Enhanced device-based 3D object manipulation technique for handheld mobile augmented reality

3D object manipulation is one of the most important tasks for handheld mobile Augmented Reality (AR) towards its practical potential, especially for realworld assembly support. In this context, techniques used to manipulate 3D object is an important research area. Therefore, this study developed an improved device based interaction technique within handheld mobile AR interfaces to solve the large range 3D object rotation problem as well as issues related to 3D object position and orientation deviations in manipulating 3D object. The research firstly enhanced the existing device-based 3D object rotation technique with an innovative control structure that utilizes the handheld mobile device tilting and skewing amplitudes to determine the rotation axes and directions of the 3D object. Whenever the device is tilted or skewed exceeding the threshold values of the amplitudes, the 3D object rotation will start continuously with a pre-defined angular speed per second to prevent over-rotation of the handheld mobile device. This over-rotation is a common occurrence when using the existing technique to perform large-range 3D object rotations. The problem of over-rotation of the handheld mobile device needs to be solved since it causes a 3D object registration error and a 3D object display issue where the 3D object does not appear consistent within the user’s range of view. Secondly, restructuring the existing device-based 3D object manipulation technique was done by separating the degrees of freedom (DOF) of the 3D object translation and rotation to prevent the 3D object position and orientation deviations caused by the DOF integration that utilizes the same control structure for both tasks. Next, an improved device-based interaction technique, with better performance on task completion time for 3D object rotation unilaterally and 3D object manipulation comprehensively within handheld mobile AR interfaces was developed. A pilot test was carried out before other main tests to determine several pre-defined values designed in the control structure of the proposed 3D object rotation technique. A series of 3D object rotation and manipulation tasks was designed and developed as separate experimental tasks to benchmark both the proposed 3D object rotation and manipulation techniques with existing ones on task completion time (s). Two different groups of participants aged 19-24 years old were selected for both experiments, with each group consisting sixteen participants. Each participant had to complete twelve trials, which came to a total 192 trials per experiment for all the participants. Repeated measure analysis was used to analyze the data. The results obtained have statistically proven that the developed 3D object rotation technique markedly outpaced existing technique with significant shorter task completion times of 2.04s shorter on easy tasks and 3.09s shorter on hard tasks after comparing the mean times upon all successful trials. On the other hand, for the failed trials, the 3D object rotation technique was 4.99% more accurate on easy tasks and 1.78% more accurate on hard tasks in comparison to the existing technique. Similar results were also extended to 3D object manipulation tasks with an overall 9.529s significant shorter task completion time of the proposed manipulation technique as compared to the existing technique. Based on the findings, an improved device-based interaction technique has been successfully developed to address the insufficient functionalities of the current technique

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

New geometric algorithms and data structures for collision detection of dynamically deforming objects

