Integration of HoloLens in XR-LAB

Extended reality is experiencing rapid growth, in both hardware and software and the marked is expanding targeting consumers, businesses and industry. At UiT, Narvik there is established an extended reality laboratory that have a potential to have an impact on the future for education and industry. However, the virtual environment is challenging to operate and navigate with the current equipment. This project focuses on how to integrate a head mounted display, such as Microsoft HoloLens 2, and then use the device in the same environment in real-time. Both the system running the XR-LAB and the system that operates the HoloLens, support a common development software for creating application. This software is a game engine given the name Unity, and to this software there is toolkits provided to each respective system. Results achieved during the project are designs of XR environment and templates for future work towards the XR-LAB. There has been developed an application which allows users of the laboratory to interact and control the virtual environment with a seamless integration of the HoloLens 2. The project had a duration of total 30 weeks and were divided into two parts. The part one counted for 1/3 of the total time and initialized the project with introduction and literature review. Part two were started after the first part was approved, and as the main part it counted for 2/3 of the total time allocated to the project. For the work done in part two and concluded within this report, it was scheduled to have a time usage of 817 hours. Total time consumption used is 825 hours in the 18 weeks of duration. Keywords: Extended Reality, virtual reality, augmented reality, mixed reality, OpenXR, XRLAB, Unity, Microsoft HoloLens 2, Igloo Vision

teamLab Research

teamLab undoubtedly opened a new era of art. It allows professionals in multi-industries to use the latest science and technology to create art, they are all popular for local audiences from Japan to the United States, from Italy to China, wherever they go. As a significant representative form of the trendy show and immersive exhibition, teamLab\u27s works are completely different from the past in terms of creative logic, exhibition experience, and collection methods. By going through the development history of teamLab, this article studies the characteristics of its exhibitions, audience, and the connection with traditional art, in order to explore the development of today\u27s art and look forward to the future of new art

Aeronautical Engineering. A continuing bibliography with indexes, supplement 156

This bibliography lists 288 reports, articles and other documents introduced into the NASA scientific and technical information system in December 1982

An epistolic contextualisation of an art practice that engages with temporality, memory and narrative in relation to a use of contemporary visual technologies

In this submission I intend to draw together the common threads of a use of narrative and of investigations using technologies, which underpinned a significant proportion of my professional artistic production. This is a selective and focused submission of works, which either share or inform an interconnection of narrative and technologies. The works referred to here have been published, exhibited or demonstrated both nationally and internationally. These are research activities that I have been consistently engaged with for the past thirty years

Intelligent system for interaction with virtual characters based on volumetric sensors

