Enaction and Visual Arts : Towards Dynamic Instrumental Visual Arts

International audienceThis paper is a theoretical paper that presents how the concept of Enaction, centerd on action and interaction paradigm, coupled with the new properties of the contemporary computer tools is able to provoke deep changes in arts. It examines how this concept accompanies the historical trends in Musical, Visual and Choreographic Arts. It enumerates the new correlated fundamental questions, scientific as well as artistic, the author identifies. After that, it focuses on Dynamic Visual Arts, trying to elicit the revolution brought by these deep conceptual and technological changes. It assumes that the contemporary conditions shift the art of visual motion from a ''Kinema'' to a ''Dyname'', allowing artists ''to play images'' as ''to play violin'', and that this shift could not appear before our era. It illustrates these new historical possibilities by some examples developed by the scientific and artistic works of the author and her co- workers. In conclusion, it assumes that this shift could open the door to a new genuine connection between arts that believed to cooperate but that remained separated during ages: music, dance and animation. This possible new ALLIANCE could lead the society to consider a new type of arts, we want to call ''Dynamic Instrumental Arts'', which will be really multisensorial: simultaneously Musical, Gestural and Visual

Visual Techniques for Geological Fieldwork Using Mobile Devices

Visual techniques in general and 3D visualisation in particular have seen considerable adoption within the last 30 years in the geosciences and geology. Techniques such as volume visualisation, for analysing subsurface processes, and photo-coloured LiDAR point-based rendering, to digitally explore rock exposures at the earth’s surface, were applied within geology as one of the first adopting branches of science. A large amount of digital, geological surface- and volume data is nowadays available to desktop-based workflows for geological applications such as hydrocarbon reservoir exploration, groundwater modelling, CO2 sequestration and, in the future, geothermal energy planning. On the other hand, the analysis and data collection during fieldwork has yet to embrace this ”digital revolution”: sedimentary logs, geological maps and stratigraphic sketches are still captured in each geologist’s individual fieldbook, and physical rocks samples are still transported to the lab for subsequent analysis. Is this still necessary, or are there extended digital means of data collection and exploration in the field ? Are modern digital interpretation techniques accurate and intuitive enough to relevantly support fieldwork in geology and other geoscience disciplines ? This dissertation aims to address these questions and, by doing so, close the technological gap between geological fieldwork and office workflows in geology. The emergence of mobile devices and their vast array of physical sensors, combined with touch-based user interfaces, high-resolution screens and digital cameras provide a possible digital platform that can be used by field geologists. Their ubiquitous availability increases the chances to adopt digital workflows in the field without additional, expensive equipment. The use of 3D data on mobile devices in the field is furthered by the availability of 3D digital outcrop models and the increasing ease of their acquisition. This dissertation assesses the prospects of adopting 3D visual techniques and mobile devices within field geology. The research of this dissertation uses previously acquired and processed digital outcrop models in the form of textured surfaces from optical remote sensing and photogrammetry. The scientific papers in this thesis present visual techniques and algorithms to map outcrop photographs in the field directly onto the surface models. Automatic mapping allows the projection of photo interpretations of stratigraphy and sedimentary facies on the 3D textured surface while providing the domain expert with simple-touse, intuitive tools for the photo interpretation itself. The developed visual approach, combining insight from all across the computer sciences dealing with visual information, merits into the mobile device Geological Registration and Interpretation Toolset (GRIT) app, which is assessed on an outcrop analogue study of the Saltwick Formation exposed at Whitby, North Yorkshire, UK. Although being applicable to a diversity of study scenarios within petroleum geology and the geosciences, the particular target application of the visual techniques is to easily provide field-based outcrop interpretations for subsequent construction of training images for multiple point statistics reservoir modelling, as envisaged within the VOM2MPS project. Despite the success and applicability of the visual approach, numerous drawbacks and probable future extensions are discussed in the thesis based on the conducted studies. Apart from elaborating on more obvious limitations originating from the use of mobile devices and their limited computing capabilities and sensor accuracies, a major contribution of this thesis is the careful analysis of conceptual drawbacks of established procedures in modelling, representing, constructing and disseminating the available surface geometry. A more mathematically-accurate geometric description of the underlying algebraic surfaces yields improvements and future applications unaddressed within the literature of geology and the computational geosciences to this date. Also, future extensions to the visual techniques proposed in this thesis allow for expanded analysis, 3D exploration and improved geological subsurface modelling in general.publishedVersio

