larger context. We conclude with some applications.
25.1 Introduction 635
25.2 Mesh Topology 637
25.3 Mesh Geometry 643
25.4 Level of Detail 645
25.5 Mesh Applications 1: Marching Cubes, Mesh Repair, and Mesh Improvement 652
25.6 Mesh Applications 2: Deformation Transfer and Triangle-Order Optimization 660
25.7 Discussion and Further Reading 667
25.8 Exercises 668
Chapter 26: Light 669
We discuss the basic physics of light, starting from blackbody radiation, and the relevance of this physics to computer graphics. In particular, we discuss both the wave and particle descriptions of light, polarization effects, and diffraction. We then discuss the measurement of light, including the various units of measure, and the continuum assumption implicit in these measurements. We focus on the radiance, from which all other radiometric terms can be derived through integration, and which is constant along rays in empty space. Because of the dependence on integration, we discuss solid angles and integration over these. Because the radiance field in most scenes is too complex to express in simple algebraic terms, integrals of radiance are almost always computed stochastically, and so we introduce stochastic integration. Finally, we discuss reflectance and transmission, their measurement, and the challenges of computing integrals in which the integrands have substantial variation (like the specular and nonspecular parts of the reflection from a glossy surface).
26.1 Introduction 669
26.2 The Physics of Light 669
26.3 The Microscopic View 670
26.4 The Wave Nature of Light 674
26.5 Fresnel's Law and Polarization 681
26.6 Modeling Light as a Continuous Flow 683
26.7 Measuring Light 692
26.8 Other Measurements 700
26.9 The Derivative Approach 700
26.10 Reflectance 702
26.11 Discussion and Further Reading 707
26.12 Exercises 707
Chapter 27: Materials and Scattering 711
The appearance of an object made of some material is determined by the interaction of that material with the light in the scene. The interaction (for fairly homogeneous materials) is described by the reflection and transmission distribution functions, at least for at-the-surface scattering. We present several different models for these, ranging from the purely empirical to those incorporating various degrees of physical realism, and observe their limitations as well. We briefly discuss scattering from volumetric media like smoke and fog, and the kind of subsurface scattering that takes place in media like skin and milk. Anticipating our use of these material models in rendering, we also discuss the software interface a material model must support to be used effectively.
27.1 Introduction 711
27.2 Object-Level Scattering 711
27.3 Surface Scattering 712
27.4 Kinds of Scattering 714
27.5 Empirical and Phenomenological Models for Scattering 717
27.6 Measured Models 725
27.7 Physical Models for Specular and Diffuse Reflection 726
27.8 Physically Based Scattering Models 727
27.9 Representation Choices 734
27.10 Criteria for Evaluation 734
27.11 Variations across Surfaces 735
27.12 Suitability for Human Use 736
27.13 More Complex Scattering 737
27.14 Software Interface to Material Models 740
27.15 Discussion and Further Reading 741
27.16 Exercises 743
Chapter 28: Color 745
While color appears to be a physical property—that book is blue, that sun is yellow—it is, in fact, a perceptual phenomenon, one that's closely related to the spectral distribution of light, but by no means completely determined by it. We describe the perception of color and its relationship to the physiology of the eye. We introduce various systems for naming, representing, and selecting colors. We also discuss the perception of brightness, which is nonlinear as a function of light energy, and the consequences of this for the efficient representation of varying brightness levels, leading to the notion of gamma, an exponent used in compressing brightness data. We also discuss the gamuts (range of colors) of various devices, and the problems of color interpolation.
28.1 Introduction 745
28.2 Spectral Distribution of Light 746
28.3 The Phenomenon of Color Perception and the Physiology of the Eye 748
28.4 The Perception of Color 750
28.5 Color Description 756
28.6 Conventional Color Wisdom 758
28.7 Color Perception Strengths andWeaknesses 761
28.8 Standard Description of Colors 761
28.9 Perceptual Color Spaces 767
28.10 Intermezzo 768
28.11 White 769
28.12 Encoding of Intensity, Exponents, and Gamma Correction 769
28.13 Describing Color 771
28.14 CMY and CMYK Color 774
28.15 The YIQ Color Model 775
28.16 Video Standards 775
28.17 HSV and HLS 776
28.18 Interpolating Color 777
28.19 Using Color in Computer Graphics 779
28.20 Discussion and Further Reading 780
28.21 Exercises 780
Chapter 29: Light Transport 783
Using the formal descriptions of radiance and scattering, we derive the rendering equation, an integral equation characterizing the radiance field, given a description of the illumination, geometry, and materials in the scene.
