Example Based Caricature Synthesis

The likeness of a caricature to the original face image is an essential and often overlooked part of caricature production. In this paper we present an example based caricature synthesis technique, consisting of shape exaggeration, relationship exaggeration, and optimization for likeness. Rather than relying on a large training set of caricature face pairs, our shape exaggeration step is based on only one or a small number of examples of facial features. The relationship exaggeration step introduces two definitions which facilitate global facial feature synthesis. The first is the T-Shape rule, which describes the relative relationship between the facial elements in an intuitive manner. The second is the so called proportions, which characterizes the facial features in a proportion form. Finally we introduce a similarity metric as the likeness metric based on the Modified Hausdorff Distance (MHD) which allows us to optimize the configuration of facial elements, maximizing likeness while satisfying a number of constraints. The effectiveness of our algorithm is demonstrated with experimental results

Quantitative Evaluation of Percussive Gestures by Ranking Trainees versus Teacher

International audienceIn this paper we characterize timpani gestures by temporal kinematic features, containing most information responsible for the sound-producing actions. In order to evaluate the feature sets, a classification approach is conducted under three main attack categories (legato, accent and vertical accent) and sub-categories (dynamics, striking position). Two studies are carried out: intra-subject and inter-subjects classification. Results are presented in terms of a quantitative ranking of students, using professional gestures as training set, and their gestures as test set

Percussion instrument modelling In 3D: sound synthesis through time domain numerical simulation

This work is concerned with the numerical simulation of percussion instruments based on physical principles. Three novel modular environments for sound synthesis are presented: a system composed of various plates vibrating under nonlinear conditions, a model for a nonlinear double membrane drum and a snare drum. All are embedded in a 3D acoustic environment. The approach adopted is based on the finite difference method, and extends recent results in the field. Starting from simple models, the modular instruments can be created by combining different components in order to obtain virtual environments with increasing complexity. The resulting numerical codes can be used by composers and musicians to create music by specifying the parameters and a score for the systems. Stability is a major concern in numerical simulation. In this work, energy techniques are employed in order to guarantee the stability of the numerical schemes for the virtual instruments, by imposing suitable coupling conditions between the various components of the system. Before presenting the virtual instruments, the various components are individually analysed. Plates are the main elements of the multiple plate system, and they represent the first approximation to the simulation of gongs and cymbals. Similarly to plates, membranes are important in the simulation of drums. Linear and nonlinear plate/membrane vibration is thus the starting point of this work. An important aspect of percussion instruments is the modelling of collisions. A novel approach based on penalty methods is adopted here to describe lumped collisions with a mallet and distributed collisions with a string in the case of a membrane. Another point discussed in the present work is the coupling between 2D structures like plates and membranes with the 3D acoustic field, in order to obtain an integrated system. It is demonstrated how the air coupling can be implemented when nonlinearities and collisions are present. Finally, some attention is devoted to the experimental validation of the numerical simulation in the case of tom tom drums. Preliminary results comparing different types of nonlinear models for membrane vibration are presented

What do Collaborations with the Arts Have to Say About Human-Robot Interaction?

This is a collection of papers presented at the workshop What Do Collaborations with the Arts Have to Say About HRI , held at the 2010 Human-Robot Interaction Conference, in Osaka, Japan

The Electroacoustic and its Double: Duality and Dramaturgy in Live Performance

Live electroacoustic performance juxtaposes and superimposes two main elements: the real, present and physical, against the simulated and disembodied. In this sense, it is a liminal form which negotiates two different worlds on stage. In this dissertation I will address some central aspects of performance that have been reshaped and problematised by the use of the electroacoustic medium in a live context. I will investigate in particular three main dualities: the performer's body / electroacoustic sound; physical space / electroacoustic space; and performance / audience. I will also discuss a generalised duality common to all three: presence / absence. Rather than regarding these dualities as indicators of discontinuity, I will suggest that they can help develop a continuum of connections and relationships between performance elements. These connections can be designed as part of the composition process. By investigating these dualities, this research addresses the main elements of the live event. The central guiding principle here is that the live electroacoustic mode is a performance discipline, and therefore requires a dramaturgical approach that takes into consideration the elements of the live event: performer, audience and use of space. I will suggest that such an approach should guide the creative process, starting at the initial composition stages, through rehearsal and the actual performance

