GPU-Based One-Dimensional Convolution for Real-Time Spatial Sound Generation

Incorporating spatialized (3D) sound cues in dynamic and interactive videogames and immersive virtual environment applications is beneficial for a number of reasons, ultimately leading to an increase in presence and immersion. Despite the benefits of spatial sound cues, they are often overlooked in videogames and virtual environments where typically, emphasis is placed on the visual cues. Fundamental to the generation of spatial sound is the one-dimensional convolution operation which is computationally expensive, not lending itself to such real-time, dynamic applications. Driven by the gaming industry and the great emphasis placed on the visual sense, consumer computer graphics hardware, and the graphics processing unit (GPU) in particular, has greatly advanced in recent years, even outperforming the computational capacity of CPUs. This has allowed for real-time, interactive realistic graphics-based applications on typical consumer- level PCs. Given the widespread use and availability of computer graphics hardware and the similarities that exist between the fields of spatial audio and image synthesis, here we describe the development of a GPU-based, one-dimensional convolution algorithm whose efficiency is superior to the conventional CPU-based convolution method. The primary purpose of the developed GPU-based convolution method is the computationally efficient generation of real- time spatial audio for dynamic and interactive videogames and virtual environments

Enhancing Mesh Deformation Realism: Dynamic Mesostructure Detailing and Procedural Microstructure Synthesis

Propomos uma solução para gerar dados de mapas de relevo dinâmicos para simular deformações em superfícies macias, com foco na pele humana. A solução incorpora a simulação de rugas ao nível mesoestrutural e utiliza texturas procedurais para adicionar detalhes de microestrutura estáticos. Oferece flexibilidade além da pele humana, permitindo a geração de padrões que imitam deformações em outros materiais macios, como couro, durante a animação. As soluções existentes para simular rugas e pistas de deformação frequentemente dependem de hardware especializado, que é dispendioso e de difícil acesso. Além disso, depender exclusivamente de dados capturados limita a direção artística e dificulta a adaptação a mudanças. Em contraste, a solução proposta permite a síntese dinâmica de texturas que se adaptam às deformações subjacentes da malha de forma fisicamente plausível. Vários métodos foram explorados para sintetizar rugas diretamente na geometria, mas sofrem de limitações como auto-interseções e maiores requisitos de armazenamento. A intervenção manual de artistas na criação de mapas de rugas e mapas de tensão permite controle, mas pode ser limitada em deformações complexas ou onde maior realismo seja necessário. O nosso trabalho destaca o potencial dos métodos procedimentais para aprimorar a geração de padrões de deformação dinâmica, incluindo rugas, com maior controle criativo e sem depender de dados capturados. A incorporação de padrões procedimentais estáticos melhora o realismo, e a abordagem pode ser estendida além da pele para outros materiais macios.We propose a solution for generating dynamic heightmap data to simulate deformations for soft surfaces, with a focus on human skin. The solution incorporates mesostructure-level wrinkles and utilizes procedural textures to add static microstructure details. It offers flexibility beyond human skin, enabling the generation of patterns mimicking deformations in other soft materials, such as leater, during animation. Existing solutions for simulating wrinkles and deformation cues often rely on specialized hardware, which is costly and not easily accessible. Moreover, relying solely on captured data limits artistic direction and hinders adaptability to changes. In contrast, our proposed solution provides dynamic texture synthesis that adapts to underlying mesh deformations. Various methods have been explored to synthesize wrinkles directly to the geometry, but they suffer from limitations such as self-intersections and increased storage requirements. Manual intervention by artists using wrinkle maps and tension maps provides control but may be limited to the physics-based simulations. Our research presents the potential of procedural methods to enhance the generation of dynamic deformation patterns, including wrinkles, with greater creative control and without reliance on captured data. Incorporating static procedural patterns improves realism, and the approach can be extended to other soft-materials beyond skin