29.1 Introduction 783
29.2 Light Transport 783
29.3 A Peek Ahead 787
29.4 The Rendering Equation for General Scattering 789
29.5 Scattering, Revisited 792
29.6 AWorked Example 793
29.7 Solving the Rendering Equation 796
29.8 The Classification of Light-Transport Paths 796
29.9 Discussion 799
29.10 Exercise 799
Chapter 30: Probability and Monte Carlo Integration 801
Probabilistic methods are at the heart of modern rendering techniques, especially methods for estimating integrals, because solving the rendering equation involves computing an integral that's impossible to evaluate exactly in any but the simplest scenes. We review basic discrete probability, generalize to continuum probability, and use this to derive the single-sample estimate for an integral and the importance-weighted single-sample estimate, which we'll use in the next two chapters.
30.1 Introduction 801
30.2 Numerical Integration 801
30.3 Random Variables and Randomized Algorithms 802
30.4 Continuum Probability, Continued 815
30.5 Importance Sampling and Integration 818
30.6 Mixed Probabilities 820
30.7 Discussion and Further Reading 821
30.8 Exercises 821
Chapter 31: Computing Solutions to the Rendering Equation: Theoretical Approaches 825
The rendering equation can be approximately solved by many methods, including ray tracing (an approximation to the series solution), radiosity (an approximation arising from a finite-element approach), Metropolis light transport, and photon mapping, not to mention basic polygonal renderers using direct-lighting-plus-ambient approximations. Each method has strengths and weaknesses that can be analyzed by considering the nature of the materials in the scene, by examining different classes of light paths from luminaires to detectors, and by uncovering various kinds of approximation errors implicit in the methods.
31.1 Introduction 825
31.2 Approximate Solutions of Equations 825
31.3 Method 1: Approximating the Equation 826
31.4 Method 2: Restricting the Domain 827
31.5 Method 3: Using Statistical Estimators 827
31.6 Method 4: Bisection 830
31.7 Other Approaches 831
31.8 The Rendering Equation, Revisited 831
31.9 What Do We Need to Compute? 836
31.10 The Discretization Approach: Radiosity 838
31.11 Separation of Transport Paths 844
31.12 Series Solution of the Rendering Equation 844
31.13 Alternative Formulations of Light Transport 846
31.14 Approximations of the Series Solution 847
31.15 Approximating Scattering: Spherical Harmonics 848
31.16 Introduction to Monte Carlo Approaches 851
31.17 Tracing Paths 855
31.18 Path Tracing and Markov Chains 856
31.19 Photon Mapping 872
31.20 Discussion and Further Reading 876
31.21 Exercises 879
Chapter 32: Rendering in Practice 881
We describe the implementation of a path tracer, which exhibits many of the complexities associated with ray-tracing-like renderers that attempt to estimate radiance by estimating integrals associated to the rendering equations, and a photon mapper, which quickly converges to a biased but consistent and plausible result.
32.1 Introduction 881
32.2 Representations 881
32.3 Surface Representations and Representing BSDFs Locally 882
32.4 Representation of Light 887
32.5 A Basic Path Tracer 889
32.6 Photon Mapping 904
32.7 Generalizations 914
32.8 Rendering and Debugging 915
32.9 Discussion and Further Reading 919
32.10 Exercises 923
Chapter 33: Shaders 927
On modern graphics cards, we can execute small (and not-so-small) programs that operate on model data to produce pictures. In the simplest form, these are vertex shaders and fragment shaders, the first of which can do processing based on the geometry of the scene (typically the vertex coordinates), and the second of which can process fragments, which correspond to pieces of polygons that will appear in a single pixel. To illustrate the more basic use of shaders we describe how to implement basic Phong shading, environment mapping, and a simple nonphotorealistic renderer.