APRIL: Approximating Polygons as Raster Interval Lists

The spatial intersection join an important spatial query operation, due to its popularity and high complexity. The spatial join pipeline takes as input two collections of spatial objects (e.g., polygons). In the filter step, pairs of object MBRs that intersect are identified and passed to the refinement step for verification of the join predicate on the exact object geometries. The bottleneck of spatial join evaluation is in the refinement step. We introduce APRIL, a powerful intermediate step in the pipeline, which is based on raster interval approximations of object geometries. Our technique applies a sequence of interval joins on 'intervalized' object approximations to determine whether the objects intersect or not. Compared to previous work, APRIL approximations are simpler, occupy much less space, and achieve similar pruning effectiveness at a much higher speed. Besides intersection joins between polygons, APRIL can directly be applied and has high effectiveness for polygonal range queries, within joins, and polygon-linestring joins. By applying a lightweight compression technique, APRIL approximations may occupy even less space than object MBRs. Furthermore, APRIL can be customized to apply on partitioned data and on polygons of varying sizes, rasterized at different granularities. Our last contribution is a novel algorithm that computes the APRIL approximation of a polygon without having to rasterize it in full, which is orders of magnitude faster than the computation of other raster approximations. Experiments on real data demonstrate the effectiveness and efficiency of APRIL; compared to the state-of-the-art intermediate filter, APRIL occupies 2x-8x less space, is 3.5x-8.5x more time-efficient, and reduces the end-to-end join cost up to 3 times.Comment: 12 page

Cartography in Croatia 2007–2011 National Report to the ICA 15th General Assembly, Paris, 2011

This article stems from setting student projects. It describes in detail the outcome of a project designed to ascertain the views of the public in relation to ancillary relief and what they consider to be a ‘fair’ outcome. The rationale for undertaking student projects has been discussed at length in another article and is therefore only alluded to here. The discussion centres around the law, findings and outcome of the project. Students studying the Family Law course at Sheffield University were required to survey members of the public in order to gather their views on the division of assets on divorce and then to analyse the public’s response in light of the seminal decision of the House of Lords in White v White [2000] UKHL 54; [2001] 1 AC 596

Information theoretic refinement criteria for image synthesis

Aquest treball està enmarcat en el context de gràfics per computador partint de la intersecció de tres camps: rendering, teoria de la informació, i complexitat.Inicialment, el concepte de complexitat d'una escena es analitzat considerant tres perspectives des d'un punt de vista de la visibilitat geomètrica: complexitat en un punt interior, complexitat d'una animació, i complexitat d'una regió. L'enfoc principal d'aquesta tesi és l'exploració i desenvolupament de nous criteris de refinament pel problema de la il·luminació global. Mesures de la teoria de la informació basades en la entropia de Shannon i en la entropia generalitzada de Harvda-Charvát-Tsallis, conjuntament amb les f-divergències, són analitzades com a nuclis del refinement. Mostrem com ens aporten una rica varietat d'eficients i altament discriminatòries mesures que són aplicables al rendering en els seus enfocs de pixel-driven (ray-tracing) i object-space (radiositat jeràrquica).Primerament, basat en la entropia de Shannon, es defineixen un conjunt de mesures de qualitat i contrast del pixel. S'apliquen al supersampling en ray-tracing com a criteris de refinement, obtenint un algorisme nou de sampleig adaptatiu basat en entropia, amb un alt rati de qualitat versus cost. En segon lloc, basat en la entropia generalitzada de Harvda-Charvát-Tsallis, i en la informació mutua generalitzada, es defineixen tres nous criteris de refinament per la radiositat jeràrquica. En correspondencia amb tres enfocs clàssics, es presenten els oracles basats en la informació transportada, el suavitzat de la informació, i la informació mutua, amb resultats molt significatius per aquest darrer. Finalment, tres membres de la familia de les f-divergències de Csiszár's (divergències de Kullback-Leibler, chi-square, and Hellinger) son analitzats com a criteris de refinament mostrant bons resultats tant pel ray-tracing com per la radiositat jeràrquica.This work is framed within the context of computer graphics starting out from the intersection of three fields: rendering, information theory, and complexity.Initially, the concept of scene complexity is analysed considering three perspectives from a geometric visibility point of view: complexity at an interior point, complexity of an animation, and complexity of a region. The main focus of this dissertation is the exploration and development of new refinement criteria for the global illumination problem. Information-theoretic measures based on Shannon entropy and Harvda-Charvát-Tsallis generalised entropy, together with f-divergences, are analysed as kernels of refinement. We show how they give us a rich variety of efficient and highly discriminative measures which are applicable to rendering in its pixel-driven (ray-tracing) and object-space (hierarchical radiosity) approaches.Firstly, based on Shannon entropy, a set of pixel quality and pixel contrast measures are defined. They are applied to supersampling in ray-tracing as refinement criteria, obtaining a new entropy-based adaptive sampling algorithm with a high rate quality versus cost. Secondly, based on Harvda-Charvát-Tsallis generalised entropy, and generalised mutual information, three new refinement criteria are defined for hierarchical radiosity. In correspondence with three classic approaches, oracles based on transported information, information smoothness, and mutual information are presented, with very significant results for the latter. And finally, three members of the family of Csiszár's f-divergences (Kullback-Leibler, chi-square, and Hellinger divergences) are analysed as refinement criteria showing good results for both ray-tracing and hierarchical radiosity

