컴퓨터를 활용한 여러 사람의 동작 연출

학위논문 (박사)-- 서울대학교 대학원 공과대학 전기·컴퓨터공학부, 2017. 8. 이제희.Choreographing motion is the process of converting written stories or messages into the real movement of actors. In performances or movie, directors spend a consid-erable time and effort because it is the primary factor that audiences concentrate. If multiple actors exist in the scene, choreography becomes more challenging. The fundamental difficulty is that the coordination between actors should precisely be ad-justed. Spatio-temporal coordination is the first requirement that must be satisfied, and causality/mood are also another important coordinations. Directors use several assistant tools such as storyboards or roughly crafted 3D animations, which can visu-alize the flow of movements, to organize ideas or to explain them to actors. However, it is difficult to use the tools because artistry and considerable training effort are required. It also doesnt have ability to give any suggestions or feedbacks. Finally, the amount of manual labor increases exponentially as the number of actor increases. In this thesis, we propose computational approaches on choreographing multiple actor motion. The ultimate goal is to enable novice users easily to generate motions of multiple actors without substantial effort. We first show an approach to generate motions for shadow theatre, where actors should carefully collaborate to achieve the same goal. The results are comparable to ones that are made by professional ac-tors. In the next, we present an interactive animation system for pre-visualization, where users exploits an intuitive graphical interface for scene description. Given a de-scription, the system can generate motions for the characters in the scene that match the description. Finally, we propose two controller designs (combining regression with trajectory optimization, evolutionary deep reinforcement learning) for physically sim-ulated actors, which guarantee physical validity of the resultant motions.Chapter 1 Introduction 1 Chapter 2 Background 8 2.1 Motion Generation Technique 9 2.1.1 Motion Editing and Synthesis for Single-Character 9 2.1.2 Motion Editing and Synthesis for Multi-Character 9 2.1.3 Motion Planning 10 2.1.4 Motion Control by Reinforcement Learning 11 2.1.5 Pose/Motion Estimation from Incomplete Information 11 2.1.6 Diversity on Resultant Motions 12 2.2 Authoring System 12 2.2.1 System using High-level Input 12 2.2.2 User-interactive System 13 2.3 Shadow Theatre 14 2.3.1 Shadow Generation 14 2.3.2 Shadow for Artistic Purpose 14 2.3.3 Viewing Shadow Theatre as Collages/Mosaics of People 15 2.4 Physics-based Controller Design 15 2.4.1 Controllers for Various Characters 15 2.4.2 Trajectory Optimization 15 2.4.3 Sampling-based Optimization 16 2.4.4 Model-Based Controller Design 16 2.4.5 Direct Policy Learning 17 2.4.6 Deep Reinforcement Learning for Control 17 Chapter 3 Motion Generation for Shadow Theatre 19 3.1 Overview 19 3.2 Shadow Theatre Problem 21 3.2.1 Problem Definition 21 3.2.2 Approaches of Professional Actors 22 3.3 Discovery of Principal Poses 24 3.3.1 Optimization Formulation 24 3.3.2 Optimization Algorithm 27 3.4 Animating Principal Poses 29 3.4.1 Initial Configuration 29 3.4.2 Optimization for Motion Generation 30 3.5 Experimental Results 32 3.5.1 Implementation Details 33 3.5.2 Animation 34 3.5.3 3D Fabrication 34 3.6 Discussion 37 Chapter 4 Interactive Animation System for Pre-visualization 40 4.1 Overview 40 4.2 Graphical Scene Description 42 4.3 Candidate Scene Generation 45 4.3.1 Connecting Paths 47 4.3.2 Motion Cascade 47 4.3.3 Motion Selection For Each Cycle 49 4.3.4 Cycle Ordering 51 4.3.5 Generalized Paths and Cycles 52 4.3.6 Motion Editing 54 4.4 Scene Ranking 54 4.4.1 Ranking Criteria 54 4.4.2 Scene Ranking Measures 57 4.5 Scene Refinement 58 4.6 Experimental Results 62 4.7 Discussion 65 Chapter 5 Physics-based Design and Control 69 5.1 Overview 69 5.2 Combining Regression with Trajectory Optimization 70 5.2.1 Simulation and Motor Skills 71 5.2.2 Control Adaptation 75 5.2.3 Control Parameterization 79 5.2.4 Efficient Construction 81 5.2.5 Experimental Results 84 5.2.6 Discussion 89 5.3 Example-Guided Control by Deep Reinforcement Learning 91 5.3.1 System Overview 92 5.3.2 Initial Policy Construction 95 5.3.3 Evolutionary Deep Q-Learning 100 5.3.4 Experimental Results 107 5.3.5 Discussion 114 Chapter 6 Conclusion 119 6.1 Contribution 119 6.2 Future Work 120 요약 135Docto