33.1 Introduction 927
33.2 The Graphics Pipeline in Several Forms 927
33.3 Historical Development 929
33.4 A Simple Graphics Program with Shaders 932
33.5 A Phong Shader 937
33.6 Environment Mapping 939
33.7 Two Versions of Toon Shading 940
33.8 Basic XToon Shading 942
33.9 Discussion and Further Reading 943
33.10 Exercises 943
Chapter 34: Expressive Rendering 945
Expressive rendering is the name we give to renderings that do not aim for photorealism, but rather aim to produce imagery that communicates with the viewer, conveying what the creator finds important, and suppressing what's unimportant. We summarize the theoretical foundations of expressive rendering, particularly various kinds of abstraction, and discuss the relationship of the "message" of a rendering and its style. We illustrate with a few expressive rendering techniques.
34.1 Introduction 945
34.2 The Challenges of Expressive Rendering 949
34.3 Marks and Strokes 950
34.4 Perception and Salient Features 951
34.5 Geometric Curve Extraction 952
34.6 Abstraction 959
34.7 Discussion and Further Reading 961
Chapter 35: Motion 963
An animation is a sequence of rendered frames that gives the perception of smooth motion when displayed quickly. The algorithms to control the underlying 3D object motion generally interpolate between key poses using splines, or simulate the laws of physics by numerically integrating velocity and acceleration. Whereas rendering primarily is concerned with surfaces, animation algorithms require a model with additional properties like articulation and mass. Yet these models still simplify the real world, accepting limitations to achieve computational efficiency. The hardest problems in animation involve artificial intelligence for planning realistic character motion, which is beyond the scope of this chapter.
35.1 Introduction 963
35.2 Motivating Examples 966
35.3 Considerations for Rendering 975
35.4 Representations 987
35.5 Pose Interpolation 992
35.6 Dynamics 996
35.7 Remarks on Stability in Dynamics 1020
35.8 Discussion 1022
Chapter 36: Visibility Determination 1023
Efficient determination of the subset of a scene that affects the final image is critical to the performance of a renderer. The first approximation of this process is conservative determination of surfaces visible to the eye. This problem has been addressed by algorithms with radically different space, quality, and time bounds. The preferred algorithms vary over time with the cost and performance of hardware architectures. Because analogous problems arise in collision detection, selection, global illumination, and document layout, even visibility algorithms that are currently out of favor for primary rays may be preferred in other applications.
36.1 Introduction 1023
36.2 Ray Casting 1029
36.3 The Depth Buffer 1034
36.4 List-Priority Algorithms 1040
36.5 Frustum Culling and Clipping 1044
36.6 Backface Culling 1047
36.7 Hierarchical Occlusion Culling 1049
36.8 Sector-based Conservative Visibility 1050
36.9 Partial Coverage 1054
36.10 Discussion and Further Reading 1063
36.11 Exercise 1063
Chapter 37: Spatial Data Structures 1065
Spatial data structures like bounding volume hierarchies provide intersection queries and set operations on geometry embedded in a metric space. Intersection queries are necessary for light transport, interaction, and dynamics simulation. These structures are classic data structures like hash tables,trees, and graphs extended with the constraints of 3D geometry.
37.1 Introduction 1065
37.2 Programmatic Interfaces 1068
37.3 Characterizing Data Structures 1077
37.4 Overview of kd Structures 1080
37.5 List 1081
37.6 Trees 1083
37.7 Grid 1093
37.8 Discussion and Further Reading 1101
Chapter 38: Modern Graphics Hardware 1103
We describe the structure of modern graphics cards, their design, and some of the engineering tradeoffs that influence this design.
