11 research outputs found
Haptic Board
International audienceWe define the haptic board as the component of a real time system for multi-sensory interaction that plays the role of a communication interface between the computer (e.g. in the case of simulation, the machine computing the simulated model) and the haptic device at hand
Gesture and motion (encoding of)
International audienceIn the context of virtual reality systems, with the development of haptic systems and motion capture systems, and with the need of inter-communication of virtual reality systems through control data, the questions of gesture and motion data, and of their encoding, becomes more and more important
Mimesis : Interactive interface for mass-interaction modeling
International audienceWhile 3D graphics software and 3D shapes modeling developed considerably, there is still a need for integrated physics-based tools. This would ideally require an integrated, coherent, usable, generic, physical modeling formalism, and a dedicated software, preferably to a collection of one shot models or animation techniques. This article introduces MIMESIS, a end-user software based on mass-interaction modeling. In MIMESIS, the mass-interaction paradigm (and, more generally, animation) is the core of the creation process at hand. It joins together a comprehensible, user-friendly modeler, various simulators, various coating means for visualizing synthesized movements and a growing set of pedagogical examples and library of models
Implantation temps réel sur GPU d'un écran d'épingles dynamique
Actes: http://liris.cnrs.fr/publis/?id=4183National audienceCet article prĂ©sente une implantation temps rĂ©el sur processeur graphique de la mĂ©thode dite de lâĂ©cran dâĂ©pingles dynamique inspirĂ© de la mĂ©thode de gravure dâAlexandre AlexeĂŻeff. Cette mĂ©thode initialement, proposĂ©e par [HL02] et fondĂ©e sur un formalisme masses- interactions, Ă©tait trop coĂ»teuse pour pouvoir sâinsĂ©rer dans une application interactive. Cet article rĂ©sout ce frein majeur Ă lâexploration des possibilitĂ©s dynamiques de la mĂ©thode. Il prĂ©sente alors un certain nombre dâapplications obtenues en temps-rĂ©el : (1) la visualisation de modĂšles particulaires simulĂ©s sur une machine amont en temps rĂ©el ou en temps diffĂ©rĂ©, (2) lâutilisation de lâĂ©cran dâĂ©pingles dynamique comme modĂšle physique pour des scĂšnes 3D complexes, (3) une gravure directe par lâintermĂ©diaire de la souris
Technologies de la Simulation Interactive de ModĂšles Physiques Multisensoriels
This thesis presents my research activity on multisensory interactive simulation (gesture, sound and image), in technological and conceptual aspects. This interdisciplinary research concerns three fields : 1/ physical modeling for simulation, 2/ hardware and software architectures for real time computation, 3/ interactive gestural interfaces (with force feedback). Work done in these three fields is presented chronologically.Ce mĂ©moire prĂ©sente mon activitĂ© de recherche sur la simulation interactive multisensorielle (geste, son et image), dans ses aspects technologiques et conceptuels. Câest une recherche interdisciplinaire qui concerne trois domaines : 1/ modĂ©lisation physique pour la simulation, 2/ architectures matĂ©rielles et logicielles pour le calcul temps rĂ©el, 3/ interfaces gestuelles interactives (à « retour dâeffort »). Les travaux effectuĂ©s dans ces trois domaines sont exposĂ©s de maniĂšre chronologique
A basic gesture and motion format for virtual reality multisensory applications
Abstract: The question of encoding movements such as those produced by human gestures may become central in the coming years, given the growing importance of movement data exchanges between heterogeneous systems and applications (musical applications, 3D motion control, virtual reality interaction, etc.). For the past 20 years, various formats have been proposed for encoding movement, especially gestures. Though, these formats, at different degrees, were designed in the context of quite specific applications (character animation, motion capture, musical gesture, biomechanical concernsâŠ). The article introduce a new file format, called GMS (for âGesture and Motion Signalâ), with the aim of being more low-level and generic, by defining the minimal features a format carrying movement/gesture information needs, rather than by gathering all the information generally given by the existing formats. The article argues that, given its growing presence in virtual reality situations, the âgesture signal â itself must be encoded, and that a specific format is needed. The proposed format features the inner properties of such signals: dimensionality, structural features, types of variables, and spatial and temporal properties. The article first reviews the various situations with multisensory virtual objects in which gesture controls intervene. The proposed format is then deduced, as a mean to encode such versatile and variable âgestural and animated sceneâ.
