Using 2D photography as a 3D constructional tool within the second life environment

As digital photography became more accepted, influential and widespread, artists / designers started to take advantage of photos to create novel 2D / 3D entities. Panoramic photography, photo-mosaics, stop-motion studies are examples of 2D creations using numerous photographs. Microsoft’s Photosynth, PhotoModeler, DigiCad, ImageModeler are some software where one can employ photographs to create 3D scenes and environments. Photography is a powerful 2D representation tool to document 3D volumes like architecture. It is possible to manipulate photos with 2D tools like Photoshop in order to suggest new 3D re/formations, re/interpret architecture. One can alternatively use 2D textures as mappings to create realistic 3D model renderings. My project is a combination of these two approaches: Photographing architecture, turning the resulting photos into transparent PNGs and then mapping these photos onto 3D volumes in order to create a “new” architecture from an “existing” architecture… There were various offline and online 3D environment alternatives at which I could carry this experimentation out. Second Life (SL) was the one that I selected among these since I thought it had a powerful 3D construction interface. More importantly, SL is a global(ized) milieu on which you can have people from all over the world try your 3D creation interactively. One of the advantages of using photographs to create architecture is that your photo pool can easily be composed of visuals from various cultures and you may end up using an amalgam of visuals from, say, two supposedly “opposite” cultures. This possibility reminds the peaceful collaboration of musicians from different cultures to create a unique music. In addition, this act can also be taken as a migration of media through appropriation of photography for 3D volume creation and re/presentation. At this point, we are talking about a double representation, since photography is a representation tool already and it gains another representational dimension when it is re-mapped onto 3D volumes for the construction of an alternative reality. This sort of constitution of space involving multiple incompatible perspectives to be present in photos to be used, can be likened to Ottoman miniatures where various conflicting perspectives can co-exist. This diversity of perspectives takes us to the idea of “perspectivism” which, after Wikipedia, is “the philosophical view developed by Friedrich Nietzsche that all ideations take place from particular perspectives. This means that there are many possible conceptual schemes, or perspectives which determine any possible judgment of truth or value that we may make; this implies that no way of seeing the world can be taken as definitively ‘true’.” If we take this a little bit further, there is no strictly objective “reality” to be re/presented, but instead, the detailed depiction of our personal perception is closer to reality since it describes a particular experience (which is to be different for every individual). This paper concentrates on using a representation tool (photography) to construct a 3D space (architecture) within a virtual 3D environment (Second Life). During the process; the concepts of perception, reality, cultural context, re/presentation and appropriation will be examined. Keywords: Photography, re/construction, construct, perception, Second Life, reality, virtual reality, cultural context, re/presentation, appropriation, metaverse, virtual architecture, depiction, perpectivism, Ottoman miniatures, experience

MoSculp: Interactive Visualization of Shape and Time

We present a system that allows users to visualize complex human motion via 3D motion sculptures---a representation that conveys the 3D structure swept by a human body as it moves through space. Given an input video, our system computes the motion sculptures and provides a user interface for rendering it in different styles, including the options to insert the sculpture back into the original video, render it in a synthetic scene or physically print it. To provide this end-to-end workflow, we introduce an algorithm that estimates that human's 3D geometry over time from a set of 2D images and develop a 3D-aware image-based rendering approach that embeds the sculpture back into the scene. By automating the process, our system takes motion sculpture creation out of the realm of professional artists, and makes it applicable to a wide range of existing video material. By providing viewers with 3D information, motion sculptures reveal space-time motion information that is difficult to perceive with the naked eye, and allow viewers to interpret how different parts of the object interact over time. We validate the effectiveness of this approach with user studies, finding that our motion sculpture visualizations are significantly more informative about motion than existing stroboscopic and space-time visualization methods.Comment: UIST 2018. Project page: http://mosculp.csail.mit.edu

Mapping and classification of ecologically sensitive marine habitats using unmanned aerial vehicle (UAV) imagery and object-based image analysis (OBIA)

Nowadays, emerging technologies, such as long-range transmitters, increasingly miniaturized components for positioning, and enhanced imaging sensors, have led to an upsurge in the availability of new ecological applications for remote sensing based on unmanned aerial vehicles (UAVs), sometimes referred to as “drones”. In fact, structure-from-motion (SfM) photogrammetry coupled with imagery acquired by UAVs offers a rapid and inexpensive tool to produce high-resolution orthomosaics, giving ecologists a new way for responsive, timely, and cost-effective monitoring of ecological processes. Here, we adopted a lightweight quadcopter as an aerial survey tool and object-based image analysis (OBIA) workflow to demonstrate the strength of such methods in producing very high spatial resolution maps of sensitive marine habitats. Therefore, three different coastal environments were mapped using the autonomous flight capability of a lightweight UAV equipped with a fully stabilized consumer-grade RGB digital camera. In particular we investigated a Posidonia oceanica seagrass meadow, a rocky coast with nurseries for juvenile fish, and two sandy areas showing biogenic reefs of Sabelleria alveolata. We adopted, for the first time, UAV-based raster thematic maps of these key coastal habitats, produced after OBIA classification, as a new method for fine-scale, low-cost, and time saving characterization of sensitive marine environments which may lead to a more effective and efficient monitoring and management of natural resource