Dissertação de Mestrado, Engenharia Elétrica e Eletrónica, Instituto Superior de Engenharia, Universidade do Algarve, 2015A tecnologia vem sendo desenvolvida para ajudar-nos a completar ou aumentar a produtividade nas nossas tarefas diárias. Muitas das máquinas construídas têm sido progressivamente aperfeiçoadas para funcionar mais como um ser humano, usando para isso os mais variados sensores. Um dos problemas mais desafiantes que a tecnologia encontrou é como dar a uma máquina a capacidade que um "animal" tem de perceber o mundo através do seu sistema visual. Uma solução será usar na máquina sistemas inteligentes que usem visão computacional. Uma grande ajuda pode chegar da perceção de profundidade pela máquina, tornando menos complexa a deteção e a compreensão de objetos numa imagem por parte desta. Com o aparecimento de sensores volumétricos (tridimensional 3D) no mercado consumidor, aumentaram os desenvolvimentos feitos nesta área científica, permitindo assim a sua integração na maioria dos dispositivos, tais como computadores ou dispositivos móveis, a um preço muito competitivo. Os sensores volumétricos podem ser usados nas mais variadas áreas pois apesar de terem aparecido inicialmente na área dos videojogos, estendemse ainda à área de vídeo, modelação 3D, interfaces, jogos ou realidade virtual e aumentada. Esta dissertação foca essencialmente no desenvolvimento de sistemas (inteligentes) baseados em sensores volumétricos (neste caso a Microsoft Kinect) para a interação com avatares ou filmes. Quanto a aplicações na área de vídeo, foi desenvolvida uma solução onde um sensor 3D ajuda um utilizador a seguir uma narrativa que é iniciada assim que o utilizador é detetado, mudando os acontecimentos do vídeo consoante ações pré-determinadas do utilizador. O utilizador pode então mudar o rumo da história mudando de posição ou efetuando um gesto. Esta solução é ilustrada utilizando retroprojeção, existindo ainda a possibilidade de ser apresentada em modo holograma numa abordagem à escala. O descrito no anterior parágrafo pode também ser aplicada a uma solução de vertente mais comercial. Para isso, foi desenvolvido uma aplicação altamente configurável, podendo-se ajustar (em termos visuais) às necessidades de diferentes companhias. O ambiente gráfico é acompanhado por um avatar ou por um video (previamente gravado), que interage com um utilizador através de gestos, dando uma sensação mais realista devido à utilização de holografia. Ao interagir com a instalação, são registados todos os movimentos e interações efetuadas pelo utilizador para que estatísticas sejam construídas, de maneira a perceber os conteúdos com mais interesse bem como as áreas físicas com mais interação. Adicionalmente, o utilizador poderá ter a sua fotografia completa ou tipo BI extraída, podendo-lhe ser oferecidos em produtos promocionais da empresa. Devido à curta área de interação oferecida por um sensor deste tipo (Kinect), foi também desenvolvida a possibilidade de juntar vários sensores, 4 para cobrir 180º (graus) em frente da instalação ou ainda 8 para cobrir os 360º à volta da instalação, de maneira a que os utilizadores possam ser detetados por qualquer um deles e que não sejam perdidos quando atravessam para uma zona de outro sensor, ou mesmo quando saem do campo de visão dos sensores e retornam mais tarde. Apesar dos sensores referidos serem mais conhecidos na interação com um jogo virtual, jogos reais e físicos também podem beneficiar deste tipo de sensor. Neste último ponto, é apresentada uma ferramenta de realidade aumentada para snooker ou bilhar. Nesta aplicação, um sensor 3D colocado por cima da mesa, capta a área de jogo sendo depois processada para que sejam detetadas as bolas, o taco e as tabelas. Sempre que possível, esta deteção é feita usando a terceira dimensão (profundidade) oferecida por estes sensores, tornando-se por exemplo mais robusto a mudanças quanto a condições luminosas. Com estes dados é então previsto, utilizando álgebra vetorial, a trajetória da bola, sendo projetado o resultado na mesa

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

Surface, Depth and the Ephemeral Experience

Music has long been an important medium for fulfilling and expressing emotional needs. In fact, music can become a powerful tool to create emotional responses in humans, such as happiness, sadness, awareness, as we see in recent decades in cinema, social media and advertisement. Today, a combination of different media is used to arouse our emotion and feeling, but often music has been used to accompany a visual realization, rather than vice versa. In my work I explore new modes of communication between people and sound by transfiguring music notation to a visual graphic. The scope and scale of my work ranges from miniature individual components to artworks the size of a room. Through my realization, the technique that I use permits me to play with images in the way that musicians play with sounds. In this paper, I introduce this new language, which is an art form based on unlimited combinations of simple elements that are capable of expressing a broad range of human emotion and experience

Interactive Holographic Cinema

In mainstream media and entertainment, holography is often misrepresented as single perspective non-stereoscopic imagery suggesting three-dimensionality. Traditional holographic artists, however, utilize a laser setup to record and reconstruct wavefronts to describe a scene in multi-perspective natural parallax vision ("auto-stereoscopic"). Although these approaches are mutually exclusive in practice, they share a similar goal of staging three-dimensional (3D) imagery for a window-like viewing experience. This thesis presents a non-waveform digital computer approach for recording, reconstructing, and experiencing holographic visualizations in a cinematic context. By recording 3D information from a scene using the structured light method, a custom computer program performs stereoscopic reconstruction in real-time during presentation. Artists and computer users could then use a hardware device, such as the Microsoft Kinect, to explore the holographic cinematic form interactively