Any virtual environment that supports interactions between virtual objects and/or a user and objects, needs a collision detection system to handle all interactions in a physically correct or plausible way. A collision detection system is needed to determine if objects are in contact or interpenetrates. These interpenetrations are resolved by a collision handling system. Because of the fact, that in nearly all simulations objects can interact with each other, collision detection is a fundamental technology, that is needed in all these simulations, like physically based simulation, robotic path and motion planning, virtual prototyping, and many more. Most virtual environments aim to represent the real-world as realistic as possible and therefore, virtual environments getting more and more complex. Furthermore, all models in a virtual environment should interact like real objects do, if forces are applied to the objects. Nearly all real-world objects will deform or break down in its individual parts if forces are acted upon the objects. Thus deformable objects are becoming more and more common in virtual environments, which want to be as realistic as possible and thus, will present new challenges to the collision detection system. The necessary collision detection computations can be very complex and this has the effect, that the collision detection process is the performance bottleneck in most simulations. Most rigid body collision detection approaches use a BVH as acceleration data structure. This technique is perfectly suitable if the object does not change its shape. For a soft body an update step is necessary to ensure that the underlying acceleration data structure is still valid after performing a simulation step. This update step can be very time consuming, is often hard to implement and in most cases will produce a degenerated BVH after some simulation steps, if the objects generally deform. Therefore, the here presented collision detection approach works entirely without an acceleration data structure and supports rigid and soft bodies. Furthermore, we can compute inter-object and intraobject collisions of rigid and deformable objects consisting of many tens of thousands of triangles in a few milliseconds. To realize this, a subdivision of the scene into parts using a fuzzy clustering approach is applied. Based on that all further steps for each cluster can be performed in parallel and if desired, distributed to different GPUs. Tests have been performed to judge the performance of our approach against other state-of-the-art collision detection algorithms. Additionally, we integrated our approach into Bullet, a commonly used physics engine, to evaluate our algorithm. In order to make a fair comparison of different rigid body collision detection algorithms, we propose a new collision detection Benchmarking Suite. Our Benchmarking Suite can evaluate both the performance as well as the quality of the collision response. Therefore, the Benchmarking Suite is subdivided into a Performance Benchmark and a Quality Benchmark. This approach needs to be extended to support soft body collision detection algorithms in the future.Jede virtuelle Umgebung, welche eine Interaktion zwischen den virtuellen Objekten in der Szene zulässt und/oder zwischen einem Benutzer und den Objekten, benötigt für eine korrekte Behandlung der Interaktionen eine Kollisionsdetektion. Nur dank der Kollisionsdetektion können Berührungen zwischen Objekten erkannt und mittels der Kollisionsbehandlung aufgelöst werden. Dies ist der Grund für die weite Verbreitung der Kollisionsdetektion in die verschiedensten Fachbereiche, wie der physikalisch basierten Simulation, der Pfadplanung in der Robotik, dem virtuellen Prototyping und vielen weiteren. Auf Grund des Bestrebens, die reale Umgebung in der virtuellen Welt so realistisch wie möglich nachzubilden, steigt die Komplexität der Szenen stetig. Fortwährend steigen die Anforderungen an die Objekte, sich realistisch zu verhalten, sollten Kräfte auf die einzelnen Objekte ausgeübt werden. Die meisten Objekte, die uns in unserer realen Welt umgeben, ändern ihre Form oder zerbrechen in ihre Einzelteile, wenn Kräfte auf sie einwirken. Daher kommen in realitätsnahen, virtuellen Umgebungen immer häufiger deformierbare Objekte zum Einsatz, was neue Herausforderungen an die Kollisionsdetektion stellt. Die hierfür Notwendigen, teils komplexen Berechnungen, führen dazu, dass die Kollisionsdetektion häufig der Performance-Bottleneck in der jeweiligen Simulation darstellt. Die meisten Kollisionsdetektionen für starre Körper benutzen eine Hüllkörperhierarchie als Beschleunigungsdatenstruktur. Diese Technik ist hervorragend geeignet, solange sich die Form des Objektes nicht verändert. Im Fall von deformierbaren Objekten ist eine Aktualisierung der Datenstruktur nach jedem Schritt der Simulation notwendig, damit diese weiterhin gültig ist. Dieser Aktualisierungsschritt kann, je nach Hierarchie, sehr zeitaufwendig sein, ist in den meisten Fällen schwer zu implementieren und generiert nach vielen Schritten der Simulation häufig eine entartete Hüllkörperhierarchie, sollte sich das Objekt sehr stark verformen. Um dies zu vermeiden, verzichtet unsere Kollisionsdetektion vollständig auf eine Beschleunigungsdatenstruktur und unterstützt sowohl rigide, wie auch deformierbare Körper. Zugleich können wir Selbstkollisionen und Kollisionen zwischen starren und/oder deformierbaren Objekten, bestehend aus vielen Zehntausenden Dreiecken, innerhalb von wenigen Millisekunden berechnen. Um dies zu realisieren, unterteilen wir die gesamte Szene in einzelne Bereiche mittels eines Fuzzy Clustering-Verfahrens. Dies ermöglicht es, dass alle Cluster unabhängig bearbeitet werden und falls gewünscht, die Berechnungen für die einzelnen Cluster auf verschiedene Grafikkarten verteilt werden können. Um die Leistungsfähigkeit unseres Ansatzes vergleichen zu können, haben wir diesen gegen aktuelle Verfahren für die Kollisionsdetektion antreten lassen. Weiterhin haben wir unser Verfahren in die Physik-Engine Bullet integriert, um das Verhalten in dynamischen Situationen zu evaluieren. Um unterschiedliche Kollisionsdetektionsalgorithmen für starre Körper korrekt und objektiv miteinander vergleichen zu können, haben wir eine Benchmarking-Suite entwickelt. Unsere Benchmarking- Suite kann sowohl die Geschwindigkeit, für die Bestimmung, ob zwei Objekte sich durchdringen, wie auch die Qualität der berechneten Kräfte miteinander vergleichen. Hierfür ist die Benchmarking-Suite in den Performance Benchmark und den Quality Benchmark unterteilt worden. In der Zukunft wird diese Benchmarking-Suite dahingehend erweitert, dass auch Kollisionsdetektionsalgorithmen für deformierbare Objekte unterstützt werden

