Coordination of appearance and motion data for virtual view generation of traditional dances

A novel method is proposed for virtual view generation of traditional dances. In the proposed framework, a traditional dance is captured separately for appearance registration and motion registration. By coordinating the appearance and motion data, we can easily control virtual camera motion within a dancer-centered coordinate system. For this purpose, a coordination problem should be solved between the appearance and motion data, since they are captured separately and the dancer moves freely in the room. The present paper shows a practical algorithm to solve it. A set of algorithms are also provided for appearance and motion registration, and virtual view generation from archived data. In the appearance registration, a 3D human shape is recovered in each time from a set of input images after suppressing their backgrounds. By combining the recovered 3D shape and a set of images for each time, we can compose archived dance data. In the motion registration, stereoscopic tracking is accomplished for color markers placed on the dancer. A virtual view generation is formalized as a color blending among multiple views, and a novel and efficient algorithm is proposed for the composition of a natural virtual view from a set of images. In the proposed method, weightings of the linear combination are calculated from both an assumed viewpoint and a surface normal.</p

Moveable worlds/digital scenographies

This is the author's accepted manuscript. The final published article is available from the link below. Copyright @ Intellect Ltd 2010.The mixed reality choreographic installation UKIYO explored in this article reflects an interest in scenographic practices that connect physical space to virtual worlds and explore how performers can move between material and immaterial spaces. The spatial design for UKIYO is inspired by Japanese hanamichi and western fashion runways, emphasizing the research production company's commitment to various creative crossovers between movement languages, innovative wearable design for interactive performance, acoustic and electronic sound processing and digital image objects that have a plastic as well as an immaterial/virtual dimension. The work integrates various forms of making art in order to visualize things that are not in themselves visual, or which connect visual and kinaesthetic/tactile/auditory experiences. The ‘Moveable Worlds’ in this essay are also reflections of the narrative spaces, subtexts and auditory relationships in the mutating matrix of an installation-space inviting the audience to move around and follow its sensorial experiences, drawn near to the bodies of the dancers.Brunel University, the British Council, and the Japan Foundation

Design and semantics of form and movement (DeSForM 2006)

Design and Semantics of Form and Movement (DeSForM) grew from applied research exploring emerging design methods and practices to support new generation product and interface design. The products and interfaces are concerned with: the context of ubiquitous computing and ambient technologies and the need for greater empathy in the pre-programmed behaviour of the ‘machines’ that populate our lives. Such explorative research in the CfDR has been led by Young, supported by Kyffin, Visiting Professor from Philips Design and sponsored by Philips Design over a period of four years (research funding £87k). DeSForM1 was the first of a series of three conferences that enable the presentation and debate of international work within this field: • 1st European conference on Design and Semantics of Form and Movement (DeSForM1), Baltic, Gateshead, 2005, Feijs L., Kyffin S. & Young R.A. eds. • 2nd European conference on Design and Semantics of Form and Movement (DeSForM2), Evoluon, Eindhoven, 2006, Feijs L., Kyffin S. & Young R.A. eds. • 3rd European conference on Design and Semantics of Form and Movement (DeSForM3), New Design School Building, Newcastle, 2007, Feijs L., Kyffin S. & Young R.A. eds. Philips sponsorship of practice-based enquiry led to research by three teams of research students over three years and on-going sponsorship of research through the Northumbria University Design and Innovation Laboratory (nuDIL). Young has been invited on the steering panel of the UK Thinking Digital Conference concerning the latest developments in digital and media technologies. Informed by this research is the work of PhD student Yukie Nakano who examines new technologies in relation to eco-design textiles

Tangible user interfaces : past, present and future directions

In the last two decades, Tangible User Interfaces (TUIs) have emerged as a new interface type that interlinks the digital and physical worlds. Drawing upon users' knowledge and skills of interaction with the real non-digital world, TUIs show a potential to enhance the way in which people interact with and leverage digital information. However, TUI research is still in its infancy and extensive research is required in or- der to fully understand the implications of tangible user interfaces, to develop technologies that further bridge the digital and the physical, and to guide TUI design with empirical knowledge. This paper examines the existing body of work on Tangible User In- terfaces. We start by sketching the history of tangible user interfaces, examining the intellectual origins of this field. We then present TUIs in a broader context, survey application domains, and review frame- works and taxonomies. We also discuss conceptual foundations of TUIs including perspectives from cognitive sciences, phycology, and philoso- phy. Methods and technologies for designing, building, and evaluating TUIs are also addressed. Finally, we discuss the strengths and limita- tions of TUIs and chart directions for future research