From Capture to Display: A Survey on Volumetric Video

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

Management and Visualisation of Non-linear History of Polygonal 3D Models

The research presented in this thesis concerns the problems of maintenance and revision control of large-scale three dimensional (3D) models over the Internet. As the models grow in size and the authoring tools grow in complexity, standard approaches to collaborative asset development become impractical. The prevalent paradigm of sharing files on a file system poses serious risks with regards, but not limited to, ensuring consistency and concurrency of multi-user 3D editing. Although modifications might be tracked manually using naming conventions or automatically in a version control system (VCS), understanding the provenance of a large 3D dataset is hard due to revision metadata not being associated with the underlying scene structures. Some tools and protocols enable seamless synchronisation of file and directory changes in remote locations. However, the existing web-based technologies are not yet fully exploiting the modern design patters for access to and management of alternative shared resources online. Therefore, four distinct but highly interconnected conceptual tools are explored. The first is the organisation of 3D assets within recent document-oriented No Structured Query Language (NoSQL) databases. These "schemaless" databases, unlike their relational counterparts, do not represent data in rigid table structures. Instead, they rely on polymorphic documents composed of key-value pairs that are much better suited to the diverse nature of 3D assets. Hence, a domain-specific non-linear revision control system 3D Repo is built around a NoSQL database to enable asynchronous editing similar to traditional VCSs. The second concept is that of visual 3D differencing and merging. The accompanying 3D Diff tool supports interactive conflict resolution at the level of scene graph nodes that are de facto the delta changes stored in the repository. The third is the utilisation of HyperText Transfer Protocol (HTTP) for the purposes of 3D data management. The XML3DRepo daemon application exposes the contents of the repository and the version control logic in a Representational State Transfer (REST) style of architecture. At the same time, it manifests the effects of various 3D encoding strategies on the file sizes and download times in modern web browsers. The fourth and final concept is the reverse-engineering of an editing history. Even if the models are being version controlled, the extracted provenance is limited to additions, deletions and modifications. The 3D Timeline tool, therefore, implies a plausible history of common modelling operations such as duplications, transformations, etc. Given a collection of 3D models, it estimates a part-based correspondence and visualises it in a temporal flow. The prototype tools developed as part of the research were evaluated in pilot user studies that suggest they are usable by the end users and well suited to their respective tasks. Together, the results constitute a novel framework that demonstrates the feasibility of a domain-specific 3D version control

New geometric algorithms and data structures for collision detection of dynamically deforming objects