38.1 Introduction 1103
38.2 NVIDIA GeForce 9800 GTX 1105
38.3 Architecture and Implementation. 1107
38.4 Parallelism 1111
38.5 Programmability 1114
38.6 Texture, Memory, and Latency 1117
38.7 Locality 1127
38.8 Organizational Alternatives 1135
38.9 GPUs as Compute Engines 1142
38.10 Discussion and Further Reading 1143
38.11 Exercises 1143
List of Principles 1145
Bibliography 1149
Index 1183


text: RIO's Leviathan series of lines have been specifically designed for the largest of tropical species. Each line features a powerful front taper to cast the biggest of flies, and a short, heavy head to load blue water rods. The majority of lines are built on a tough, ultra strong core in excess of 70 lbs that will easily battle large fish, and resist being cut on coral and rock structures. A hard, tropical coating prevents the line from wilting in the heat.


text:
The gpm daemon supports allot of input devices, including tablets. If you want a list of the supported devices of your gpm, do a
and you get it.
gpm -t help
The Wacom driver of gpm 1.18.0 and below seems to be for the very old artpad models, the documentation does not say anything about this. I tested it with ultrapad, penpartner, graphire and intuos models but it did not work. I have rewritten the wacom driver for gpm, to use it you need at least gpm version 1.18.2 . Since 1.18.2, the old wacom driver has been replaced with my driver for wacom graphire, penpartner and ultrapad products.
However, if you own an old artpad, use gpm < 1.18.1 and try:
and it should work.
killall gpm ; gpm -t wacom -m /dev/ttyS0
If you own a graphire, use gpm > 1.18.1 instead and use
for the relative (mouse-like) mode:
for the absolute (tablet-like) mode:
killall gpm ; gpm -t wacom -o relative -m /dev/ttyS0
killall gpm ; gpm -t wacom -o absolute -m /dev/ttyS0
Of course, you get only the buttons and the movement
function, pressure and tilt are not supported because they are not too useful
in text-based applications.
There is no support for ultrapad macro buttons or graphire mouse wheel.
If you use gpm and XFree86, you may or may not run in problems, because normally a device can be opened only by one program at a time. There are two solutions for that:
If you want to omit the translation and only get the data byte for byte, just call gpm -t ps2 -R raw . You can then make XFree use that second device by putting the line Device "/dev/gpmdata" in your XF86Config in the pointer section or the XInput section.


text:
Through our portfolio of services, we help you make informed decisions about the leadership you need to build an organization that outperforms, inspires and grows.
We help you find and develop outstanding leaders, improve team and board performance, and align culture with your strategy.
Explore our insights on leadership, board and governance issues, organizational culture and more.
Our global flagship publication explores important business and leadership issues — including the factors driving greater complexity for businesses — and share insights and ideas to help leaders be more effective and successful. Learn more.
We have 60 years' experience in leadership consulting. We've built a reputation for delivering real impact for our clients — from the world's largest companies to startups to nonprofits.
We are committed to building relationships with exceptional leaders who may qualify as candidates, now or in the future. To maximize your visibility, we encourage you to register with both Spencer Stuart and BlueSteps.
Based in the firm's Stamford office, Adam Kovach co-leads Spencer Stuart's global Private Equity Practice and leads the practice in North America. He is also member of the Financial Officer Practice. From an industry perspective, he focuses on the technology, consumer, and the communications and media sectors. During his tenure with Spencer Stuart, Adam has helped to place more than 600 executives in leading companies around the world.
Adam earned a master's degree in human resources from the Clarkson University School of Business and is certified by the Society of Human Resource Management. He also earned a bachelor's degree in business administration from Elmira College.