Towards a framework to make robots learn to dance

A key motive of human-robot interaction is to make robots and humans interact through different aspects of the real world. As robots become more and more realistic in appearance, so has the desire for them to exhibit complex behaviours. A growing area of interest in terms of complex behaviour is robot dancing. Dance is an entertaining activity that is enjoyed either by being the performer or the spectator. Each dance contain fundamental features that make-up a dance. It is the curiosity for some researchers to model such an activity for robots to perform in human social environments. From current research, most dancing robots are pre-programmed with dance motions and few have the ability to generate their own dance or alter their movements according to human responses while dancing. This thesis explores the question Can a robot learn to dance? . A dancing framework is proposed to address this question. The Sarsa algorithm and the Softmax algorithm from traditional reinforcement learning form part of the dancing framework to enable a virtual robot learn and adapt to appropriate dance behaviours. The robot follows a progressive approach, utilising the knowledge obtained at each stage of its development to improve the dances that it generates. The proposed framework addresses three stages of development of a robot s dance: learning ability; creative ability of dance motions, and adaptive ability to human preferences. Learning ability is the ability to make a robot gradually perform the desired dance behaviours. Creative ability is the idea of the robot generating its own dance motions, and structuring them into a dance. Adaptive ability is where the robot changes its dance in response to human feedback. A number of experiments have been conducted to explore these challenges, and verified that the quality of the robot dance can be improved through each stage of the robot s development

Bodies and labour: industrialisation, dance and performance

This thesis was submitted for the degree of Master of Philosophy and was awarded by Brunel UniversityThis thesis presents an interdisciplinary analysis of ideas regarding the introduction of technologies in the field of dance and performance since the industrial era. The first two chapters analyse different historical periods, thus creating a parallel between the establishment of work-science, and emerging methods and styles within performing arts that utilise technology as a core element for its creation. The historical examination of the field of work-science studies allows the sketching of a variety of relationships between labour and technical developments, focusing especially on the systematisation of productive processes, the integration of new technical developments and the measurements of body’s rhythms and capacities. Therefore, rather than presenting a full historical study of industrialisation and technological performance, this research proposes a segmented analysis of two different periods: firstly, a parallel between Taylorism and Electric Dance since the late nineteenth century; and secondly, some relevant notions of Fordism, Mass Ornament and film studies from the 1920s. In the last part of this thesis, I present some general ideas on post-Fordism and digital performance that will serve as a base for future research development. This investigation is rooted in the field of performing arts, introducing ideas and concepts from labour studies and generating a critical approach to the integration of technologies within performing arts and its aesthetical, methodological and creative outcomes. The research encompasses a wide range of perspectives, from early photographic experiments, film studies, entertainment culture, video games, and digital technologies, formulating a general approach to technological transformations since the late nineteenth century. The key question throughout this research is precisely a double-sided adaptation between movement style and technical development: a process of intermedial configurations based on technological progress, analysed from a labour-science perspective, and then applied to performance art and entertainment culture

Look me in the eyes: A survey of eye and gaze animation for virtual agents and artificial systems

International audienceA person's emotions and state of mind are apparent in their face and eyes. As a Latin proverb states: "The face is the portrait of the mind; the eyes, its informers.". This presents a huge challenge for computer graphics researchers in the generation of artificial entities that aim to replicate the movement and appearance of the human eye, which is so important in human-human interactions. This State of the Art Report provides an overview of the efforts made on tackling this challenging task. As with many topics in Computer Graphics, a cross-disciplinary approach is required to fully understand the workings of the eye in the transmission of information to the user. We discuss the movement of the eyeballs, eyelids, and the head from a physiological perspective and how these movements can be modelled, rendered and animated in computer graphics applications. Further, we present recent research from psychology and sociology that seeks to understand higher level behaviours, such as attention and eye-gaze, during the expression of emotion or during conversation, and how they are synthesised in Computer Graphics and Robotics