624 research outputs found

    Donald P. Brutzman: a biography

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    Design and implement large-scale networked underwater virtual worlds using Web-accessible 3D graphics and network streams. Integrate sensors, models and datasets for real-time interactive use by scientists, underwater robots, ships and students of all ages

    Direct and gestural interaction with relief: A 2.5D shape display

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    Actuated shape output provides novel opportunities for experiencing, creating and manipulating 3D content in the physical world. While various shape displays have been proposed, a common approach utilizes an array of linear actuators to form 2.5D surfaces. Through identifying a set of common interactions for viewing and manipulating content on shape displays, we argue why input modalities beyond direct touch are required. The combination of freehand gestures and direct touch provides additional degrees of freedom and resolves input ambiguities, while keeping the locus of interaction on the shape output. To demonstrate the proposed combination of input modalities and explore applications for 2.5D shape displays, two example scenarios are implemented on a prototype system

    From Capture to Display: A Survey on Volumetric Video

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    Volumetric video, which offers immersive viewing experiences, is gaining increasing prominence. With its six degrees of freedom, it provides viewers with greater immersion and interactivity compared to traditional videos. Despite their potential, volumetric video services poses significant challenges. This survey conducts a comprehensive review of the existing literature on volumetric video. We firstly provide a general framework of volumetric video services, followed by a discussion on prerequisites for volumetric video, encompassing representations, open datasets, and quality assessment metrics. Then we delve into the current methodologies for each stage of the volumetric video service pipeline, detailing capturing, compression, transmission, rendering, and display techniques. Lastly, we explore various applications enabled by this pioneering technology and we present an array of research challenges and opportunities in the domain of volumetric video services. This survey aspires to provide a holistic understanding of this burgeoning field and shed light on potential future research trajectories, aiming to bring the vision of volumetric video to fruition.Comment: Submitte

    Form giving through gestural interaction to shape changing objects

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    Thesis (S.M.)--Massachusetts Institute of Technology, School of Architecture and Planning, Program in Media Arts and Sciences, 2012.Cataloged from PDF version of thesis.Includes bibliographical references.Shape-shifting materials have been part of sci-fi literature for decades. But if tomorrow we invent them, how are we going to communicate to them what shape we want them to morph into? If we look at our history, for thousands of years humans have been using the dexterity of their hands as primary means to alter the topology of their surroundings. While direct manipulation, as a primary method for form giving, allows for high precision deformation, the scope of interaction is limited to the scale of the hand. In order to extend the scope of manipulation beyond the hand scale, tools were invented to reach further and to augment the capabilities of our hands. In this thesis, I propose "Amphorm", a perceptually equivalent example of Radical Atoms, our vision on the interaction techniques for future, highly malleable, shape-shifting materials. "Amphorm" is a cylindrical kinetic sculpture that resembles a vase. Since "Amphorm" is a dual citizen between the digital and the physical world, its shape can be altered in both worlds. I describe novel interaction techniques for rapid shape deformation both in the physical world through free hand gestures and in the digital world through a Graphical User Interface. Additionally I explore how the physical world could be synchronized with the digital world and how tools from both worlds can jointly alter dual-citizens.by Dávid Lakatos.S.M

    All-Women Initiatives in Art and Technology 1986-2020. Atenea: Mentoring and Networking Project in Steam

