3D (embodied) projection mapping and sensing bodies : a study in interactive dance performance

This dissertation identifies the synergies between physical and virtual environments when designing for immersive experiences in interactive dance performances. The integration of virtual information in physical space is transforming our interactions and experiences with the world. By using the body and creative expression as the interface between real and virtual worlds, dance performance creates a privileged framework to research and design interactive mixed reality environments and immersive augmented architectures. The research is primarily situated in the fields of visual art and interaction design. It combines performance with transdisciplinary fields and intertwines practice with theory. The theoretical and conceptual implications involved in designing and experiencing immersive hybrid environments are analyzed using the reality–virtuality continuum. These theories helped frame the ways augmented reality architectures are achieved through the integration of dance performance with digital software and reception displays. They also helped identify the main artistic affordances and restrictions in the design of augmented reality and augmented virtuality environments for live performance. These pervasive media architectures were materialized in three field experiments, the live dance performances. Each performance was created in three different stages of conception, design and production. The first stage was to “digitize” the performer’s movement and brain activity to the virtual environment and our system. This was accomplished through the use of depth sensor cameras, 3D motion capture, and brain computer interfaces. The second stage was the creation of the computational architecture and software that aggregates the connections and mapping between the physical body and the spatial dynamics of the virtual environment. This process created real-time interactions between the performer’s behavior and motion and the real-time generative computer 3D graphics. Finally, the third stage consisted of the output modality: 3D projector based augmentation techniques were adopted in order to overlay the virtual environment onto physical space. This thesis proposes and lays out theoretical, technical, and artistic frameworks between 3D digital environments and moving bodies in dance performance. By sensing the body and the brain with the 3D virtual environments, new layers of augmentation and interactions are established, and ultimately this generates mixed reality environments for embodied improvisational self-expression.Radio-Television-Fil

Augmented reality technology selection based on integrated QFD-AHP model

In the last decade, Augmented Reality has become increasingly popular. As improved performances are gathered in terms of mature hardware and software tools, we are observing the stemming of a huge number of applications of this technology both in the entertainment and in the industrial domains. On the one hand, such applications are usually claimed to bring benefits in terms of productivity or enhancement of the human\u2019s capability to perform tasks. On the other hand, researchers and developers seem not to adequately consider the different meanings that AR assumes when implemented through visualization devices that can differ significantly in nature and in their capability to provide a mixed real-virtual scenario. In this paper, we describe a user-centred method based on an integrated QFD-AHP approach to select the best visualization display technology with regard to a specific application context. The aim is to establish a repeatable and documented process for the identification of the technology that best suits and mitigates the acceptability risks of the transition from a legacy working environment to an AR based operational environment. The method has been developed in the framework of the RETINA (Resilient Synthetic Vision for Advanced Control Tower Air Navigation Service Provision) project involving the end users, in this case, air traffic controllers. Nevertheless, it can be generalised and applied to other contexts of use. Furthermore, in order to be resilient to the fast, technological development in AR, it can be used to update the results as improvements arise in the performance level of the display devices in a specific technology

A Virtual Testbed for Fish-Tank Virtual Reality: Improving Calibration with a Virtual-in-Virtual Display

With the development of novel calibration techniques for multimedia projectors and curved projection surfaces, volumetric 3D displays are becoming easier and more affordable to build. The basic requirements include a display shape that defines the volume (e.g. a sphere, cylinder, or cuboid) and a tracking system to provide each user's location for the perspective corrected rendering. When coupled with modern graphics cards, these displays are capable of high resolution, low latency, high frame rate, and even stereoscopic rendering; however, like many previous studies have shown, every component must be precisely calibrated for a compelling 3D effect. While human perceptual requirements have been extensively studied for head-tracked displays, most studies featured seated users in front of a flat display. It remains unclear if results from these flat display studies are applicable to newer, walk-around displays with enclosed or curved shapes. To investigate these issues, we developed a virtual testbed for volumetric head-tracked displays that can measure calibration accuracy of the entire system in real-time. We used this testbed to investigate visual distortions of prototype curved displays, improve existing calibration techniques, study the importance of stereo to performance and perception, and validate perceptual calibration with novice users. Our experiments show that stereo is important for task performance, but requires more accurate calibration, and that novice users can make effective use of perceptual calibration tools. We also propose a novel, real-time calibration method that can be used to fine-tune an existing calibration using perceptual feedback. The findings from this work can be used to build better head-tracked volumetric displays with an unprecedented amount of 3D realism and intuitive calibration tools for novice users

A comprehensive taxonomy for three-dimensional displays

Even though three-dimensional (3D) displays have been introduced in relatively recent times in the context of display technology, they have undergone a rapid evolution, to the point that a plethora of equipment able to reproduce dynamic three-dimensional scenes in real time is now becoming commonplace in the consumer market. This paper’s main contributions are (1) a clear definition of a 3D display, based on the visual depth cues supported, and (2) a hierarchical taxonomy of classes and subclasses of 3D displays, based on a set of properties that allows an unambiguous and systematic classification scheme for three-dimensional displays. Five main types of 3D displays are thus defined –two of those new–, aiming to provide a taxonomy that is largely backwards-compatible, but that also clarifies prior inconsistencies in the literature. This well-defined outline should also enable exploration of the 3D display space and devising of new 3D display systems.Fundação para a Ciência e Tecnologi

Developing serious games for cultural heritage: a state-of-the-art review

Although the widespread use of gaming for leisure purposes has been well documented, the use of games to support cultural heritage purposes, such as historical teaching and learning, or for enhancing museum visits, has been less well considered. The state-of-the-art in serious game technology is identical to that of the state-of-the-art in entertainment games technology. As a result, the field of serious heritage games concerns itself with recent advances in computer games, real-time computer graphics, virtual and augmented reality and artificial intelligence. On the other hand, the main strengths of serious gaming applications may be generalised as being in the areas of communication, visual expression of information, collaboration mechanisms, interactivity and entertainment. In this report, we will focus on the state-of-the-art with respect to the theories, methods and technologies used in serious heritage games. We provide an overview of existing literature of relevance to the domain, discuss the strengths and weaknesses of the described methods and point out unsolved problems and challenges. In addition, several case studies illustrating the application of methods and technologies used in cultural heritage are presented