Experimental archeology and serious games: challenges of inhabiting virtual heritage

Experimental archaeology has long yielded valuable insights into the tools and techniques that featured in past peoples’ relationship with the material world around them. However, experimental archaeology has, hitherto, confined itself to rigid, empirical and quantitative questions. This paper applies principles of experimental archaeology and serious gaming tools in the reconstructions of a British Iron Age Roundhouse. The paper explains a number of experiments conducted to look for quantitative differences in movement in virtual vs material environments using both “virtual” studio reconstruction as well as material reconstruction. The data from these experiments was then analysed to look for differences in movement which could be attributed to artefacts and/or environments. The paper explains the structure of the experiments, how the data was generated, what theories may make sense of the data, what conclusions have been drawn and how serious gaming tools can support the creation of new experimental heritage environments

Navigation and interaction in a real-scale digital mock-up using natural language and user gesture

This paper tries to demonstrate a very new real-scale 3D system and sum up some firsthand and cutting edge results concerning multi-modal navigation and interaction interfaces. This work is part of the CALLISTO-SARI collaborative project. It aims at constructing an immersive room, developing a set of software tools and some navigation/interaction interfaces. Two sets of interfaces will be introduced here: 1) interaction devices, 2) natural language (speech processing) and user gesture. The survey on this system using subjective observation (Simulator Sickness Questionnaire, SSQ) and objective measurements (Center of Gravity, COG) shows that using natural languages and gesture-based interfaces induced less cyber-sickness comparing to device-based interfaces. Therefore, gesture-based is more efficient than device-based interfaces.FUI CALLISTO-SAR

Wearable performance

This is the post-print version of the article. The official published version can be accessed from the link below - Copyright @ 2009 Taylor & FrancisWearable computing devices worn on the body provide the potential for digital interaction in the world. A new stage of computing technology at the beginning of the 21st Century links the personal and the pervasive through mobile wearables. The convergence between the miniaturisation of microchips (nanotechnology), intelligent textile or interfacial materials production, advances in biotechnology and the growth of wireless, ubiquitous computing emphasises not only mobility but integration into clothing or the human body. In artistic contexts one expects such integrated wearable devices to have the two-way function of interface instruments (e.g. sensor data acquisition and exchange) worn for particular purposes, either for communication with the environment or various aesthetic and compositional expressions. 'Wearable performance' briefly surveys the context for wearables in the performance arts and distinguishes display and performative/interfacial garments. It then focuses on the authors' experiments with 'design in motion' and digital performance, examining prototyping at the DAP-Lab which involves transdisciplinary convergences between fashion and dance, interactive system architecture, electronic textiles, wearable technologies and digital animation. The concept of an 'evolving' garment design that is materialised (mobilised) in live performance between partners originates from DAP Lab's work with telepresence and distributed media addressing the 'connective tissues' and 'wearabilities' of projected bodies through a study of shared embodiment and perception/proprioception in the wearer (tactile sensory processing). Such notions of wearability are applied both to the immediate sensory processing on the performer's body and to the processing of the responsive, animate environment. Wearable computing devices worn on the body provide the potential for digital interaction in the world. A new stage of computing technology at the beginning of the 21st Century links the personal and the pervasive through mobile wearables. The convergence between the miniaturisation of microchips (nanotechnology), intelligent textile or interfacial materials production, advances in biotechnology and the growth of wireless, ubiquitous computing emphasises not only mobility but integration into clothing or the human body. In artistic contexts one expects such integrated wearable devices to have the two-way function of interface instruments (e.g. sensor data acquisition and exchange) worn for particular purposes, either for communication with the environment or various aesthetic and compositional expressions. 'Wearable performance' briefly surveys the context for wearables in the performance arts and distinguishes display and performative/interfacial garments. It then focuses on the authors' experiments with 'design in motion' and digital performance, examining prototyping at the DAP-Lab which involves transdisciplinary convergences between fashion and dance, interactive system architecture, electronic textiles, wearable technologies and digital animation. The concept of an 'evolving' garment design that is materialised (mobilised) in live performance between partners originates from DAP Lab's work with telepresence and distributed media addressing the 'connective tissues' and 'wearabilities' of projected bodies through a study of shared embodiment and perception/proprioception in the wearer (tactile sensory processing). Such notions of wearability are applied both to the immediate sensory processing on the performer's body and to the processing of the responsive, animate environment

Human motion modeling and simulation by anatomical approach

To instantly generate desired infinite realistic human motion is still a great challenge in virtual human simulation. In this paper, the novel emotion effected motion classification and anatomical motion classification are presented, as well as motion capture and parameterization methods. The framework for a novel anatomical approach to model human motion in a HTR (Hierarchical Translations and Rotations) file format is also described. This novel anatomical approach in human motion modelling has the potential to generate desired infinite human motion from a compact motion database. An architecture for the real-time generation of new motions is also propose

A framework for realistic 3D tele-immersion

Meeting, socializing and conversing online with a group of people using teleconferencing systems is still quite differ- ent from the experience of meeting face to face. We are abruptly aware that we are online and that the people we are engaging with are not in close proximity. Analogous to how talking on the telephone does not replicate the experi- ence of talking in person. Several causes for these differences have been identified and we propose inspiring and innova- tive solutions to these hurdles in attempt to provide a more realistic, believable and engaging online conversational expe- rience. We present the distributed and scalable framework REVERIE that provides a balanced mix of these solutions. Applications build on top of the REVERIE framework will be able to provide interactive, immersive, photo-realistic ex- periences to a multitude of users that for them will feel much more similar to having face to face meetings than the expe- rience offered by conventional teleconferencing systems

Space time pixels

This paper reports the design of a networked system, the aim of which is to provide an intermediate virtual space that will establish a connection and support interaction between multiple participants in two distant physical spaces. The intention of the project is to explore the potential of the digital space to generate original social relationships between people that their current (spatial or social) position can difficultly allow the establishment of innovative connections. Furthermore, to explore if digital space can sustain, in time, low-level connections like these, by balancing between the two contradicting needs of communication and anonymity. The generated intermediate digital space is a dynamic reactive environment where time and space information of two physical places is superimposed to create a complex common ground where interaction can take place. It is a system that provides awareness of activity in a distant space through an abstract mutable virtual environment, which can be perceived in several different ways – varying from a simple dynamic background image to a common public space in the junction of two private spaces or to a fully opened window to the other space – according to the participants will. The thesis is that the creation of an intermediary environment that operates as an activity abstraction filter between several users, and selectively communicates information, could give significance to the ambient data that people unconsciously transmit to others when co-existing. It can therefore generate a new layer of connections and original interactivity patterns; in contrary to a straight-forward direct real video and sound system, that although it is functionally more feasible, it preserves the existing social constraints that limit interaction into predefined patterns