Sensorial perception: empowering dance practice embodiment through live and virtual environments

A thesis submitted for the Masters of Arts by Research At the University of Bedfordshire, United KingdomThis thesis presents a phenomenological study exploring the practice of creating movement in live and virtual environments. The title of this study is Sensory Perception: Empowering dance embodiment through live and virtual environments. The aims of this study are: to experience the sensorial embodiment within live and virtual environments; and to understand the cognitive responses to a set of visual moving images that are mediated through the visual perception of the participant. This study was conducted by the author Lucie Lee in 2012-2013 at the University of Bedfordshire. The theoretical underpinning for this study used mainly two French phenomenological philosophers Maurice Merleau-Ponty (1859-1941) and Henri Louis Bergeson (1908-1961). This thesis discusses other cultural theories, which were contextualised in theoretical and practical approaches to this study such as post-modernism in dance, Liveness defined by Philip Auslander (1999) and Embodying theory (1998) described by Sarah Rubidge. The other component of this practice led research focuses on cognitive science. This study uses the software developed by Mark Coniglio founder of Troika Ranch Dance Company, call Isadora. This software provides the level of interaction needed for this study. Although the software was developed for creative application of technology in performance, in this investigation it acts as a research tool. Through the software’s applications the explorative creative tasks were interactive and utilised in the live and virtual environments. This practice-led research adopts the methodology of practice as research and an approach developed by performance theorist Professor Robin Nelson (2006). It also draws on the improvisatory processes of two American dancers and practitioners Alma Hawkins (1991) and Anna Halprin (1995). The improvisation technique deployed in this study is directly linked to Feldenkrais Method (1972). The explorative tasks were practically undertaken by a dancer in order to explore the role of sensory perception with improvisatory context. Wassily Kandinsky’s (1866-1984) works were used as a stimulus within this method to engage the performer in the use of colours and objects within creative tasks. In conclusion, the thesis highlights the importance of the development within the practice-led process of the processes and methods undertaken by the researcher and dancer. The summary of findings of this research created several practical improvisatory short scores with ten minute durations. The future developments of this research study are outlined in this conclusion chapter

Bagadus: next generation sport analysis and multimedia platform using camera array and sensor networks

Today, a large number of (elite) sports clubs spend a large amount of resources to analyze their game performance, either manually or using one of the many existing analytics tools. In the area of soccer, there exist several systems where trainers and coaches can analyze the game play in order to improve the performance. However, most of these systems are cumbersome and relies on manual work from many people and/or heavy video processing. In this thesis, we present Bagadus, a prototype of a soccer analysis application which integrates a sensor system, soccer analytics annotations and video processing of a video camera array. The prototype is currently installed at Alfheim Stadium in Norway, and we demonstrate how the system can follow and zoom in on particular player(s), and search for and playout events from the games using the stitched panorama video and/or the camera switching mode

A critical practice-based exploration of interactive panoramas' role in helping to preserve cultural memory

I am enclosing the content of two DVDs which are integral part of the practice-based thesis.The rapid development of digital communication technologies in the 20th and 21st centuries has affected the way researchers look at ways memory – especially cultural memory – can be preserved and enhanced. State-of-the-art communication technologies such as the Internet or immersive environments support participation and interaction and transform memory into ‘prosthetic’ experience, where digital technologies could enable 'implantation' of events that have not actually been experienced. While there is a wealth of research on the preservation of public memory and cultural heritage sites using digital media, more can be explored on how these media can contribute to the cultivation of cultural memory. One of the most interesting phenomena related to this issue is how panoramas, which are immersive and have a well-established tradition in preserving memories, can be enhanced by recent digital technologies and image spaces. The emergence of digital panoramic video cameras and panoramic environments has opened up new opportunities for exploring the role of interactive panoramas not only as a documentary tool for visiting sites but mainly as a more complex technique for telling non-linear interactive narratives through the application of panoramic photography and panoramic videography which, when presented in a wrap-around environment, could enhance recalling. This thesis attempts to explore a way of preserving inspirational environments and memory sites in a way that combines panoramic interactive film and traversing the panoramic environment with viewing the photo-realistic panoramic content rather than computer-generated environment. This research is based on two case studies. The case study of Charles Church in Plymouth represents the topical approach to narrative and focuses on the preservation of the memory of the Blitz in Plymouth and the ruin of Charles Church which stands as a silent reminder of this event. The case study of Charles Causley reflects topographical approach where, through traversing the town of Launceston, viewers learn about Causley’s life and places that provided inspirations for his poems. The thesis explores through practice what can be done and reflects on positive and less positive aspects of preserving cultural memory in these case studies in a critical way. Therefore, the results and recommendations from this thesis can be seen as valuable contribution to the study of intermedia and cultural memory in general

Quais as potencialidades da criação de um videoclip em Realidade Virtual?