Rehabilitation Engineering

Population ageing has major consequences and implications in all areas of our daily life as well as other important aspects, such as economic growth, savings, investment and consumption, labour markets, pensions, property and care from one generation to another. Additionally, health and related care, family composition and life-style, housing and migration are also affected. Given the rapid increase in the aging of the population and the further increase that is expected in the coming years, an important problem that has to be faced is the corresponding increase in chronic illness, disabilities, and loss of functional independence endemic to the elderly (WHO 2008). For this reason, novel methods of rehabilitation and care management are urgently needed. This book covers many rehabilitation support systems and robots developed for upper limbs, lower limbs as well as visually impaired condition. Other than upper limbs, the lower limb research works are also discussed like motorized foot rest for electric powered wheelchair and standing assistance device

Artech 2008: proceedings of the 4th International Conference on Digital Arts

ARTECH 2008 is the fourth international conference held in Portugal and Galicia on the topic of Digital Arts. It aims to promote contacts between Iberian and International contributors concerned with the conception, production and dissemination of Digital and Electronic Art. ARTECH brings the scientific, technological and artistic community together, promoting the interest in the digital culture and its intersection with art and technology as an important research field, a common space for discussion, an exchange of experiences, a forum for emerging digital artists and a way of understanding and appreciating new forms of cultural expression. Hosted by the Portuguese Catholic University’s School of Arts (UCP-EA) at the City of Porto, ARTCH 2008 falls in alignment with the main commitment of the Research Center for Science and Technology of the Arts (CITAR) to promote knowledge in the field of the Arts trough research and development within UCP-AE and together with the local and international community. The main areas proposed for the conference were related with sound, image, video, music, multimedia and other new media related topics, in the context of emerging practice of artistic creation. Although non exclusive, the main topics of the conference are usually: Art and Science; Audio-Visual and Multimedia Design; Creativity Theory; Electronic Music; Generative and Algorithmic Art; Interactive Systems for Artistic Applications; Media Art history; Mobile Multimedia; Net Art and Digital Culture; New Experiences with New Media and New Applications; Tangible and Gesture Interfaces; Technology in Art Education; Virtual Reality and Augmented Reality. The contribution from the international community was extremely gratifying, resulting in the submission of 79 original works (Long Papers, Short Papers and installation proposals) from 22 Countries. Our Scientific Committee reviewed these submissions thoroughly resulting in a 73% acceptance ratio of a diverse and promising body of work presented in this book of proceedings. This compilation of articles provides an overview of the state of the art as well as a glimpse of new tendencies in the field of Digital Arts, with special emphasis in the topics: Sound and Music Computing; Technology Mediated Dance; Collaborative Art Performance; Digital Narratives; Media Art and Creativity Theory; Interactive Art; Audiovisual and Multimedia Design.info:eu-repo/semantics/publishedVersio

The electroacoustic and its double : duality and dramaturgy in live performance

Live electroacoustic performance juxtaposes and superimposes two main elements: the real, present and physical, against the simulated and disembodied. In this sense, it is a liminal form which negotiates two different worlds on stage. In this dissertation I will address some central aspects of performance that have been reshaped and problematised by the use of the electroacoustic medium in a live context. I will investigate in particular three main dualities: the performer's body/electroacoustic sound; physical space/electroacoustic space; and performance/audience. I will also discuss a generalised duality common to all three: presence/absence. Rather than regarding these dualities as indicators of discontinuity, I will suggest that they can help develop a continuum of connections and relationships between performance elements. These connections can be designed as part of the composition process. By investigating these dualities, this research addresses the main elements of the live event. The central guiding principle here is that the live electroacoustic mode is a performance discipline, and therefore requires a dramaturgical approach that takes into consideration the elements of the live event: performer, audience and use of space. I will suggest that such an approach should guide the creative process, starting at the initial composition stages, through rehearsal and the actual performance.EThOS - Electronic Theses Online ServiceGBUnited Kingdo