Any virtual environment that supports interactions between virtual objects and/or a user and objects, needs a collision detection system to handle all interactions in a physically correct or plausible way. A collision detection system is needed to determine if objects are in contact or interpenetrates. These interpenetrations are resolved by a collision handling system. Because of the fact, that in nearly all simulations objects can interact with each other, collision detection is a fundamental technology, that is needed in all these simulations, like physically based simulation, robotic path and motion planning, virtual prototyping, and many more. Most virtual environments aim to represent the real-world as realistic as possible and therefore, virtual environments getting more and more complex. Furthermore, all models in a virtual environment should interact like real objects do, if forces are applied to the objects. Nearly all real-world objects will deform or break down in its individual parts if forces are acted upon the objects. Thus deformable objects are becoming more and more common in virtual environments, which want to be as realistic as possible and thus, will present new challenges to the collision detection system. The necessary collision detection computations can be very complex and this has the effect, that the collision detection process is the performance bottleneck in most simulations. Most rigid body collision detection approaches use a BVH as acceleration data structure. This technique is perfectly suitable if the object does not change its shape. For a soft body an update step is necessary to ensure that the underlying acceleration data structure is still valid after performing a simulation step. This update step can be very time consuming, is often hard to implement and in most cases will produce a degenerated BVH after some simulation steps, if the objects generally deform. Therefore, the here presented collision detection approach works entirely without an acceleration data structure and supports rigid and soft bodies. Furthermore, we can compute inter-object and intraobject collisions of rigid and deformable objects consisting of many tens of thousands of triangles in a few milliseconds. To realize this, a subdivision of the scene into parts using a fuzzy clustering approach is applied. Based on that all further steps for each cluster can be performed in parallel and if desired, distributed to different GPUs. Tests have been performed to judge the performance of our approach against other state-of-the-art collision detection algorithms. Additionally, we integrated our approach into Bullet, a commonly used physics engine, to evaluate our algorithm. In order to make a fair comparison of different rigid body collision detection algorithms, we propose a new collision detection Benchmarking Suite. Our Benchmarking Suite can evaluate both the performance as well as the quality of the collision response. Therefore, the Benchmarking Suite is subdivided into a Performance Benchmark and a Quality Benchmark. This approach needs to be extended to support soft body collision detection algorithms in the future.Jede virtuelle Umgebung, welche eine Interaktion zwischen den virtuellen Objekten in der Szene zulässt und/oder zwischen einem Benutzer und den Objekten, benötigt für eine korrekte Behandlung der Interaktionen eine Kollisionsdetektion. Nur dank der Kollisionsdetektion können Berührungen zwischen Objekten erkannt und mittels der Kollisionsbehandlung aufgelöst werden. Dies ist der Grund für die weite Verbreitung der Kollisionsdetektion in die verschiedensten Fachbereiche, wie der physikalisch basierten Simulation, der Pfadplanung in der Robotik, dem virtuellen Prototyping und vielen weiteren. Auf Grund des Bestrebens, die reale Umgebung in der virtuellen Welt so realistisch wie möglich nachzubilden, steigt die Komplexität der Szenen stetig. Fortwährend steigen die Anforderungen an die Objekte, sich realistisch zu verhalten, sollten Kräfte auf die einzelnen Objekte ausgeübt werden. Die meisten Objekte, die uns in unserer realen Welt umgeben, ändern ihre Form oder zerbrechen in ihre Einzelteile, wenn Kräfte auf sie einwirken. Daher kommen in realitätsnahen, virtuellen Umgebungen immer häufiger deformierbare Objekte zum Einsatz, was neue Herausforderungen an die Kollisionsdetektion stellt. Die hierfür Notwendigen, teils komplexen Berechnungen, führen dazu, dass die Kollisionsdetektion häufig der Performance-Bottleneck in der jeweiligen Simulation darstellt. Die meisten Kollisionsdetektionen für starre Körper benutzen eine Hüllkörperhierarchie als Beschleunigungsdatenstruktur. Diese Technik ist hervorragend geeignet, solange sich die Form des Objektes nicht verändert. Im Fall von deformierbaren Objekten ist eine Aktualisierung der Datenstruktur nach jedem Schritt der Simulation notwendig, damit diese weiterhin gültig ist. Dieser Aktualisierungsschritt kann, je nach Hierarchie, sehr zeitaufwendig sein, ist in den meisten Fällen schwer zu implementieren und generiert nach vielen Schritten der Simulation häufig eine entartete Hüllkörperhierarchie, sollte sich das Objekt sehr stark verformen. Um dies zu vermeiden, verzichtet unsere Kollisionsdetektion vollständig auf eine Beschleunigungsdatenstruktur und unterstützt sowohl rigide, wie auch deformierbare Körper. Zugleich können wir Selbstkollisionen und Kollisionen zwischen starren und/oder deformierbaren Objekten, bestehend aus vielen Zehntausenden Dreiecken, innerhalb von wenigen Millisekunden berechnen. Um dies zu realisieren, unterteilen wir die gesamte Szene in einzelne Bereiche mittels eines Fuzzy Clustering-Verfahrens. Dies ermöglicht es, dass alle Cluster unabhängig bearbeitet werden und falls gewünscht, die Berechnungen für die einzelnen Cluster auf verschiedene Grafikkarten verteilt werden können. Um die Leistungsfähigkeit unseres Ansatzes vergleichen zu können, haben wir diesen gegen aktuelle Verfahren für die Kollisionsdetektion antreten lassen. Weiterhin haben wir unser Verfahren in die Physik-Engine Bullet integriert, um das Verhalten in dynamischen Situationen zu evaluieren. Um unterschiedliche Kollisionsdetektionsalgorithmen für starre Körper korrekt und objektiv miteinander vergleichen zu können, haben wir eine Benchmarking-Suite entwickelt. Unsere Benchmarking- Suite kann sowohl die Geschwindigkeit, für die Bestimmung, ob zwei Objekte sich durchdringen, wie auch die Qualität der berechneten Kräfte miteinander vergleichen. Hierfür ist die Benchmarking-Suite in den Performance Benchmark und den Quality Benchmark unterteilt worden. In der Zukunft wird diese Benchmarking-Suite dahingehend erweitert, dass auch Kollisionsdetektionsalgorithmen für deformierbare Objekte unterstützt werden

