Higher level techniques for the artistic rendering of images and video

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Materializing interaction

Thesis (Ph. D.)--Massachusetts Institute of Technology, School of Architecture and Planning, Program in Media Arts and Sciences, February 2013.Cataloged from PDF version of thesis. "September 2012."Includes bibliographical references (p. 141-148).At the boundary between people, objects and spaces, we encounter a broad range of surfaces. Their properties perform functional roles such as permeability, comfort or illumination, while conveying information such as an object's affordances, composition, or history of use. However, today surfaces are static and can neither adapt to our changing needs, nor communicate dynamic information and sense user input. As technology advances and we progress towards a world imbued with programmable materials, how will designers create physical surfaces that are adaptive and can take full advantage of our sensory apparatus? This dissertation looks at this question through the lens of a three-tier methodology consisting of the development of programmable composites; their application in design and architecture; and contextualization through a broader material and surface taxonomy. The focus is placed primarily on how materials and their aggregate surface properties can be used to engage our senses. A series of design probes and four final implementations are presented, each addressing specific programmable material and surface properties. Surflex, Sprout 1/O, and Shutters are continuous surfaces which can change shape to modify their topology, texture and permeability, and Six-Forty by Four-Eighty is a light-emitting display surface composed of autonomous and reconfigurable physical pixels. The technical and conceptual objectives of these designs are evaluated through exhibitions in a variety of public spaces, such as museums, galleries, fairs, as well as art and design festivals. This dissertation seeks to provide contributions on multiple levels, including: the development of techniques for the creation and control of programmable surfaces; the definition of a vocabulary and taxonomy to describe and compare previous work in this area; and finally, uncovering design principles for the underlying development of future programmable surface aesthetics.by Marcelo Coelho.Ph.D

Temporally Coherent Video Stylization

International audienceThe transformation of video clips into stylized animations remains an active research topic in Computer Graphics. A key challenge is to reproduce the look of traditional artistic styles whilst minimizing distracting flickering and sliding artifacts; i.e. with temporal coherence. This chapter surveys the spectrum of available video stylization techniques, focusing on algorithms encouraging the temporally coherent placement of rendering marks, and discusses the trade-offs necessary to achieve coherence. We begin with flow-based adaptations of stroke based rendering (SBR) and texture advection capable of painting video. We then chart the development of the field, and its fusion with Computer Vision, to deliver coherent mid-level scene representations. These representations enable the rotoscoping of rendering marks on to temporally coherent video regions, enhancing the diversity and temporal coherence of stylization. In discussing coherence, we formalize the problem of temporal coherence in terms of three defined criteria, and compare and contrast video stylization using these

Designing Digital Art and Communication Tools Inspired by Traditional Craft

Ph.DDOCTOR OF PHILOSOPH

Virtual Reality Games for Motor Rehabilitation

This paper presents a fuzzy logic based method to track user satisfaction without the need for devices to monitor users physiological conditions. User satisfaction is the key to any product’s acceptance; computer applications and video games provide a unique opportunity to provide a tailored environment for each user to better suit their needs. We have implemented a non-adaptive fuzzy logic model of emotion, based on the emotional component of the Fuzzy Logic Adaptive Model of Emotion (FLAME) proposed by El-Nasr, to estimate player emotion in UnrealTournament 2004. In this paper we describe the implementation of this system and present the results of one of several play tests. Our research contradicts the current literature that suggests physiological measurements are needed. We show that it is possible to use a software only method to estimate user emotion

Non-photorealistic rendering: a critical examination and proposed system.

In the first part of the program the emergent field of Non-Photorealistic Rendering is explored from a cultural perspective. This is to establish a clear understanding of what Non-Photorealistic Rendering (NPR) ought to be in its mature form in order to provide goals and an overall infrastructure for future development. This thesis claims that unless we understand and clarify NPR's relationship with other media (photography, photorealistic computer graphics and traditional media) we will continue to manufacture "new solutions" to computer based imaging which are confused and naive in their goals. Such solutions will be rejected by the art and design community, generally condemned as novelties of little cultural worth ( i.e. they will not sell). This is achieved by critically reviewing published systems that are naively described as Non-photorealistic or "painterly" systems. Current practices and techniques are criticised in terms of their low ability to articulate meaning in images; solutions to this problem are given. A further argument claims that NPR, while being similar to traditional "natural media" techniques in certain aspects, is fundamentally different in other ways. This similarity has lead NPR to be sometimes proposed as "painting simulation" — something it can never be. Methods for avoiding this position are proposed. The similarities and differences to painting and drawing are presented and NPR's relationship to its other counterpart, Photorealistic Rendering (PR), is then delineated. It is shown that NPR is paradigmatically different to other forms of representation — i.e. it is not an "effect", but rather something basically different. The benefits of NPR in its mature form are discussed in the context of Architectural Representation and Design in general. This is done in conjunction with consultations with designers and architects. From this consultation a "wish-list" of capabilities is compiled by way of a requirements capture for a proposed system. A series of computer-based experiments resulting in the systems "Expressive Marks" and 'Magic Painter" are carried out; these practical experiments add further understanding to the problems of NPR. The exploration concludes with a prototype system "Piranesi" which is submitted as a good overall solution to the problem of NPR. In support of this written thesis are : - • The Expressive Marks system • Magic Painter system • The Piranesi system (which includes the EPixel and Sketcher systems) • A large portfolio of images generated throughout the exploration

Excellentia Eminentia Effectio

"In these pages you will learn about the fascinating research endeavors that each of our faculty members is undertaking. We have divided their research into the broad categories of health, sustainability, information, and systems. While we recognize the imperfect nature of categorizing research that, by its very nature may be interdisciplinary or transdisciplinary, we nonetheless believe it will be helpful as a way to see the depth and breadth of our research endeavors within each grouping. As you read the profiles on these pages, I know you will begin to appreciate that, taken as a whole, the research spectrum at Columbia Engineering is exceptional and that, as our professors go about their work, they are at the cusp of making breakthroughs that will have a major impact on the way we live our lives today and tomorrow.

Painterly interfaces for audiovisual performance

Thesis (S.M.)--Massachusetts Institute of Technology, Program in Media Arts & Sciences, 2000.Includes bibliographical references (p. 145-149).This thesis presents a new computer interface metaphor for the real-time and simultaneous performance of dynamic imagery and sound. This metaphor is based on the idea of an inexhaustible, infinitely variable, time-based, audiovisual "substance" which can be gesturally created, deposited, manipulated and deleted in a free-form, non-diagrammatic image space. The interface metaphor is exemplified by five interactive audiovisual synthesis systems whose visual and aural dimensions are deeply plastic, commensurately malleable, and tightly connected by perceptually- motivated mappings. The principles, patterns and challenges which structured the design of these five software systems are extracted and discussed, after which the expressive capacities of the five systems are compared and evaluated.Golan Levin.S.M