Seeing Music? What musicians need to know about vision

Music is inherently an auditory art form, rooted in sound, and generally analyzed in terms of its acoustic properties. However, as the process of hearing is affected by seeing, visual information does in fact play an important role in the musical experience. Vision influences many aspects of music – from evaluations of performance quality and audience interest to the perception of loudness, timbre, and note duration. Moreover, it can be used to achieve musical goals that are in fact acoustically impossible. As such, understanding the benefits of embracing (and the costs of ignoring) vision’s role is essential for all musicians. Furthermore, since music represents a pervasive and ubiquitous human practice, this topic serves as an ideal case study for understanding how auditory and visual information are integrated. Given that some musically-based studies have challenged and even contributed to updating psychological theories of sensory integration, this topic represents a rich area of research, relevant to musicians and psychologists alike

Hitchcock, Tati and Leone: style, narrative and directorial approaches in mainstream cinema and their relationship to contemporary screen-dance practice.

A thesis submitted to the University of Bedfordshire, in partial fulfilment of the requirements for the degree of Master of Science by Research.This research recommends the style, narrative and directorial approaches of Alfred Hitchcock, Jaques Tati and Sergio Leone as a relevant point of reference for current screen-dance practice. Their specific cinematic authored models were tested in order to determine whether the framework could provide a flexible enough methodology for the making and producing of effective screen-dance, and in the hopes of providing new pathways for the researcher’s screen-dance practice. The cinematic authors selected for scrutiny were Alfred Hitchcock, Jaques Tati, and Sergio Leone. The criterion for this selection was determined by the directors’ stylistic and narrative preferences, and democratic approaches to sound and image making. Five screen-dances were produced for this research between 2004 and 2011 and a further two in 2014 and 2016: Vanishing point (Tiso, 2004), Tippi: Crying Fowl (Tiso, 2007) and Nil desperandum) (Tiso, 2012) were based on the Hitchcock oeuvre, Souvenir (Tiso, 2005) was based on the Tati opus and Crimes (Tiso, 2005) on Sergio Leone’s legacy. Flow (Tiso, 2014) and The big sofa (Tiso, 2016) were developed out of the findings of a completed directorial, stylistic, narrative listing. This thesis is largely a piece of self-enquiry. The researcher has been methodical in how she has approached her own work, so that the work is presented as a heuristic analysis interwoven woven into body of the practical components

Dancing Media: The Contagious Movement of Posthuman Bodies (or Towards A Posthuman Theory of Dance)