A Representation of Selected Nonmanual Signals in American Sign Language

Computer-generated three-dimensional animation holds great promise for synthesizing utterances in American Sign Language (ASL) that are not only grammatical, but believable by members of the Deaf community. Animation poses several challenges stemming from the massive amounts of data necessary to specify the movement of three-dimensional geometry, and there is no current system that facilitates the synthesis of nonmanual signals. However, the linguistics of ASL can aid in surmounting the challenge by providing structure and rules for organizing the data. This work presents a first method for representing ASL linguistic and extralinguistic processes that involve the face. Any such representation must be capable of expressing the subtle nuances of ASL. Further, it must be able to represent co-occurrences because many ASL signs require that two or more nonmanual signals be used simultaneously. In fact simultaneity of multiple nonmanual signals can occur on the same facial feature. Additionally, such a system should allow both binary and incremental nonmanual signals to display the full range of adjectival and adverbial modifiers. Validating such a representation requires both the affirmation that nonmanual signals are indeed necessary in the animation of ASL, and the evaluation of the effectiveness of the new representation in synthesizing nonmanual signals. In this study, members of the Deaf community viewed animations created with the new representation and answered questions concerning the influence of selected nonmanual signals on the perceived meaning of the synthesized utterances. Results reveal that, not only is the representation capable of effectively portraying nonmanual signals, but also that it can be used to combine various nonmanual signals in the synthesis of complete ASL sentences. In a study with Deaf users, participants viewing synthesized animations consistently identified the intended nonmanual signals correctly

Interdisciplinary Film & Digital Media 2015 APR Self-Study & Documents

UNM Interdisciplinary Film & Digital Media APR self-study report, review team report, response to review report, and initial action plan for Spring 2015, fulfilling requirements of the Higher Learning Commission. IFDM was absorbed by the Cinematic Arts Department following this review

A Consensus on the Definition and Knowledge Base for Computer Graphics

Despite several decades of historical innovation, measurable impacts, and multiple specializations the existing knowledge base for Computer Graphics (CG) lacks consensus, and numerous definitions for it have been published based on distinct contexts. Disagreement among post-secondary academics has divided CG programs into three contextual areas that emphasize different topics. This division has resulted in the decontextualization of CG education, and CG programs now face several challenges in meeting the needs of industry. Employing the Delphi Method, this investigation explored the perceptions among post-secondary educators and industry professionals about the definition of CG and how it is identified in terms of characteristics and context. The outcomes of this investigation identified CG in the technological paradigm, and provided a road map towards a true definition and distinct knowledge base necessary for establishing CG as a formal computing discipline

Die Virtuelle Videokamera: ein System zur Blickpunktsynthese in beliebigen, dynamischen Szenen

