Computer-Assisted Interactive Documentary and Performance Arts in Illimitable Space

This major component of the research described in this thesis is 3D computer graphics, specifically the realistic physics-based softbody simulation and haptic responsive environments. Minor components include advanced human-computer interaction environments, non-linear documentary storytelling, and theatre performance. The journey of this research has been unusual because it requires a researcher with solid knowledge and background in multiple disciplines; who also has to be creative and sensitive in order to combine the possible areas into a new research direction. [...] It focuses on the advanced computer graphics and emerges from experimental cinematic works and theatrical artistic practices. Some development content and installations are completed to prove and evaluate the described concepts and to be convincing. [...] To summarize, the resulting work involves not only artistic creativity, but solving or combining technological hurdles in motion tracking, pattern recognition, force feedback control, etc., with the available documentary footage on film, video, or images, and text via a variety of devices [....] and programming, and installing all the needed interfaces such that it all works in real-time. Thus, the contribution to the knowledge advancement is in solving these interfacing problems and the real-time aspects of the interaction that have uses in film industry, fashion industry, new age interactive theatre, computer games, and web-based technologies and services for entertainment and education. It also includes building up on this experience to integrate Kinect- and haptic-based interaction, artistic scenery rendering, and other forms of control. This research work connects all the research disciplines, seemingly disjoint fields of research, such as computer graphics, documentary film, interactive media, and theatre performance together.Comment: PhD thesis copy; 272 pages, 83 figures, 6 algorithm

A survey of comics research in computer science

Graphical novels such as comics and mangas are well known all over the world. The digital transition started to change the way people are reading comics, more and more on smartphones and tablets and less and less on paper. In the recent years, a wide variety of research about comics has been proposed and might change the way comics are created, distributed and read in future years. Early work focuses on low level document image analysis: indeed comic books are complex, they contains text, drawings, balloon, panels, onomatopoeia, etc. Different fields of computer science covered research about user interaction and content generation such as multimedia, artificial intelligence, human-computer interaction, etc. with different sets of values. We propose in this paper to review the previous research about comics in computer science, to state what have been done and to give some insights about the main outlooks

3D Virtual Worlds and the Metaverse: Current Status and Future Possibilities

Moving from a set of independent virtual worlds to an integrated network of 3D virtual worlds or Metaverse rests on progress in four areas: immersive realism, ubiquity of access and identity, interoperability, and scalability. For each area, the current status and needed developments in order to achieve a functional Metaverse are described. Factors that support the formation of a viable Metaverse, such as institutional and popular interest and ongoing improvements in hardware performance, and factors that constrain the achievement of this goal, including limits in computational methods and unrealized collaboration among virtual world stakeholders and developers, are also considered

Presence 2005: the eighth annual international workshop on presence, 21-23 September, 2005 University College London (Conference proceedings)

OVERVIEW (taken from the CALL FOR PAPERS) Academics and practitioners with an interest in the concept of (tele)presence are invited to submit their work for presentation at PRESENCE 2005 at University College London in London, England, September 21-23, 2005. The eighth in a series of highly successful international workshops, PRESENCE 2005 will provide an open discussion forum to share ideas regarding concepts and theories, measurement techniques, technology, and applications related to presence, the psychological state or subjective perception in which a person fails to accurately and completely acknowledge the role of technology in an experience, including the sense of 'being there' experienced by users of advanced media such as virtual reality. The concept of presence in virtual environments has been around for at least 15 years, and the earlier idea of telepresence at least since Minsky's seminal paper in 1980. Recently there has been a burst of funded research activity in this area for the first time with the European FET Presence Research initiative. What do we really know about presence and its determinants? How can presence be successfully delivered with today's technology? This conference invites papers that are based on empirical results from studies of presence and related issues and/or which contribute to the technology for the delivery of presence. Papers that make substantial advances in theoretical understanding of presence are also welcome. The interest is not solely in virtual environments but in mixed reality environments. Submissions will be reviewed more rigorously than in previous conferences. High quality papers are therefore sought which make substantial contributions to the field. Approximately 20 papers will be selected for two successive special issues for the journal Presence: Teleoperators and Virtual Environments. PRESENCE 2005 takes place in London and is hosted by University College London. The conference is organized by ISPR, the International Society for Presence Research and is supported by the European Commission's FET Presence Research Initiative through the Presencia and IST OMNIPRES projects and by University College London

Worlds of MoCap: writing dance on a three-dimensional canvas

This article examines the contemporary phenomenon of motion capture-based renderings of dance. By taking Nancy Stark Smith's hieroglyphs and Motion Bank's digital score Using the Sky (that explores Deborah Hay's score No Time to Fly) as main examples, a comparison is drawn between analogue and digital traces of dance that both rely on principles of capture instead of following a symbolic notation system. Although one is created by an ink pen and the other by a motion capture (MoCap) apparatus, these different types of drawing display some striking similarities. At the same time there are some fundamental differences in the ontological basis of these images, which affects the way in which we relate to these images and how they invite us to understand dance. Whereas the role of the dancing body as ‘drawing instrument’ remains present, this metaphor manifests itself in a different way in its digital surroundings. By analysing the meaning-making agents that are involved when a dancer is recorded in a motion capture setting and by relating the resulting imagery to relevant theoretical notions, such as ‘phenomenal dance image’ (Stewart), ‘flickering signifiers’ (Hayles), ‘gesturo-haptic media’ (Rotman) and ‘rightness of rendering’ (Goodman), the article traces preliminary answers to two central questions: What do these traces of dance depict? And who is doing the drawing? This article shows how motion capture practices in contemporary dance offer us opportunities to create new worlds through which we may start to know dance differently: artistically, by creating new phenomenal images of dance; analytically, by gaining insight in spatial and rhythmical patterns; and gesturo-haptically, by offering the radical opportunity to re-enact movement through mapping it on to other bodies

Analysis on Using Synthesized Singing Techniques in Assistive Interfaces for Visually Impaired to Study Music

Tactile and auditory senses are the basic types of methods that visually impaired people sense the world. Their interaction with assistive technologies also focuses mainly on tactile and auditory interfaces. This research paper discuss about the validity of using most appropriate singing synthesizing techniques as a mediator in assistive technologies specifically built to address their music learning needs engaged with music scores and lyrics. Music scores with notations and lyrics are considered as the main mediators in musical communication channel which lies between a composer and a performer. Visually impaired music lovers have less opportunity to access this main mediator since most of them are in visual format. If we consider a music score, the vocal performer’s melody is married to all the pleasant sound producible in the form of singing. Singing best fits for a format in temporal domain compared to a tactile format in spatial domain. Therefore, conversion of existing visual format to a singing output will be the most appropriate nonlossy transition as proved by the initial research on adaptive music score trainer for visually impaired [1]. In order to extend the paths of this initial research, this study seek on existing singing synthesizing techniques and researches on auditory interfaces