My dissertation seeks to define a posthuman theory of dance through a historical study of the dancer as an instrument or technology for exploring emergent visual media, and by positioning screendance as an experimental technique for animating posthuman relation and thought. Commonly understood as ephemeral, dance is produced by assemblages that include bodies but are not limited to them. In this way, dance exceeds the human body. There is a central tension in the practice of dance, between the persistent presumption of the dancing body as a channel for human expression, and dance as a technicity of the body—a discipline and a practice of repeated gesture—that calls into question categories of the human. A posthuman theory of dance invites examination of such tensions and interrogates traditional notions of authenticity, ownership and commodification, as well as the bounded, individual subject who can assess the surrounding world with precise clarity, certain of where the human begins and ends. The guiding historical question for my dissertation is: if it is possible to describe both a modern form of posthuman dance (turn of the 19th-20th century), and a more recent form of posthuman dance (turn of the 20th-21st century), are they part of the same assemblage or are they constituted differently, and if so, how? Throughout my four chapters, I explore an array of case studies from early modernism to advanced capitalism, including Loie Fuller’s otherworldly stage dances; the scientific motion studies of Muybridge and Marey; Fritz Lang’s dancing maschinenmensch (or the first on-screen dancing machine) in the 1927 film Metropolis; the performances of singer-dancer hologram pop star, Hatsune Miku; and American engineering firm Boston Dynamics’ dancing military robots. The figure of the “dancing machine” (McCarren) is central to my project, especially given that dance has historically been used as a means of testing machines—from automata to robots to CGI images animated with MoCap—in their capacity to be lively or human-like. In each case, I am interested in how dance continues to be productive of some kind of subjectivity (or interiority, or “soul”), even in the absence of the human body, and how technique and gesture passes between bodies, both virtual and organic, dispersing agency often attributed to the human alone. I propose that a posthuman theory of dance is a necessary intervention to the broad and contradictory field of posthumanism because dance returns us to questions about bodies that are often suspiciously ignored in theories of posthumanism, especially regarding race (and historically racist categories of non/inhumanity), thereby exposing many of posthumanism’s biases, appropriations, dispossessions and erasures. Throughout my dissertation, I look to dance as both a concrete example and as a method of thinking through the potentials and limitations of posthumanism

Example Based Caricature Synthesis

The likeness of a caricature to the original face image is an essential and often overlooked part of caricature production. In this paper we present an example based caricature synthesis technique, consisting of shape exaggeration, relationship exaggeration, and optimization for likeness. Rather than relying on a large training set of caricature face pairs, our shape exaggeration step is based on only one or a small number of examples of facial features. The relationship exaggeration step introduces two definitions which facilitate global facial feature synthesis. The first is the T-Shape rule, which describes the relative relationship between the facial elements in an intuitive manner. The second is the so called proportions, which characterizes the facial features in a proportion form. Finally we introduce a similarity metric as the likeness metric based on the Modified Hausdorff Distance (MHD) which allows us to optimize the configuration of facial elements, maximizing likeness while satisfying a number of constraints. The effectiveness of our algorithm is demonstrated with experimental results

Intimate bodies and technologies: A concept for live-digital dancing

This thesis considers the relationship between dance and digital media, and considers a specific type of case regarding this relationship: live and mediated. My motivation has been to identify and investigate, through practice, some of the difficulties presented when live and mediated bodies are placed within the same performance environment. In order to challenge some of the difficulties of what I consider as the problematic medium of digital dance, this thesis offers an examination of the ways in which digital media can positively transform the processes of making movement, and explores how the assimilation of media, as an integral agent within movement generation, can counter the dominance of the digital. Such dominance has been considered using a Practice As Research (PaR) model, and thus the thesis exemplifies both the creation of, and a deep reflection on, three works: Shift (2010-11), Betwixt & Between (2012-13) and Modulation_one (2013-14). Through the development of these works, I have sought to formally analyze and illuminate how media technologies, and in particular projection, can enrich the processes for making movement. This has been done in the context of a proliferation of digital technologies being available within a studio setting. In particular, the works have been established from the perspective of the dancer, which represents a specific case study for challenging the dominance of the digital. What follows in the written thesis is an analysis of what is a continuing and emerging practice. The written thesis therefore serves as both a document of the process and presents an illustration of a methodological approach for generating synergistic relationships with movement and projection. This relationship is proposed as a concept for live-digital dancing, which represents the main contribution to knowledge. The term live-digital advances the idea that a dancer is neither bound or restricted by either a live or digital construct, rather she is inspired to move and respond, in the moment of performance, to an unfolding assemblage of live and digital materials. Significantly, this has been established through the experiential encounters of the dancer moving with simultaneous projections of self. Live-digital therefore offers a methodological approach for constructing digital dance performance environments, which place perception and experience at the fore

Shifting Interfaces: art research at the intersections of live performance and technology