The Virtual Video Camera project strives to create free viewpoint video from casually captured multi-view data. Multiple video streams of a dynamic scene are captured with off-the-shelf camcorders, and the user can re-render the scene from novel perspectives. In this thesis the algorithmic core of the Virtual Video Camera is presented. This includes the algorithm for image correspondence estimation as well as the image-based renderer. Furthermore, its application in the context of an actual video production is showcased, and the rendering and image processing pipeline is extended to incorporate depth information.Das Virtual Video Camera Projekt dient der Erzeugung von Free Viewpoint Video Ansichten von Multi-View Aufnahmen: Material mehrerer Videoströme wird hierzu mit handelsüblichen Camcordern aufgezeichnet. Im Anschluss kann die Szene aus beliebigen, von den ursprünglichen Kameras nicht abgedeckten Blickwinkeln betrachtet werden. In dieser Dissertation wird der algorithmische Kern der Virtual Video Camera vorgestellt. Dies beinhaltet das Verfahren zur Bildkorrespondenzschätzung sowie den bildbasierten Renderer. Darüber hinaus wird die Anwendung im Kontext einer Videoproduktion beleuchtet. Dazu wird die bildbasierte Erzeugung neuer Blickpunkte um die Erzeugung und Einbindung von Tiefeninformationen erweitert

All-Women Initiatives in Art and Technology 1986-2020. Atenea: Mentoring and Networking Project in Steam

