Telenursing RoboPuppet

The goal of this project is to improve the TRINA nursing robots ability to perform common medical tasks by designing an improved input device. The selected solution was to create a RoboPuppet, a DH parameter scale model of Baxters arms with angle sensors. A RoboPuppet allows for direct manipulation of Baxters joint space with one-to-one correspondence. Actuators were integrated to provide the opportunity for gravity compensation and haptic feedback. The puppet was successful in manipulating Baxters arms smoothly and precisely

Telenursing RoboPuppet

The goal of this project is to improve the TRINA nursing robots ability to perform common medical tasks by designing an improved input device. The selected solution was to create a RoboPuppet, a DH parameter scale model of Baxters arms with angle sensors. A RoboPuppet allows for direct manipulation of Baxters joint space with one-to-one correspondence. Actuators were integrated to provide the opportunity for gravity compensation and haptic feedback. The puppet was successful in manipulating Baxters arms smoothly and precisely

Design-led approach for transferring the embodied skills of puppet stop-motion animators into haptic workspaces

This design-led research investigates the transfer of puppet stop-motion animators’ embodied skills from the physical workspace into a digital environment. The approach is to create a digital workspace that evokes an embodied animating experience and allows puppet stop-motion animators to work in it unencumbered. The insights and outcomes of the practical explorations are discussed from the perspective of embodied cognition. The digital workspace employs haptic technology, an advanced multi-modal interface technology capable of invoking the tactile, kinaesthetic and proprioceptive senses. The overall aim of this research is to contribute, to the Human-Computer Interaction design community, design considerations and strategies for developing haptic workspaces that can seamlessly transfer and accommodate the rich embodied knowledge of non-digital skillful practitioners. Following an experiential design methodology, a series of design studies in collaboration with puppet stop-motion animators led to the development of a haptic workspace prototype for producing stop-motion animations. Each design study practically explored the transfer of different aspects of the puppet stop-motion animation practice into the haptic workspace. Beginning with an initial haptic workspace prototype, its design was refined in each study with the addition of new functionalities and new interaction metaphors which were always developed with the aim to create and maintain an embodied animating experience. The method of multiple streams of reflection was proposed as an important design tool for identifying, understanding and articulating design insights, empirical results and contextual considerations throughout the design studies. This thesis documents the development of the haptic workspace prototype and discusses the collected design insights and empirical results from the perspective of embodied cognition. In addition, it describes and reviews the design methodology that was adopted as an appropriate approach towards the design of the haptic workspace prototype

Direct Animation Interfaces : an Interaction Approach to Computer Animation

Creativity tools for digital media have been largely democratised, offering a range from beginner to expert tools. Yet computer animation, the art of instilling life into believable characters and fantastic worlds, is still a highly sophisticated process restricted to the spheres of expert users. This is largely due to the methods employed: in keyframe animation dynamics are indirectly specified over abstract descriptions, while performance animation suffers from inflexibility due to a high technological overhead. The reverse trend in human-computer interaction to make interfaces more direct, intuitive, and natural to use has so far hardly touched the animation world: decades of interaction research have scarcely been linked to research and development of animation techniques. The hypothesis of this work is that an interaction approach to computer animation can inform the design and development of novel animation techniques. Three goals are formulated to illustrate the validity of this thesis. Computer animation methods and interfaces must be embedded in an interaction context. The insights this brings for designing next generation animation tools must be examined and formalised. The practical consequences for the development of motion creation and editing tools must be demonstrated with prototypes that are more direct, efficient, easy-to-learn, and flexible to use. The foundation of the procedure is a conceptual framework in the form of a comprehensive discussion of the state of the art, a design space of interfaces for time-based visual media, and a taxonomy for mappings between user and medium space-time. Based on this, an interaction-centred analysis of computer animation culminates in the concept of direct animation interfaces and guidelines for their design. These guidelines are tested in two point designs for direct input devices. The design, implementation and test of a surface-based performance animation tool takes a system approach, addressing interaction design issues as well as challenges in extending current software architectures to support novel forms of animation control. The second, a performance timing technique, shows how concepts from video browsing can be applied to motion editing for more direct and efficient animation timing