Cartography in Croatia 2007–2011 National Report to the ICA 15th General Assembly, Paris, 2011

<p>Croatia has been a member of the International Cartographic Association – ICA since 1995 and one of its obligations has been to submit national reports about its cartographic activities at general assemblies held everyfour years. The bearer of those activities in Croatia is the Croatian Cartographic Society. The State Geodetic Administration recognized the value and importance of those activities and has been financially supporting the work on national report for several years.</p

FACING EXPERIENCE: A PAINTER’S CANVAS IN VIRTUAL REALITY

Full version unavailable due to 3rd party copyright restrictions.This research investigates how shifts in perception might be brought about through the development of visual imagery created by the use of virtual environment technology. Through a discussion of historical uses of immersion in art, this thesis will explore how immersion functions and why immersion has been a goal for artists throughout history. It begins with a discussion of ancient cave drawings and the relevance of Plato’s Allegory of the Cave. Next it examines the biological origins of “making special.” The research will discuss how this concept, combined with the ideas of “action” and “reaction,” has reinforced the view that art is fundamentally experiential rather than static. The research emphasizes how present-day virtual environment art, in providing a space that engages visitors in computer graphics, expands on previous immersive artistic practices. The thesis examines the technical context in which the research occurs by briefly describing the use of computer science technologies, the fundamentals of visual arts practices, and the importance of aesthetics in new media and provides a description of my artistic practice. The aim is to investigate how combining these approaches can enhance virtual environments as artworks. The computer science of virtual environments includes both hardware and software programming. The resultant virtual environment experiences are technologically dependent on the types of visual displays being used, including screens and monitors, and their subsequent viewing affordances. Virtual environments fill the field of view and can be experienced with a head mounted display (HMD) or a large screen display. The sense of immersion gained through the experience depends on how tracking devices and related peripheral devices are used to facilitate interaction. The thesis discusses visual arts practices with a focus on how illusions shift our cognition and perception in the visual modalities. This discussion includes how perceptual thinking is the foundation of art experiences, how analogies are the foundation of cognitive experiences and how the two intertwine in art experiences for virtual environments. An examination of the aesthetic strategies used by artists and new media critics are presented to discuss new media art. This thesis investigates the visual elements used in virtual environments and prescribes strategies for creating art for virtual environments. Methods constituting a unique virtual environment practice that focuses on visual analogies are discussed. The artistic practice that is discussed as the basis for this research also concentrates on experiential moments and shifts in perception and cognition and references Douglas Hofstadter, Rudolf Arnheim and John Dewey. iv Virtual environments provide for experiences in which the imagery generated updates in real time. Following an analysis of existing artwork and critical writing relative to the field, the process of inquiry has required the creation of artworks that involve tracking systems, projection displays, sound work, and an understanding of the importance of the visitor. In practice, the research has shown that the visitor should be seen as an interlocutor, interacting from a first-person perspective with virtual environment events, where avatars or other instrumental intermediaries, such as guns, vehicles, or menu systems, do not to occlude the view. The aesthetic outcomes of this research are the result of combining visual analogies, real time interactive animation, and operatic performance in immersive space. The environments designed in this research were informed initially by paintings created with imagery generated in a hypnopompic state or during the moments of transitioning from sleeping to waking. The drawings often emphasize emotional moments as caricatures and/or elements of the face as seen from a number of perspectives simultaneously, in the way of some cartoons, primitive artwork or Cubist imagery. In the imagery, the faces indicate situations, emotions and confrontations which can offer moments of humour and reflective exploration. At