The focus of this dissertation is in the potentiality of the creation of a music video in Virtual Reality (VR). As such, it was analyzed in the theoretical framework what are music videos, what is VR and, more specifically, what are music videos in VR, which is a unresearched topic in the academic field, to which this dissertation provides some basis for feature research in this area. A music video for VR was made for this dissertation as to better understand the potentialities of the medium. The music video was made under the conventional phases of audiovisual production. Then user tests were made for this music video in order to evaluate its characteristics. The tests were made with 3 independent samples because the music video was shown in desktop 360-2D, mobile-360-2D, and VR on a Head Mounted Display (HMD). This was done as to better understand the potentialities of VR by comparing it to other mediums. Each participant had to answer to a pre-test questionnaire, and to a post-test questionnaire. The analysis of the results showed that although VR offers the added benefit of immersion it also poses its own challenges and a completely new approach to music video making.O foco desta dissertação é na potencialidade de criação de videoclips em Realidade Virtual. Como tal, foi analisado no enquadramento teórico o que são videoclips, o que é a Realidade Virtual e, mais especificamente, o que são videoclips em Realidade Virtual, tópico sobre o qual não existe muita investigação no meio académico, de maneira a que esta dissertação serve como base para investigações futuras. Um videoclip foi feito para Realidade Virtual para a investigação da qual esta dissertação faz parte, a fim de perceber as potencialidades do meio. O videoclip foi criado com base nas fases convencionais de produção audiovisual. Feito isto foram feitos testes de utilizador para avaliar as características do videoclip. Estes testes foram feitos em 3 amostras independentes cada uma para um formato diferente de visualização de videoclips em Realidade Virtual, desktop-360-2D, mobile-360-2D e em Realidade Virtual com um Head Mounted Display. Isto foi feito de modo a perceber melhor as potencialidades da Realidade Virtual comparativamente com os outros meios. Cada participante teve de responder a um questionário pré-teste e a um questionário pós-teste. A análise dos resultados mostrou que apesar da Realidade Virtual oferecer o benefício da imersão, ela tem os seus desafios, e requere uma abordagem completamente nova para a realização de videoclips.Mestrado em Comunicação Multimédi

Fulldome Content Production: A bricoleur's approach

It has been only a little more than ten years since the introduction in planetaria of digital projection systems that can fill the entire dome of the theater. This technology called fulldome video has considerably changed the experience delivered by these institutions as it brings the immersive power of wide field displays and the possibility of interactive shows to astronomy education. Today, many established venues have upgraded their traditional system and many others are about to follow the trend. This technology facilitates content creation because it allows to make use of the digital tools already available to more conventional digital audiovisual productions such as 3D animation. Therefore fulldome also opens new vistas for artistic expression beyond traditional astronomy and science themed content. As the new medium redefines the experience delivered by dome theaters, it also challenges the identity of these venues. By looking at the technical and cultural aspect of this transition through the media theory of remediation, this thesis identifies areas of tension between tradition and innovation as well as challenges and opportunities for new productions. Complementing this research, a design enquiry on new means of productions inspired by the do-it-yourself methodolgy and defined as design as bricolage is explored. The result is a specification for an open source fulldome production pipeline and an implementation using existing software and custom built tools. The metaphor of bricolage is evaluated as a practical mental model for the activity of design, and provides insights on the practice of design itself. In a synthesis of the theoritical and practical research results, a strategy based on the notion of property rights as distribution (open source) is proposed to promote new alternative fulldome productions. Problems and affordances of this model in the context of fulldome are discussed on the basis of previous implementations in software development and 3d animation production,and including thoughts and comments from members of the fulldome industry

Analysis and Comparison of Modern Video Compression Standards for Random-access Light-field Compression

Light-field (LF) 3D displays are anticipated to be the next-generation 3D displays by providing smooth motion parallax, wide field of view (FOV), and higher depth range than the current autostereoscopic displays. The projection-based multi-view LF 3D displays bring the desired new functionalities through a set of projection engines creating light sources for the continuous light field to be created. Such displays require a high number of perspective views as an input to fully exploit the visualization capabilities and viewing angle provided by the LF technology. Delivering, processing and de/compressing this amount of views pose big technical challenges. However, when processing light fields in a distributed system, access patterns in ray space are quite regular, some processing nodes do not need all views, moreover the necessary views are used only partially. This trait could be exploited by partial decoding of pictures to help providing less complex and thus real-time operation. However, none of the recent video coding standards (e.g., Advanced Video Coding (AVC)/H.264 and High Efficiency Video Coding (HEVC)/H.265 standards) provides partial decoding of video pictures. Such feature can be achieved by partitioning video pictures into partitions that can be processed independently at the cost of lowering the compression efficiency. Examples of such partitioning features introduced by the modern video coding standards include slices and tiles, which enable random access into the video bitstreams with a specific granularity. In addition, some extra requirements have to be imposed on the standard partitioning tools in order to be applicable in the context of partial decoding. This leads to partitions called self-contained which refers to isolated or independently decodable regions in the video pictures. This work studies the problem of creating self-contained partitions in the conventional AVC/H.264 and HEVC/H.265 standards, and HEVC 3D extensions including multi-view (i.e., MV-HEVC) and 3D (i.e., 3D-HEVC) extensions using slices and tiles, respectively. The requirements that need to be fulfilled in order to build self-contained partitions are described, and an encoder-side solution is proposed. Further, the work examines how slicing/tiling can be used to facilitate random access into the video bitstreams, how the number of slices/tiles affects the compression ratio considering different prediction structures, and how much effect partial decoding has on decoding time. Overall, the experimental results indicate that the finer the partitioning is, the higher the compression loss occurs. The usage of self-contained partitions makes the decoding operation very efficient and less complex