Recent Advances in Laparoscopic Surgery

The implementation of laparoscopy has revolutionized surgery over the past few years, incorporating significant benefits for the patient. However, this evolution has also entailed many technical obstacles for surgeons. This book is for readers wanting to learn more about recent surgical techniques and technologies. Topics cover novel sophisticated approaches for single-site surgery, natural orifice transluminal endoscopic surgery, and transanal surgery, among others. Also included are reviews of new innovative surgical devices, robotic platforms, and methodological guidelines for improving surgical performance and surgeon ergonomics

Whole-hand input

Thesis (Ph. D.)--Massachusetts Institute of Technology, Dept. of Architecture, 1992.Includes bibliographical references (p. 219-233).by David Joel Sturman.Ph.D

THE REALISM OF ALGORITHMIC HUMAN FIGURES A Study of Selected Examples 1964 to 2001

It is more than forty years since the first wireframe images of the Boeing Man revealed a stylized hu-man pilot in a simulated pilot's cabin. Since then, it has almost become standard to include scenes in Hollywood movies which incorporate virtual human actors. A trait particularly recognizable in the games industry world-wide is the eagerness to render athletic muscular young men, and young women with hour-glass body-shapes, to traverse dangerous cyberworlds as invincible heroic figures. Tremendous efforts in algorithmic modeling, animation and rendering are spent to produce a realistic and believable appearance of these algorithmic humans. This thesis develops two main strands of research by the interpreting a selection of examples. Firstly, in the computer graphics context, over the forty years, it documents the development of the creation of the naturalistic appearance of images (usually called photorealism ). In particular, it de-scribes and reviews the impact of key algorithms in the course of the journey of the algorithmic human figures towards realism . Secondly, taking a historical perspective, this work provides an analysis of computer graphics in relation to the concept of realism. A comparison of realistic images of human figures throughout history with their algorithmically-generated counterparts allows us to see that computer graphics has both learned from previous and contemporary art movements such as photorealism but also taken out-of-context elements, symbols and properties from these art movements with a questionable naivety. Therefore, this work also offers a critique of the justification of the use of their typical conceptualization in computer graphics. Although the astounding technical achievements in the field of algorithmically-generated human figures are paralleled by an equally astounding disregard for the history of visual culture, from the beginning 1964 till the breakthrough 2001, in the period of the digital information processing machine, a new approach has emerged to meet the apparently incessant desire of humans to create artificial counterparts of themselves. Conversely, the theories of traditional realism have to be extended to include new problems that those active algorithmic human figures present