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    [ES] La presente tesis doctoral es una exploración sobre las iniciativas auto-organizadas de mujeres que han surgido en la intersección del arte y la tecnología a nivel internacional. Estas iniciativas comunitarias han ido apareciendo en lugares donde existe una escena de arte y nuevos medios, la cual es generalmente de dominación masculina y baja en diversidad. Este trabajo de investigación es un mapeo de este fenómeno tecno-social y artístico, tratando de identificar las primeras prácticas. A través de entrevistas, encuestas y métodos de investigación etnográfica, esta tesis aspira a comprender el contexto que ha dado lugar a semejantes iniciativas a lo largo de tres décadas y media, examinando las diferentes tipologías por los formatos, extensión, espacio y estructura que éstas han adoptado para afrontar la situación de las mujeres en estas áreas. Existe un vació de referencias sobre formas organizativas y de comisariado en las áreas de arte y tecnología. Además, la literatura general señala las subculturas digitales de los noventa, tales como el ciberfeminismo y el movimiento DIY, como los primeros y principales referentes para las alianzas de mujeres y el activismo translocal en la era digital. Sin embargo, las estrategias de colaboración y segregación en áreas de arte y tecnología no han sido analizadas desde los estudios feministas desde una perspectiva histórica en profundidad. Por lo tanto, esta tesis establece la relación entre dichas iniciativas con la historia de los grupos de mujeres artistas y espacios de arte alternativos, la historia de las mujeres en el arte de nuevos medios y la cultura de redes. Las nuevas tecnologías de la información y comunicación han permitido nuevas formas de comunicación y conectividad transfronterizas; sin embargo, este trabajo investiga en qué medida estas iniciativas dependen de las TIC para el establecimiento de su comunidad, comparado con los formatos analógicos. Con los resultados, esta tesis aspira a convertirse en una fuente de referencias que enriquezca la escasa bibliografía de la temática, proporcionando una lista de formas organizativas y de comisariado, así como las practicas más tempranas nunca publicadas, y en conjunto contribuir a la historiografía actual sobre mujeres. Por último, a la vez que se comenta la situación actual de las mujeres en las áreas de arte y tecnología, este trabajo presenta Atenea, un proyecto de mentorización y networking para mujeres en las artes y carreras STEM. Atenea está compuesto de un programa de actividades con diferentes actividades organizativas y de comisariado, así como una plataforma de networking. Adicionalmente, el proyecto tiene un programa enfocado en transmitir conocimientos STEM a niñas a través de prácticas artísticas con tecnología de la mano de mujeres artistas nacionales como mentoras.[CAT] La present tesi doctoral és una exploració sobre les iniciatives autoorganitzades de dones que han sorgit en la intersecció de l'art i la tecnologia a nivell internacional. Aquestes iniciatives comunitàries han anat apareixent en llocs on hi ha una escena d'art i nous mitjans, la qual és generalment de dominació masculina i baixa en diversitat. Aquest treball de recerca és un mapeig d'aquest fenomen tecno-social i artístic, tractant d'identificar les primeres pràctiques. A través d'entrevistes, enquestes i mètodes d'investigació etnogràfica, aquesta tesi aspira a comprendre el context que ha donat lloc a semblants iniciatives al llarg de tres dècades i mig, examinant les diferents tipologies pels formats, extensió, espai i estructura que aquestes han adoptat per afrontar la situació de les dones en aquestes àrees. Hi ha un buit de referències sobre formes organitzatives i de comissariat en les àrees d'art i tecnologia. A més, la literatura general assenyala les subcultures digitals dels noranta, com ara el ciberfeminisme i el moviment DIY, com els primers i principals referents per a les aliances de dones i l'activisme translocal en l'era digital. No obstant això, les estratègies de col·laboració i segregació en àrees d'art i tecnologia no han estat analitzades des dels estudis feministes des d'una perspectiva històrica en profunditat. Per tant, aquesta tesi estableix la relació entre aquestes iniciatives amb la història dels grups de dones artistes i espais d'art alternatius, la història de les dones en l'art de nous mitjans i la cultura de xarxes. Les noves tecnologies de la informació i comunicació han permès noves formes de comunicació i connectivitat transfrontereres; però, aquest treball investiga en quina mesura aquestes iniciatives depenen de les TIC per a l'establiment de la seva comunitat, comparat amb els formats analògics. Amb els resultats, aquesta tesi aspira a convertir-se en una font de referències que enriqueixi l'escassa bibliografia de la temàtica, proporcionant una llista de formes organitzatives i de comissariat, així com les pràctiques més primerenques mai publicades, i en conjunt contribuir a la historiografia actual sobre dones. Finalment, alhora que es comenta la situació actual de les dones en les àrees d'art i tecnologia, aquest treball presenta Atenea, un projecte de mentorització i networking per a dones en les arts i carreres STEM. Atenea està compost d'un programmea d'activitats amb diferents activitats organitzatives i de comissariat, així com una plataforma de networking. Addicionalment, el projecte té un programmea enfocat a transmetre coneixements STEM a nenes a través de pràctiques artístiques amb tecnologia de la mà de dones artistes nacionals com mentores.[EN] This dissertation explores a series of all-women self-organised initiatives that have emerged at the intersection of art and technology internationally. These grassroot initiatives have continued to appear in places where there is a new media arts scene, generally male-dominated and low in diversity. This research work is a mapping of this techno-social and artistic phenomenon, attempting to identify its earliest practices. Through interviews, surveys and ethnographic research, this thesis seeks to comprehend the context that has given rise to such initiatives over three decades and half, examining the different typologies by formats, extension, space and structure that they have adopted to address the situation of women in these fields. There is a void of references on all-women curatorial and organisational forms in art and technology. Moreover, general literature points at digital subcultures of the 1990s such as cyberfeminism and DIY movement as first referents for women's alliance and translocal activism in the digital age. However, collaboration and segregation strategies in new media arts have not been discussed in feminist scholarship from a deeper historical perspective. Therefore, this dissertation elaborates the linkage of such initiatives to early history of all-women art groups and alternative art spaces, history of women in new media arts and to network cultures. New information and communication technologies have enabled new forms of communication and connectivity cross-borders; however, this work investigates in which measure these initiatives are dependent upon ICT for the establishment of a community, compared to analog formats. With the results, this dissertation aims to become a source of references that enriches the scarce bibliography on the topic, providing a list of curatorial and organisational forms with the earliest and unpublished practices that altogether contribute to current women's historiography. Lastly, while discussing the current situation of women in art and technology fields, this works presents Atenea, a mentoring and networking platform for women in Arts and STEM careers. Atenea is comprised of a programme having different organizational, curatorial and networking activities. Additionally, the platform has a project focused on teaching STEM skills to girls through new media arts with female artists as mentors. Keywords: All-women, self-organised, initiatives, new media arts, digital arts, electronic arts, art, technology, activism, mapping, alternative art spaces, collaboration, segregation, ICT, digital age, virtual, community, network cultures, feminism, cyberfeminism, Atenea, STEM, STEAM, girls, organisational, curatorial, networking platform, mentoring,Robles Mateo, E. (2020). All-Women Initiatives in Art and Technology 1986-2020. Atenea: Mentoring and Networking Project in Steam [Tesis doctoral]. Universitat Politècnica de València. https://doi.org/10.4995/Thesis/10251/159248TESI