Merged with duplicate record 10026.1/809 on 08.20.2017 by CS (TIS)This collection of published works is an outcome of my practice-led inter-disciplinary collaborative artistic research into deepening understanding of creative process in the field of contemporary dance. It comprises thirty written works published from 1999 to 2007 in various formats and platforms. This collection is framed by a methodological discussion that provides insight into how this research has intersected over time with diverse fields of practice including contemporary dance, digital and new media arts and non-art domains such as cognitive and social science. Fields are understood in the context of this research to be largely constituted out of the expert practices of individual collaborators. This research starts from an interest in the Impact of new media technologies on dance making/ choreography. The collection of works show evidence, established in the first two publications, of an evolving engagement with two concepts related to this interest: (1) the 'algorithm' as a process-level connection or bridge between dance composition and computation; (2) the empirical study of movement embedded as a 'knowledge base' in the practices of both computer animation and dance and thus forming a special correspondence between them. This collection provides evidence of this research through a period of community-building amongst artists using new media technologies in performance, and culminates in the identification of an emerging 'community of practice' coming together around the formation of a unique body of knowledge pertaining to dance. The late 1990s New Media Art movement provided a supportive context for Important peer-to-peer encounters with creators and users of software tools and platforms in the context of inter-disciplinary art-making. A growing interest in software programming as a creative practice opened up fresh perspectives on possible connections with dance making. It became clear that software's utility alone, including artistic uses of software, was a limited conception. This was the background thinking that informed the first major shift in the research towards the design of software that might augment the creative process of expert choreographers and dancers. This shift from software use to its design, framed by a focus on the development of tools to support dance creation, also provided strong rationale to deepen the research into dance making processes. In the second major phase of the research presented here, scientific study is brought collaboratively to bear on questions related to choreographic practice. This lead to a better understanding of ways in which dancers and choreographers, as 'thinking bodies', interact with their design tools and each other in the context of creation work. In addition to this collection, outcomes of this research are traceable to other published papers and art works it has given rise to. Less easily measureable, but just as valuable, are the sustained relations between individuals and groups behind the 'community of practice' now recognised for its development of unique formats for bringing choreographic ideas and processes into contact, now and in the future, with both general audiences and other specialist practices

The Balanchine Dilemma: So-Called Abstraction and the Rhetoric of Circumvention in Black and White Ballets

Choreographer George Balanchine was known for rejecting the premise that his ballets were abstract. Yet, a closer look into his comments on abstraction reveals a greater degree of ambivalence toward the concept than previously noticed. His influential words found response in dance critical writing, where the term “abstract” continued to circulate, but was often applied in vague ways, such as “so-called abstraction.” This and other softened terminological variations formed an ambiguous collection of abstractive terms, like a vague word cloud around the dance concept. This article explores abstraction in Balanchine’s particular ballets, and makes a two-fold argument. On the one hand, by emphasizing the visual aspects of Balanchine’s compositions, we may uncover ways to untangle his dilemma about dance abstraction. Visual theories of “semantic abstraction” by Harold Osborne, and of “the gesture of abstraction” by Blake Stimson, may help us to understand the abstractive modes in several of Balanchine’s black-and-white ballets. On the other hand, whether discussed or not, Balanchine’s abstractive gestures have created powerful representational shifts in some cases. In particular, by examining the interracially cast duet from the ballet Agon (1957) as a visual case study, we may see how Balanchine’s rejections of the concept, amplified by critics’ vague terminological invocations of, or silence about, abstractive choreographic gestures, occluded the work’s participation in the discourse of abstraction. Simultaneously, unnoticed yet potent choreographic gestures of semantic abstraction may have promoted whiteness as a normative structure, one that relies on a hegemonic “bodily integrity” (as discussed by Saidiya Hartman). Such an analysis leads to a recognition that Balanchine’s abstraction could have been a subversive form of dissent similar to Kobena Mercer’s concept of “discrepant abstraction.” However, I posit that, as a result of the Balanchine dilemma and its influence, the interlinked gestures of an abstract nature that have not been recognized as such promoted the self-regulative structure identified by Bojana Cvejić as “white harmony.” Ultimately, a more specific and clear application of the term “abstract” in ballet is needed, as it can help to dismantle or disrupt the system of white supremacy operative in dominant ballet structures