Shadows, touch and digital puppeteering: a media archaeological approach

Aims The practical aim of this research project is to create a multi-touch digital puppetry system that simulates shadow theatre environments and translates gestural acts of touch into live and expressive control of virtual shadow figures. The research is focussed on the qualities of movement achievable through the haptics of single and multi-touch control of the digital puppets in the simulation. An associated aim is to create a collaborative environment where multiple performers can control dynamic animation and scenography, and create novel visualisations and narratives. The conceptual aim is to link traditional and new forms of puppetry seeking cultural significance in the ‘remediation’ of old forms that avail themselves of new haptic resources and collaborative interfaces. The thesis evaluates related prior art where traditional worlds of shadow performance meet new media, digital projection and 3D simulation, in order to investigate how changing technical contexts transform the potential of shadows as an expressive medium. Methodology The thesis uses cultural analysis of relevant documentary material to contextualise the practical work by relating the media archaeology of 2D puppetry—shadows, shadowgraphs and silhouettes—to landmark work in real-time computer graphics and performance animation. The survey considers the work of puppeteers, animators, computer graphics specialists and media artists. Through practice and an experimental approach to critical digital creativity, the study provides practical evidence of multiple iterations of controllable physics-based animation delivering expressive puppet motion through touch and multiuser interaction. Video sequences of puppet movement and written observational analysis document the intangible aspects of animation in performance. Through re-animation of archival shadow puppets, the study presents an emerging artistic media archaeological method. The major element of this method has been the restoration of a collection of Turkish Karagöz Shadow puppets from the Institut International de la Marionnette (Charleville, France) into a playable digital form. Results The thesis presents a developing creative and analytical framework for digital shadow puppetry. It proposes a media archaeological method for working creatively with puppet archives that unlock the kinetic and expressive potential of restored figures. The interaction design introduces novel approaches to puppetry control systems—using spring networks—with objects under physics-simulation that demonstrate emergent expressive qualities. The system facilitates a dance of agency¹ between puppeteer and digital instrument. The practical elements have produced several software iterations and a tool-kit for generating elegant, nuanced multi-touch shadow puppetry. The study presents accidental discoveries—serendipitous benefits of open-ended practical exploration. For instance: the extensible nature of the control system means novel input—other than touch—can provide exciting potential for accessible user interaction, e.g. with gaze duration and eye direction. The study also identifies limitations including the rate of software change and obsolescence, the scope of physics-based animation and failures of simulation. Originality/value The work has historical value in that it documents and begins a media archaeology of digital puppetry, an animated phenomenon of increasing academic and commercial interest. The work is of artistic value providing an interactive approach to making digital performance from archival material in the domain of shadow theatre. The work contributes to the electronic heritage of existing puppetry collections. The study establishes a survey of digital puppetry, setting a research agenda for future studies. Work may proceed to digitise, rig and create collaborative and web-mediated touch-based motion control systems for 2D and 3D puppets. The present study thus provides a solid platform to restore past performances and create new work from old, near forgotten-forms. ¹ Following Andrew Pickering, puppetry is ‘a temporally extended back-and-forth dance of human and non-human agency in which activity and passivity on both sides are reciprocally intertwined’ PICKERING, A. 2010. Material Culture and the Dance of Agency. In: BEAUDRY, M. C. & HICKS, D. (eds.) Oxford Handbook of Material Culture Studies. Oxford University Press.

High-fidelity Human Body Modelling from User-generated Data

PhD thesisBuilding high-fidelity human body models for real people benefits a variety of applications, like fashion, health, entertainment, education and ergonomics applications. The goal of this thesis is to build visually plausible human body models from two kinds of user-generated data: low-quality point clouds and low-resolution 2D images. Due to the advances in 3D scanning technology and the growing availability of cost-effective 3D scanners to general users, a full human body scan can be easily acquired within two minutes. However, due to the imperfections of scanning devices, occlusion, self-occlusion and untrained scanning operation, the acquired scans tend to be full of noise, holes (missing data), outliers and distorted parts. In this thesis, the establishment of shape correspondences for human body meshes is firstly investigated. A robust and shape-aware approach is proposed to detect accurate shape correspondences for closed human body meshes. By investigating the vertex movements of 200 human body meshes, a robust non-rigid mesh registration method is proposed which combines the human body shape model with the traditional nonrigid ICP. To facilitate the development and benchmarking of registration methods on Kinect Fusion data, a dataset of user-generated scansis built, named Kinect-based 3D Human Body (K3D-hub) Dataset, with one Microsoft Kinect for XBOX 360. Besides building 3D human body models from point clouds, the problem is also tackled which estimates accurate 3D human body models from single 2D images. A state-of-the-art parametric 3D human body model SMPL is fitted to 2D joints as well as the boundary of the human body. Fast Region based CNN and deep CNN based methods are adopted to detect the 2D joints and boundary for each human body image automatically. Considering the commonly encountered scenario where people are in stable poses at most of the time, a stable pose prior is introduced from CMU motion capture (mocap) dataset for further improving the accuracy of pose estimation