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

[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

The delta radiance field

The wide availability of mobile devices capable of computing high fidelity graphics in real-time has sparked a renewed interest in the development and research of Augmented Reality applications. Within the large spectrum of mixed real and virtual elements one specific area is dedicated to produce realistic augmentations with the aim of presenting virtual copies of real existing objects or soon to be produced products. Surprisingly though, the current state of this area leaves much to be desired: Augmenting objects in current systems are often presented without any reconstructed lighting whatsoever and therefore transfer an impression of being glued over a camera image rather than augmenting reality. In light of the advances in the movie industry, which has handled cases of mixed realities from one extreme end to another, it is a legitimate question to ask why such advances did not fully reflect onto Augmented Reality simulations as well. Generally understood to be real-time applications which reconstruct the spatial relation of real world elements and virtual objects, Augmented Reality has to deal with several uncertainties. Among them, unknown illumination and real scene conditions are the most important. Any kind of reconstruction of real world properties in an ad-hoc manner must likewise be incorporated into an algorithm responsible for shading virtual objects and transferring virtual light to real surfaces in an ad-hoc fashion. The immersiveness of an Augmented Reality simulation is, next to its realism and accuracy, primarily dependent on its responsiveness. Any computation affecting the final image must be computed in real-time. This condition rules out many of the methods used for movie production. The remaining real-time options face three problems: The shading of virtual surfaces under real natural illumination, the relighting of real surfaces according to the change in illumination due to the introduction of a new object into a scene, and the believable global interaction of real and virtual light. This dissertation presents contributions to answer the problems at hand. Current state-of-the-art methods build on Differential Rendering techniques to fuse global illumination algorithms into AR environments. This simple approach has a computationally costly downside, which limits the options for believable light transfer even further. This dissertation explores new shading and relighting algorithms built on a mathematical foundation replacing Differential Rendering. The result not only presents a more efficient competitor to the current state-of-the-art in global illumination relighting, but also advances the field with the ability to simulate effects which have not been demonstrated by contemporary publications until now

Animating Unpredictable Effects

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

Die Virtuelle Videokamera: ein System zur Blickpunktsynthese in beliebigen, dynamischen Szenen

The Virtual Video Camera project strives to create free viewpoint video from casually captured multi-view data. Multiple video streams of a dynamic scene are captured with off-the-shelf camcorders, and the user can re-render the scene from novel perspectives. In this thesis the algorithmic core of the Virtual Video Camera is presented. This includes the algorithm for image correspondence estimation as well as the image-based renderer. Furthermore, its application in the context of an actual video production is showcased, and the rendering and image processing pipeline is extended to incorporate depth information.Das Virtual Video Camera Projekt dient der Erzeugung von Free Viewpoint Video Ansichten von Multi-View Aufnahmen: Material mehrerer Videoströme wird hierzu mit handelsüblichen Camcordern aufgezeichnet. Im Anschluss kann die Szene aus beliebigen, von den ursprünglichen Kameras nicht abgedeckten Blickwinkeln betrachtet werden. In dieser Dissertation wird der algorithmische Kern der Virtual Video Camera vorgestellt. Dies beinhaltet das Verfahren zur Bildkorrespondenzschätzung sowie den bildbasierten Renderer. Darüber hinaus wird die Anwendung im Kontext einer Videoproduktion beleuchtet. Dazu wird die bildbasierte Erzeugung neuer Blickpunkte um die Erzeugung und Einbindung von Tiefeninformationen erweitert