Technologies logicielles de la modélisation, de la simulation et de l'interaction multisensorielles instrumentales pour la création
The presented works have firstly questioned the possible inter-relations between physics-based modelling and simulation on the one hand, and creation and creativity on the other. More specifically, the possibility and fundamental interests of rooting creative activities onto physics-based modelling have been considered.This theme was approached from a Computer Sciences perspective, through the invention and the design of a new family of software environments aimed at creation with masses-interactions physics-based networks. In particular: GENESIS for musical creation, and MIMESIS for movement and computer graphics animation.These software environments empower the artist with innovative and complete creation processes, centred on physical modelling activities.Each and all of these environments are characterized by a specific âsoftware environment paradigmâ: dedicated features, software architecture specificities, adequate and necessary human-computer interaction means (interfaces and languages), and particular usage protocols (in our case: modelling and creative processes).These elements have been situated in the scientific and technological history of computer creation tools, and in the state of the art of the various concerned scientific domains. This work has in particular led to analysing the properties of masses-interactions physical networks (modularity, generic potential, calculability, usability, âŠ), in relation with other categories of algorithms, models and formalisms used nowadays to address human sensori-motor skills. It also accompanied the demonstration that the building of physical models by an artist can be deeply relevant. This relevance lies in the qualities of the phenomena that are finally generated, but also, which is more original, and probably more essential, in the modelling/creation processes themselves.Finally, the works have been extended to various other axes: contributions to synchronous real-time simulation architecture and software for multisensory interaction, including force-feedback, sound, and image, by means of physics-based simulation; experimental modelling works; contributions to the evolutions of the formal basis of the physics networks paradigm; contributions to graphical representation of punctual movements, etc.These past works and the achieved results altogether lead to introduce new research perspectives, which we name software technologies of multisensory instrumental interaction, with, as a far end view, the foundation of a new âscience of the multisensory computerâ and the possibility of a âmultisensory artâ.Les travaux prĂ©sentĂ©s ont Ă©tĂ© pour lâessentiel traversĂ©s par un questionnement sur les relations liant modĂ©lisation et simulation physiques et crĂ©ation ou, plus spĂ©cifiquement, sur la possibilitĂ© et lâintĂ©rĂȘt fondamental dâappuyer une activitĂ© de crĂ©ation sur la modĂ©lisation. Ce thĂšme a Ă©tĂ© abordĂ© sous lâangle de lâinformatique appliquĂ©e (en anglais, les « computer sciences »), au moyen de lâinvention et de la rĂ©alisation dâune nouvelle famille dâenvironnements logiciels pour la crĂ©ation avec les rĂ©seaux physiques masses-interactions, dont en particulier les modeleurs-simulateurs GENESIS pour la crĂ©ation musicale, puis MIMESIS pour la crĂ©ation du mouvement et lâimage animĂ©e. Ces environnements permettent Ă lâartiste dâorganiser des processus de crĂ©ation complets et