times, the faces usurp the space and stand in representation as both face and figure. The power of the placement of the caricatures in the paintings become apparent as the imagery stages the expressive moment. The placement of faces sets the scene, establishes relationships and promotes the honesty and emotions that develop over time as the paintings are scrutinized. The development process of creating virtual environment imagery starts with hand drawn sketches of characters, develops further as paintings on “digital canvas”, are built as animated, three-dimensional models and finally incorporated into a virtual environment. The imagery is generated while drawing, typically with paper and pencil, in a stream of consciousness during the hypnopompic state. This method became an aesthetic strategy for producing a snappy straightforward sketch. The sketches are explored further as they are worked up as paintings. During the painting process, the figures become fleshed out and their placement on the page, in essence brings them to life. These characters inhabit a world that I explore even further by building them into three dimensional models and placing them in computer generated virtual environments. The methodology of developing and placing the faces/figures became an operational strategy for building virtual environments. In order to open up the range of art virtual environments, and develop operational strategies for visitors’ experience, the characters and their facial features are used as navigational strategies, signposts and methods of wayfinding in order to sustain a stream of consciousness type of navigation. Faces and characters were designed to represent those intimate moments of self-reflection and confrontation that occur daily within ourselves and with others. They sought to reflect moments of wonderment, hurt, curiosity and humour that could subsequently be relinquished for more practical or purposeful endeavours. They were intended to create conditions in which visitors might reflect upon their emotional state, v enabling their understanding and trust of their personal space, in which decisions are made and the nature of world is determined. In order to extend the split-second, frozen moment of recognition that a painting affords, the caricatures and their scenes are given new dimensions as they become characters in a performative virtual reality. Emotables, distinct from avatars, are characters confronting visitors in the virtual environment to engage them in an interactive, stream of consciousness, non-linear dialogue. Visitors are also situated with a role in a virtual world, where they were required to adapt to the language of the environment in order to progress through the dynamics of a drama. The research showed that imagery created in a context of whimsy and fantasy could bring ontological meaning and aesthetic experience into the interactive environment, such that emotables or facially expressive computer graphic characters could be seen as another brushstroke in painting a world of virtual reality

Тhe benefits of an additional practice in descriptive geometry course: non obligatory workshop at the Faculty of civil engineering in Belgrade

At the Faculty of Civil Engineering in Belgrade, in the Descriptive geometry (DG) course, non-obligatory workshops named “facultative task” are held for the three generations of freshman students with the aim to give students the opportunity to get higher final grade on the exam. The content of this workshop was a creative task, performed by a group of three students, offering free choice of a topic, i.e. the geometric structure associated with some real or imagery architectural/art-work object. After the workshops a questionnaire (composed by the professors at the course) is given to the students, in order to get their response on teaching/learning materials for the DG course and the workshop. During the workshop students performed one of the common tests for testing spatial abilities, named “paper folding". Based on the results of the questionnairethe investigation of the linkages between:students’ final achievements and spatial abilities, as well as students’ expectations of their performance on the exam, and how the students’ capacity to correctly estimate their grades were associated with expected and final grades, is provided. The goal was to give an evidence that a creative work, performed by a small group of students and self-assessment of their performances are a good way of helping students to maintain motivation and to accomplish their achievement. The final conclusion is addressed to the benefits of additional workshops employment in the course, which confirmhigherfinal scores-grades, achievement of creative results (facultative tasks) and confirmation of DG knowledge adaption