    Rendering Techniques in 3D Computer Graphics Based on Changes in the Brightness of the Object Background

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    Maintaining accurate colour constancy and constant colour appearance are only a few challenges one must conquer in a modern day digital three‐dimensional (3D) production. Many different factors influence the reproduction of colour in 3D rendering and one of the most important is certainly rendering engines. In our research, we have studied rendering of colours with three rendering engines (Blender Render, Cycles and Yafaray) of an open source 3D creation suite based on changes in the brightness of the object background from 20 to 80%. In one of these cases, colour of the object was adapted to the lighter background using the colour appearance model CIECAM02. With the analysis of colour differences, lightness and chroma between colours rendered using different rendering engines; we found out that rendering engines differently interpret colour, although the RGB values of colours and scene parameters were the same. Differences were particularly evident when rendering engine Cycles was used. However, Cycles also takes into account the object background. Numerical results of such research provide findings, which relate to the respective environment, and also these certainly demonstrate the successful implementation of the colour appearance model CIECAM02 in the 3D technologies and, in our opinion to other software packages for 3D computer graphics

    A Consensus on the Definition and Knowledge Base for Computer Graphics

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    Despite several decades of historical innovation, measurable impacts, and multiple specializations the existing knowledge base for Computer Graphics (CG) lacks consensus, and numerous definitions for it have been published based on distinct contexts. Disagreement among post-secondary academics has divided CG programs into three contextual areas that emphasize different topics. This division has resulted in the decontextualization of CG education, and CG programs now face several challenges in meeting the needs of industry. Employing the Delphi Method, this investigation explored the perceptions among post-secondary educators and industry professionals about the definition of CG and how it is identified in terms of characteristics and context. The outcomes of this investigation identified CG in the technological paradigm, and provided a road map towards a true definition and distinct knowledge base necessary for establishing CG as a formal computing discipline