novateurs, fondĂ©s sur lâactivitĂ© de modĂ©lisation physique.Ils sont chacun, et dans leur ensemble, caractĂ©risĂ©s par un paradigme dâenvironnement logiciel nouveau : des fonctionnalitĂ©s, des caractĂ©ristiques en matiĂšre dâarchitecture logicielle, des ergonomies nĂ©cessaires, adĂ©quates et spĂ©cifiques, ainsi que des protocoles dâutilisation â ici des processus de modĂ©lisation et de crĂ©ation â qui leur sont propres. Ces propriĂ©tĂ©s ont Ă©tĂ© situĂ©es dans lâhistoire scientifique et technologique des outils de crĂ©ation et dans les Ă©tats de lâart des communautĂ©s scientifiques concernĂ©es. Ce travail a notamment donnĂ© lieu Ă une Ă©tude des propriĂ©tĂ©s des rĂ©seaux physiques masses-interactions (gĂ©nĂ©ricitĂ©, modularitĂ©, calculabilitĂ©, utilisabilitĂ©, gĂ©nĂ©ralitĂ©...) en vis-Ă -vis des catĂ©gories dâalgorithmes, modĂšles et formalismes utilisĂ©s pour adresser la sensori-motricitĂ© humaine. Il sâest de plus accompagnĂ© dâune analyse du fait que lâactivitĂ© de construction de modĂšles physiques peut prĂ©senter une pertinence profonde pour lâartiste â pertinence qui se joue non seulement dans les qualitĂ©s des phĂ©nomĂšnes gĂ©nĂ©rĂ©s, mais encore, de façon plus originale et peut-ĂȘtre plus essentielle, dans le processus de modĂ©lisation/crĂ©ation lui-mĂȘme.Enfin, les travaux se sont Ă©tendus Ă plusieurs autres axes dâĂ©tudes : contributions aux logiciels de simulation temps rĂ©el pour lâinteraction multisensorielle incluant le retour dâeffort, le son et lâimage, au moyen de la simulation physique ; travaux expĂ©rimentaux en modĂ©lisation ; contributions Ă lâamĂ©lioration du cadre formel des rĂ©seaux physiques masses-interactions ; contributions aux procĂ©dĂ©s de mise en forme visuelle de mouvements ponctuels ; travaux de positionnement thĂ©orique ; etc.LâexpĂ©rience et les rĂ©sultats acquis conduisent Ă introduire de nouvelles perspectives de recherche, sous le fil conducteur des technologies logicielles de lâinteraction multisensorielle instrumentale, avec en ligne de mire la fondation dâune « science de lâordinateur multisensoriel » et la possibilitĂ© dâun « art multisensoriel »
A system for the analysis of musical data
The role of music analysis is to enlighten our understanding of a piece of music. The role of musical performance analysis is to help us understand how a performer interprets a piece of music. The current work provides a tool which combines music analysis with performance analysis. By combining music and performance analysis in one system new questions can be asked of a piece of music: how is the structure of a piece reflected in the performance and how can the performance enlighten our understanding of the piece's structure?
The current work describes a unified database which can store and present musical score alongside associated performance data and musical analysis. Using a general purpose representation language, Performance Mark-up Language (PML), aspects of performance are recorded and analysed. Data thus acquired from one project is made available to others. Presentation involves high-quality scores suitably annotated with the requested information. Such output is easily and directly accessible to musicians, performance scientists and analysts.
We define a set of data structures and operators which can operate on musical pitch and musical time, and use them to form the basis of a query language for a musical database. The database can store musical information (score, gestural data, etc.). Querying the database results in annotations of the musical score.