Exploring heritage through time and space : Supporting community reflection on the highland clearances

On the two hundredth anniversary of the Kildonan clearances, when people were forcibly removed from their homes, the Timespan Heritage centre has created a program of community centred work aimed at challenging pre conceptions and encouraging reflection on this important historical process. This paper explores the innovative ways in which virtual world technology has facilitated community engagement, enhanced visualisation and encouraged reflection as part of this program. An installation where users navigate through a reconstruction of pre clearance Caen township is controlled through natural gestures and presented on a 300 inch six megapixel screen. This environment allows users to experience the past in new ways. The platform has value as an effective way for an educator, artist or hobbyist to create large scale virtual environments using off the shelf hardware and open source software. The result is an exhibit that also serves as a platform for experimentation into innovative ways of community co-creation and co-curation.Postprin

Reflectance Transformation Imaging (RTI) System for Ancient Documentary Artefacts

This tutorial summarises our uses of reflectance transformation imaging in archaeological contexts. It introduces the UK AHRC funded project reflectance Transformation Imaging for Anciant Documentary Artefacts and demonstrates imaging methodologies

Research students exhibition catalogue 2011

The catalogue demonstrates the scope and vibrancy of current inquiries and pays tribute to the creative capacity and investment of UCA research students. It brings together contributions from students who are at different stages in their research ad/venture. Their explorations are connected by the centrality of contemporary material practices as focal point for the reconsideration of societal values, cultural symbols and rituals and their meaning, and the trans/formation of individual, collective and national identities The media and formats employed range from cloth, jewellery and ceramics to analogue film, the human voice and the representation of dress and fashionin virtual environments. Thematic interests span from explorations at the interface of art and medical science to an investigation of the role of art in contested spaces, or the role of metonymy in ‘how the arts think’ And whilst the projects are motivated by personal curiosity and passion, their outcomes transcend the boundaries of individual practice and offer new insights, under-standing and applications for the benefit of wider society. Prof. Kerstin Me

Joint Material and Illumination Estimation from Photo Sets in the Wild

Faithful manipulation of shape, material, and illumination in 2D Internet images would greatly benefit from a reliable factorization of appearance into material (i.e., diffuse and specular) and illumination (i.e., environment maps). On the one hand, current methods that produce very high fidelity results, typically require controlled settings, expensive devices, or significant manual effort. To the other hand, methods that are automatic and work on 'in the wild' Internet images, often extract only low-frequency lighting or diffuse materials. In this work, we propose to make use of a set of photographs in order to jointly estimate the non-diffuse materials and sharp lighting in an uncontrolled setting. Our key observation is that seeing multiple instances of the same material under different illumination (i.e., environment), and different materials under the same illumination provide valuable constraints that can be exploited to yield a high-quality solution (i.e., specular materials and environment illumination) for all the observed materials and environments. Similar constraints also arise when observing multiple materials in a single environment, or a single material across multiple environments. The core of this approach is an optimization procedure that uses two neural networks that are trained on synthetic images to predict good gradients in parametric space given observation of reflected light. We evaluate our method on a range of synthetic and real examples to generate high-quality estimates, qualitatively compare our results against state-of-the-art alternatives via a user study, and demonstrate photo-consistent image manipulation that is otherwise very challenging to achieve

Using 2D photography as a 3D constructional tool within the metaverse

Photography is a powerful two dimensional representation tool to document three dimensional volumes like architecture. It is possible to manipulate photos with two dimensional tools like Photoshop in order to suggest new three dimensional re/formations and re/interpret architecture. One can alternatively use two dimensional textures as mappings to create realistic three dimensional model renderings. This project is a combination of these two approaches: photographing architecture, turning the resulting photos into transparent image files, and then mapping these photos onto three dimensional volumes in order to create a ‘new’ architecture from an ‘existing’ architecture. One of the advantages of using photographs to create architecture is that the photo pool can easily be composed of visuals from various cultures and you may end up using an amalgam of visuals from, say, so-called opposite cultures. This possibility reminds the peaceful collaboration of musicians from different cultures to create a unique music. In addition, this act can also be taken as a migration of media through appropriation of photography for three dimensional volume creation and re/presentation. At this point, we are talking about a double representation, since photography is a representation tool already and it gains another representational dimension when it is remapped onto three dimensional volumes for the construction of an alternative reality. This article concentrates on using a representation tool (photography) to construct a three dimensional space (architecture) within a virtual three dimensional environment (Second Life®). During the process the concepts of perception, reality, cultural context, re/presentation and appropriation will be examined