    FACING EXPERIENCE: A PAINTER’S CANVAS IN VIRTUAL REALITY

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    Full version unavailable due to 3rd party copyright restrictions.This research investigates how shifts in perception might be brought about through the development of visual imagery created by the use of virtual environment technology. Through a discussion of historical uses of immersion in art, this thesis will explore how immersion functions and why immersion has been a goal for artists throughout history. It begins with a discussion of ancient cave drawings and the relevance of Plato’s Allegory of the Cave. Next it examines the biological origins of “making special.” The research will discuss how this concept, combined with the ideas of “action” and “reaction,” has reinforced the view that art is fundamentally experiential rather than static. The research emphasizes how present-day virtual environment art, in providing a space that engages visitors in computer graphics, expands on previous immersive artistic practices. The thesis examines the technical context in which the research occurs by briefly describing the use of computer science technologies, the fundamentals of visual arts practices, and the importance of aesthetics in new media and provides a description of my artistic practice. The aim is to investigate how combining these approaches can enhance virtual environments as artworks. The computer science of virtual environments includes both hardware and software programming. The resultant virtual environment experiences are technologically dependent on the types of visual displays being used, including screens and monitors, and their subsequent viewing affordances. Virtual environments fill the field of view and can be experienced with a head mounted display (HMD) or a large screen display. The sense of immersion gained through the experience depends on how tracking devices and related peripheral devices are used to facilitate interaction. The thesis discusses visual arts practices with a focus on how illusions shift our cognition and perception in the visual modalities. This discussion includes how perceptual thinking is the foundation of art experiences, how analogies are the foundation of cognitive experiences and how the two intertwine in art experiences for virtual environments. An examination of the aesthetic strategies used by artists and new media critics are presented to discuss new media art. This thesis investigates the visual elements used in virtual environments and prescribes strategies for creating art for virtual environments. Methods constituting a unique virtual environment practice that focuses on visual analogies are discussed. The artistic practice that is discussed as the basis for this research also concentrates on experiential moments and shifts in perception and cognition and references Douglas Hofstadter, Rudolf Arnheim and John Dewey. iv Virtual environments provide for experiences in which the imagery generated updates in real time. Following an analysis of existing artwork and critical writing relative to the field, the process of inquiry has required the creation of artworks that involve tracking systems, projection displays, sound work, and an understanding of the importance of the visitor. In practice, the research has shown that the visitor should be seen as an interlocutor, interacting from a first-person perspective with virtual environment events, where avatars or other instrumental intermediaries, such as guns, vehicles, or menu systems, do not to occlude the view. The aesthetic outcomes of this research are the result of combining visual analogies, real time interactive animation, and operatic performance in immersive space. The environments designed in this research were informed initially by paintings created with imagery generated in a hypnopompic state or during the moments of transitioning from sleeping to waking. The drawings often emphasize emotional moments as caricatures and/or elements of the face as seen from a number of perspectives simultaneously, in the way of some cartoons, primitive artwork or Cubist imagery. In the imagery, the faces indicate situations, emotions and confrontations which can offer moments of humour and reflective exploration. At times, the faces usurp the space and stand in representation as both face and figure. The power of the placement of the caricatures in the paintings become apparent as the imagery stages the expressive moment. The placement of faces sets the scene, establishes relationships and promotes the honesty and emotions that develop over time as the paintings are scrutinized. The development process of creating virtual environment imagery starts with hand drawn sketches of characters, develops further as paintings on “digital canvas”, are built as animated, three-dimensional models and finally incorporated into a virtual environment. The imagery is generated while drawing, typically with paper and pencil, in a stream of consciousness during the hypnopompic state. This method became an aesthetic strategy for producing a snappy straightforward sketch. The sketches are explored further as they are worked up as paintings. During the painting process, the figures become fleshed out and their placement on the page, in essence brings them to life. These characters inhabit a world that I explore even further by building them into three dimensional models and placing them in computer generated virtual environments. The methodology of developing and placing the faces/figures became an operational strategy for building virtual environments. In order to open up the range of art virtual environments, and develop operational strategies for visitors’ experience, the characters and their facial features are used as navigational strategies, signposts and methods of wayfinding in order to sustain a stream of consciousness type of navigation. Faces and characters were designed to represent those intimate moments of self-reflection and confrontation that occur daily within ourselves and with others. They sought to reflect moments of wonderment, hurt, curiosity and humour that could subsequently be relinquished for more practical or purposeful endeavours. They were intended to create conditions in which visitors might reflect upon their emotional state, v enabling their understanding and trust of their personal space, in which decisions are made and the nature of world is determined. In order to extend the split-second, frozen moment of recognition that a painting affords, the caricatures and their scenes are given new dimensions as they become characters in a performative virtual reality. Emotables, distinct from avatars, are characters confronting visitors in the virtual environment to engage them in an interactive, stream of consciousness, non-linear dialogue. Visitors are also situated with a role in a virtual world, where they were required to adapt to the language of the environment in order to progress through the dynamics of a drama. The research showed that imagery created in a context of whimsy and fantasy could bring ontological meaning and aesthetic experience into the interactive environment, such that emotables or facially expressive computer graphic characters could be seen as another brushstroke in painting a world of virtual reality

    Interdisciplinary Film & Digital Media 2015 APR Self-Study & Documents

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    UNM Interdisciplinary Film & Digital Media APR self-study report, review team report, response to review report, and initial action plan for Spring 2015, fulfilling requirements of the Higher Learning Commission. IFDM was absorbed by the Cinematic Arts Department following this review

    Animating Unpredictable Effects

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    Uncanny computer-generated animations of splashing waves, billowing smoke clouds, and characters’ flowing hair have become a ubiquitous presence on screens of all types since the 1980s. This Open Access book charts the history of these digital moving images and the software tools that make them. Unpredictable Visual Effects uncovers an institutional and industrial history that saw media industries conducting more private R&D as Cold War federal funding began to wane in the late 1980s. In this context studios and media software companies took concepts used for studying and managing unpredictable systems like markets, weather, and fluids and turned them into tools for animation. Unpredictable Visual Effects theorizes how these animations are part of a paradigm of control evident across society, while at the same time exploring what they can teach us about the relationship between making and knowing
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