text:
Review: John & Jen
While musicals have license for unbridled imagination to reach the most extravagant of conceits (and we thank them for that), sometimes they can have the most profound effects when they're brought down to ground-zero reality. The crushingly intimate John & Jen takes a magnifying glass to the relationship of a brother and sister who grow up (and apart) during the tumultuous 1960s and 70s. The revival of this two-hander by Andrew Lippa and Tom Greenwald is the rare musical that takes the time to examine the relationship between two sole characters, doing so to an impressively deep degree. Read more
The No. 1 Reason to See: Volleygirls
Self esteem and high school glory are once again on the line when it's time for the big game in Volleygirls. The new musical by Rob Ackerman, Eli Bolin, and Sam Forman, playing as part of NYMF through July 27 at the Signature Center, focuses on a team of six insecure high school volleyball players and their equally hapless coach. Coach Kim Brindell (played by [title of show]'s Susan Blackwell) is a disgraced Olympian who gets a chance at redemption when she is charged with shaking the team from their dismal losing streak. Yet the girls' road to victory is smattered with mommy issues, daddy issues, sexual identity crisis and more. Both coach and teammates will have to pull each other out of their emotional mire to go for the gold. Read more
The No. 1 Reason To See Bella's Dream
Bella's Dream, the debut play from Dana Boll, which runs through June 30 at the Flamboyan Theatre, follows the globetrotting journey of her grandparents as they flee Poland on the eve of the Nazi occupation. Prompted by a premonition of impending danger, Bella (Lisa Kathryn Hokans) convinces her husband Raymond (Jon-Michael Miller) to uproot their lives to avoid the impending war in Europe. The play chronicles the couple's harrowing journey across Eastern Europe and Central Asia, while flashing forward to present day America, when their granddaughter (Boll, playing herself) discovers the truth about her grandparents' experience during World War II. Read more
The No. 1 Reason to See: Hands on a Hardbody
The hardknock life of Americans battered down by lean financial times gets the musical treatment in the new show Hands on a Hardbody. Composed by Trey Anastasio (of Phish phame) and Amanda Green with a book by Doug Wright, Hardbody adapts its story from the 1997 documentary about 10 Texans trying to win a pickup truck. The rules of the contest are simple: whoever keeps their hands on the truck the longest wins. The musical dramatizes the endurance competition while highlighting each of the contestants' backstories. Read more
Ticket giveaway: Golden Boy
***This giveaway has concluded.***
Lincoln Center Theater vets Seth Numrich and Danny Burstein are back in a revival of Clifford Odets' drama Golden Boy. Numerich stars as Joe Bonaparte, a gifted violinist who sacrifices his music talents for stardom in the boxing ring during Depression-era America. Tony Shalhoub co-stars in the Barlett Sher-directed drama. Stage Rush is giving away a pair of tickets to two lucky readers to see the show at the Belasco Theatre.
Fill out the form below to be entered into the contest.
Only one entry per person will be counted. Read more
Ticket giveaway: Who's Afraid of Virginia Woolf
***This giveaway has concluded***
It's been 5 years since Amy Morton first screamed, "I'm running things now!" on Broadway in August: Osage County. Now the Tony nominee is back on the boards and mad as ever in the 50th anniversary revival of Who's Afraid of Virginia Woolf. As if that wasn't reason enough to see it, August playwright Tracy Letts joins her onstage as her embittered husband. Stage Rush is giving a lucky reader a pair of tickets to see these two powerhouses duke it out at the Booth Theatre.
Fill out the form below to be entered into the contest.
Only one entry per person will be counted. Read more
Ghost's Jennifer Sanchez displays 'model behavior' on Broadway and as a single mom
"What was the name of that cheese that I like?" It's the seventh voicemail Candela leaves for her MIA friend Pepa in the song "Model Behavior" in Women on the Verge of a Nervous Breakdown. While Laura Benanti was nominated for a Tony Award for her performance in the role, this line (and her rendition of the whole song) highlighted understudy Jennifer Sanchez as an unsung comedic gem at a 2011 At This Performance concert. Sanchez went on twice for the part and still beams at the memory of it, calling it "the best time" she's ever had on stage. Having made her Broadway debut in West Side Story in 2009, she's now appearing in Ghost the Musical as an ensemble member and Rosa Santiago, the first client of the faux psychic Oda Mae Brown. Sanchez sat down with Stage Rush to discuss playing a 64 year old, the challenges faced by an understudy, and being a single mom on Broadway.
This is your third Broadway show. What's it like to work on Broadway? Was this always the dream?
I didn't see a Broadway show until I was in college. I had never been to New York. The first time I acted in a show was when I was 7 years old. It was a community theater production of Annie in New Mexico. I thought that was everything. I had so much fun. I got to wear lip gloss and hairspray. I thought my life was complete. That was the start of it all.