Electronic Imaging & the Visual Arts. EVA 2017 Florence

The Publication is following the yearly Editions of EVA FLORENCE. The State of Art is presented regarding the Application of Technologies (in particular of digital type) to Cultural Heritage. The more recent results of the Researches in the considered Area are presented. Information Technologies of interest for Culture Heritage are presented: multimedia systems, data-bases, data protection, access to digital content, Virtual Galleries. Particular reference is reserved to digital images (Electronic Imaging & the Visual Arts), regarding Cultural Institutions (Museums, Libraries, Palace - Monuments, Archaeological Sites). The International Conference includes the following Sessions: Strategic Issues; New Sciences and Culture Developments and Applications; New Technical Developments & Applications; Museums - Virtual Galleries and Related Initiatives; Art and Humanities Ecosystem & Applications; Access to the Culture Information. Two Workshops regard: Innovation and Enterprise; the Cloud Systems connected to the Culture (eCulture Cloud) in the Smart Cities context. The more recent results of the Researches at national and international are reported in the Area of Technologies and Culture Heritage, also with experimental demonstrations of developed Activities

Participation as media: a compositional system for staging participation with reflective scenography

The practice-led research develops a compositional system for staging participation within reflective scenographies, and suggests an artistic concept of 'participation as media', which propose the participatory involvement as compositional material in itself. The research takes a starting point in the author's expert practice as a performer and director, and identifies key compositional problems from analysis of previous productions of participatory artworks. The practice-led research processes were organised into two laboratory events, a series of method investigations, and the production of two participatory installation artworks Mirror-Zone-Site and Zen- Sofa Arrangement. The approach is to rethink theatre as a complex communicational system of reflective operations, and to recognise performer technique as several simultaneously working levels of self-referential communicative operations, that can be staged as a participatory condition by reflective scenography. From a compositional perspective the question is how to externalise the performer's technique as abstracted mediating structures, and implement them by the use of responsive and mediating technology embedded in the reflective operations of a scenography. The compositional system consists of design parameters, compositional strategies, and a postprogressive dramaturgy. The design parameters framing, channelling, and coupling, organise a calibration of the staged feedback operations. The compositional strategies, which derive from practices of performer technique, organise scenarios of introvert, extrovert and social referencing operations. The postprogressive dramaturgy informs the performative engagement of the participant as a process of experiential narrativation. The system enables a capability to navigate the compositional process into the complex creation of participatory engagement as a media in itself, and enables a structured overview on the compositional process, argued in an interdisciplinary context. The research investigates events that involve the visitor in the realisation of the work, to an extent where the media of the artwork is the activity of participation in itself and the participatory engagement forms a main site of the emergence of the artwork. Through the visitor's acts of participation, she releases the potential of the artwork, and as such, occupies a crucial position in the constitution of the work These artworks are suggested to stage the participant in structures of communication and include her as an operator in a communication device

Network Narrative: Prose Narrative Fiction and Participatory Cultural Production in Digital Information and Communication Networks

In this study of prose narrative created explicitly for participatory network communications environments I argue that network narratives constitute an important, born-networked form of literary and cultural expression. In the first half of the study I situate network narratives within a rich, dynamic process of reciprocity and codependence between the technological, material and formal properties of communication media on the one hand, and the uses of these media in cultural practices and forms of expression on the other. I point out how the medial and cultural flows that characterize contemporary network culture promote a codependent relation between narrative and information. This relation supports literary cultural expressions that invoke everyday communication practices increasingly shaped by mobile, networked computing devices. In the second half of this study, I extend theoretical work in the field of electronic literature and digital media to propose a set of four characteristics through which network narratives may be understood as distinct modes of networked, literary cultural expression. Network narratives, I suggest, are multimodal, distributed, participatory, and emergent. These attributes are present in distinct ways, within distinct topological layers of the narratives: in the story, discourse, and character networks of the narrative structure; in the formal and navigational structures; and in the participatory circuits of production, circulation and consumption. Attending to these topological layers and their interrelationships by using concepts derived from graph theory and network analysis offers a methodology that links the particular, closely read attributes and content of network narratives to a more distant understanding of changing patterns in broader, networked cultural production. Finally, I offer readings of five examples of network narratives. These include Kate Pullinger and Chris Joseph’s Flight Paths, Penguin Books and De Montfort University’s collaborative project A Million Penguins, the Apple iOS application The Silent History, Tim Burton’s collaboration with TIFF, BurtonStory, and a project by NFB Interactive, Out My Window. Each of these works incorporates user participation into its production circuits using different strategies, each with different implications for narrative and navigational structures. I conclude by describing these distinct strategies as additive participation – participation that becomes embedded within the work itself – and delineating different approaches that are employed independently or in combination by the authors and producers