The database is capable of storing musical score information and performance data and cross-referencing them. It is equipped with the necessary primitives to execute music-analytical queries, and highlight notes identified from the score and display performance data alongside the score
âHaptic Processor Unitâ : vers une Plate-Forme Transportable pour la Simulation Temps-RĂ©el Synchrone Multisensorielle
This work is related to the field of Human-Computer Interaction, and particularly to the field of multisensory instrumental simulation, as conceptualized by the research group ACROE & ICA, and which needs a strong coupling between the human and the instrument.The first part of this thesis presents various degrees of the integration of gesture in computer uses, then develops a functional approach of force feedback technologies. This analysis elicits the mainstreams that are currently sharing the field of haptics research. We then present a study of the hardware and software components that are used in haptic simulation, and the various approaches used to connect a force feedback device to a real time modelling system. The analysis of the role of each of the components in the simulation chain and their relationships allowed us to conceptualize the âHaptic Processor Unitâ. This component guarantees in particular the conditions of reactivity that are required for multisensory simulation. The new simulation architecture that we designed in this work, named ERGON_X, implements the concept of HPU. ERGON_X is a compact and transportable simulator, and handles simulation frequencies up to 44 100Hz. The third part presents the validation of the simulation platform ERGON_X. It mainly focuses on the design of new models, which were used in the framework of the research carried on by ACROE & ICA about instrumental interaction. The âEâ is a model demonstrating the capabilities of the ERGOS technology, which is now fully exploitable thanks to this new simulation architecture. The models of tapping and of deformable paste allowed us to bring new results on human-object interaction, and validate the simulator as a tool for psychophysical experimentation. The Enactive Emblematic Scenarii âErgotic Soundsâ and âPebble Boxâ illustrate the conception of Enaction. They validate the use of our simulation architecture as an experimental platform and lead us to a paradigm shift from âinstrumental interactionâ to âenactive interactionâCe travail se situe dans le domaine de lâInteraction Personne-SystĂšme, et plus particuliĂšrement dans celui de la simulation instrumentale multisensorielle telle que conceptualisĂ©e par le groupe de recherche ACROE & ICA, qui nĂ©cessite un couplage fort homme-instrument.La premiĂšre partie de cette thĂšse prĂ©sente les diffĂ©rents degrĂ©s dâintĂ©gration du geste dans lâordinateur, puis propose une approche fonctionnelle des technologies pour le retour dâeffort. Nous dĂ©gageons de cette analyse les grandes approches qui se partagent actuellement le champ de la recherche « haptique ».Nous prĂ©sentons ensuite une Ă©tude sur les diffĂ©rents composants matĂ©riels et logiciels nĂ©cessaires Ă la chaĂźne de simulation haptique, ainsi que les diffĂ©rentes approches utilisĂ©es pour connecter un systĂšme Ă retour dâeffort Ă un processus de simulation en temps rĂ©el. Lâanalyse du rĂŽle des composants de la chaĂźne de simulation et de leurs relations permet de formaliser le concept de « Haptic Processor Unit ». Ce composant permet en particulier de garantir les conditions de rĂ©activitĂ© propres Ă la simulation multisensorielle. La nouvelle architecture de simulation multisensorielle que nous avons rĂ©alisĂ©e, ERGON_X, met en Ćuvre le concept de HPU.ERGON_X est un simulateur compact et transportable, et permet dâutiliser des frĂ©quences de simulation jusquâĂ 44 100Hz. La derniĂšre partie prĂ©sente la validation de la plate-forme de simulation ERGON_X. Elle est essentiellement orientĂ©e vers lâimplantation de nouveaux modĂšles, utilisĂ©s dans le cadre dâun travail de recherche sur la situation instrumentale mĂ©diatisĂ©e. Le « E » est un modĂšle de dĂ©monstration des performances de la technologie ERGOS que la nouvelle architecture de simulation permet dâexploiter pleinement. Les modĂšles de tapping (percussion) et de pĂątes dĂ©formables ont permis dâavancer des rĂ©sultatssur lâinteraction homme-objet, et valident le simulateur comme un outil pour lâexpĂ©rimentation psychophysique. Les Enactive Emblematic Scenarii « Ergotic Sounds » (frottement dâarchet) et « Pebble Box » (la boĂźte Ă cailloux) sont des illustrations du concept de lâEnaction. Elles valident lâutilisation de lâarchitecture de simulation comme une plate-forme pour lâexpĂ©rimentation et ouvrent de nouvelles perspectives de recherche sur lâenaction et la notion de prĂ©sence en simulation interactive