You are playing an old widow in Ghost. How did that happen?
Well, she's 64. Her age isn't specified in the script, but she's 64. When I auditioned for Rosa Santiago, I honestly thought she was 27. I thought she was young, fun, and beautiful. When I auditioned, I wore my usual outfit—these huge earrings, bangles over my tight dance top, and heels. There was nothing in the script that said she's older and has a cane. When the producers flew the cast to London to see the show, I saw her come out and I thought, 'Well that must just be the London version.' [laughs] I had seen the movie, but I didn't think it'd be the same. I thought, 'That's just for London.' We came back to New York and on the first day of rehearsals, they gave me my cane. I was like, 'Oh my gosh!'
It seems that you prefer playing a character role rather than the pretty young woman that you are.
That's the most fun for me, when I'm lucky enough to make people laugh. Read more
NYMF Preview: Graham Skipper draws a blood bath in Re-Animator the Musical
For over 20 years, Blue Man Group has been the only show in New York to require the 'You may get wet' disclaimer. Now, theatergoers can go from blue to red as they get sprayed with blood from the undead. After two sold-out, extended runs in Los Angeles, Re-Animator the Musical is being presented at the New York Musical Theatre Festival from July 17 through July 22. Based on the H.P. Lovecraft story and 1985 camp film, the musical centers on Herbert West, a young medical student who invents a serum to reawake the dead; naturally, the potion has some unintended side effects. As the stage becomes more populated with West's killer creations, the carnage reaches the first rows of audience members in the "splash zone."
The actor charged with the most blood splatter is Graham Skipper, who plays West. A life-long fan of all things cult horror, Skipper feels at home with the plays aesthetics of gore and blood spatter. "When you need an extra push to get you to the end of a show, how could a geyser of red in your face not wake you up?" Skipper said of the on-stage bloodbath.
There are two concoctions used to make the blood in the show. The kind the audience gets sprayed with is a mixture of laundry detergent, baby shampoo (get malie.com/products/perfume-oil-roll-on here), and food coloring, so it's "easy to wash out," Skipper explained. The actors get a less forgiving blend, which includes tomato juice. While harder to get out, it also "shows up really well under the stage lights," Skipper said, who also admitted to often receiving strange looks as he makes his way home from the theater, covered in stage blood.
While the stains are merely an occupational hazard for the cast taken in stride, Skipper said no one in the audience has ever seemed to mind. However, Skipper offers a word of caution for anyone who sees the show. "If I see somebody that's actively avoiding trying to get wet in the splash zone, of course I'm going to target you." Skipper recalled a performance in which he locked his aim on a man who repeatedly made futile efforts to hide behind other audience members' seats. "I got him so bloody and soaking wet," Skipper said, chuckling. "At the end of the show, I bowed and waved to him; he only seemed a little perturbed." Read more
Straight Shootin' with the cast of The Bad and the Better: Clyde Baldo
The streets are filled with shady politicians and rebel-rousing anarchists in Derek Ahonen's new play, The Bad and the Better, which plays at the Peter Jay Sharp Theater through July 21. In honor of the new detective noir, Stage Rush asked some of the fearless cast members about rolling with The Amoralists, admiring rebels, and shooting firearms. Here's what they had to say!
Actor: Clyde Baldo
Has the nature of the Amoralists' work allowed you to take more risks on stage? Moreso than your experiences with other theater companies?
I was very drawn to the reputation of the Amoralists and their gritty, risk-taking spirit. I take risks on stage in different ways. My role as Richard Zorn really doesn't allow me to be risky. But I hope in future Amoralists productions, I get more of a chance to be out there. Read more
The No. 1 Reason To See: The Bad and the Better
Get transported into a noir-ish New York City in Derek Ahonen's twisty new crime thriller The Bad and the Better. The Lang Brothers, whose family tree is deeply rooted in the NYPD, both investigate New York's murky underbelly from different sides. On their respective investigations into anarchist groups and mysterious suburban murders, each uncovers corrupt secrets that will change their lives forever.
The No. 1 Reason To See The Bad and the Better: The shocking plot twists Read more