[ES] La presente tesis doctoral es una exploración sobre las iniciativas auto-organizadas de mujeres que han surgido en la intersección del arte y la tecnología a nivel internacional. Estas iniciativas comunitarias han ido apareciendo en lugares donde existe una escena de arte y nuevos medios, la cual es generalmente de dominación masculina y baja en diversidad. Este trabajo de investigación es un mapeo de este fenómeno tecno-social y artístico, tratando de identificar las primeras prácticas. A través de entrevistas, encuestas y métodos de investigación etnográfica, esta tesis aspira a comprender el contexto que ha dado lugar a semejantes iniciativas a lo largo de tres décadas y media, examinando las diferentes tipologías por los formatos, extensión, espacio y estructura que éstas han adoptado para afrontar la situación de las mujeres en estas áreas. Existe un vació de referencias sobre formas organizativas y de comisariado en las áreas de arte y tecnología. Además, la literatura general señala las subculturas digitales de los noventa, tales como el ciberfeminismo y el movimiento DIY, como los primeros y principales referentes para las alianzas de mujeres y el activismo translocal en la era digital. Sin embargo, las estrategias de colaboración y segregación en áreas de arte y tecnología no han sido analizadas desde los estudios feministas desde una perspectiva histórica en profundidad. Por lo tanto, esta tesis establece la relación entre dichas iniciativas con la historia de los grupos de mujeres artistas y espacios de arte alternativos, la historia de las mujeres en el arte de nuevos medios y la cultura de redes. Las nuevas tecnologías de la información y comunicación han permitido nuevas formas de comunicación y conectividad transfronterizas; sin embargo, este trabajo investiga en qué medida estas iniciativas dependen de las TIC para el establecimiento de su comunidad, comparado con los formatos analógicos. Con los resultados, esta tesis aspira a convertirse en una fuente de referencias que enriquezca la escasa bibliografía de la temática, proporcionando una lista de formas organizativas y de comisariado, así como las practicas más tempranas nunca publicadas, y en conjunto contribuir a la historiografía actual sobre mujeres. Por último, a la vez que se comenta la situación actual de las mujeres en las áreas de arte y tecnología, este trabajo presenta Atenea, un proyecto de mentorización y networking para mujeres en las artes y carreras STEM. Atenea está compuesto de un programa de actividades con diferentes actividades organizativas y de comisariado, así como una plataforma de networking. Adicionalmente, el proyecto tiene un programa enfocado en transmitir conocimientos STEM a niñas a través de prácticas artísticas con tecnología de la mano de mujeres artistas nacionales como mentoras.[CAT] La present tesi doctoral és una exploració sobre les iniciatives autoorganitzades de dones que han sorgit en la intersecció de l'art i la tecnologia a nivell internacional. Aquestes iniciatives comunitàries han anat apareixent en llocs on hi ha una escena d'art i nous mitjans, la qual és generalment de dominació masculina i baixa en diversitat. Aquest treball de recerca és un mapeig d'aquest fenomen tecno-social i artístic, tractant d'identificar les primeres pràctiques. A través d'entrevistes, enquestes i mètodes d'investigació etnogràfica, aquesta tesi aspira a comprendre el context que ha donat lloc a semblants iniciatives al llarg de tres dècades i mig, examinant les diferents tipologies pels formats, extensió, espai i estructura que aquestes han adoptat per afrontar la situació de les dones en aquestes àrees. Hi ha un buit de referències sobre formes organitzatives i de comissariat en les àrees d'art i tecnologia. A més, la literatura general assenyala les subcultures digitals dels noranta, com ara el ciberfeminisme i el moviment DIY, com els primers i principals referents per a les aliances de dones i l'activisme translocal en l'era digital. No obstant això, les estratègies de col·laboració i segregació en àrees d'art i tecnologia no han estat analitzades des dels estudis feministes des d'una perspectiva històrica en profunditat. Per tant, aquesta tesi estableix la relació entre aquestes iniciatives amb la història dels grups de dones artistes i espais d'art alternatius, la història de les dones en l'art de nous mitjans i la cultura de xarxes. Les noves tecnologies de la informació i comunicació han permès noves formes de comunicació i connectivitat transfrontereres; però, aquest treball investiga en quina mesura aquestes iniciatives depenen de les TIC per a l'establiment de la seva comunitat, comparat amb els formats analògics. Amb els resultats, aquesta tesi aspira a convertir-se en una font de referències que enriqueixi l'escassa bibliografia de la temàtica, proporcionant una llista de formes organitzatives i de comissariat, així com les pràctiques més primerenques mai publicades, i en conjunt contribuir a la historiografia actual sobre dones. Finalment, alhora que es comenta la situació actual de les dones en les àrees d'art i tecnologia, aquest treball presenta Atenea, un projecte de mentorització i networking per a dones en les arts i carreres STEM. Atenea està compost d'un programmea d'activitats amb diferents activitats organitzatives i de comissariat, així com una plataforma de networking. Addicionalment, el projecte té un programmea enfocat a transmetre coneixements STEM a nenes a través de pràctiques artístiques amb tecnologia de la mà de dones artistes nacionals com mentores.[EN] This dissertation explores a series of all-women self-organised initiatives that have emerged at the intersection of art and technology internationally. These grassroot initiatives have continued to appear in places where there is a new media arts scene, generally male-dominated and low in diversity. This research work is a mapping of this techno-social and artistic phenomenon, attempting to identify its earliest practices. Through interviews, surveys and ethnographic research, this thesis seeks to comprehend the context that has given rise to such initiatives over three decades and half, examining the different typologies by formats, extension, space and structure that they have adopted to address the situation of women in these fields. There is a void of references on all-women curatorial and organisational forms in art and technology. Moreover, general literature points at digital subcultures of the 1990s such as cyberfeminism and DIY movement as first referents for women's alliance and translocal activism in the digital age. However, collaboration and segregation strategies in new media arts have not been discussed in feminist scholarship from a deeper historical perspective. Therefore, this dissertation elaborates the linkage of such initiatives to early history of all-women art groups and alternative art spaces, history of women in new media arts and to network cultures. New information and communication technologies have enabled new forms of communication and connectivity cross-borders; however, this work investigates in which measure these initiatives are dependent upon ICT for the establishment of a community, compared to analog formats. With the results, this dissertation aims to become a source of references that enriches the scarce bibliography on the topic, providing a list of curatorial and organisational forms with the earliest and unpublished practices that altogether contribute to current women's historiography. Lastly, while discussing the current situation of women in art and technology fields, this works presents Atenea, a mentoring and networking platform for women in Arts and STEM careers. Atenea is comprised of a programme having different organizational, curatorial and networking activities. Additionally, the platform has a project focused on teaching STEM skills to girls through new media arts with female artists as mentors. Keywords: All-women, self-organised, initiatives, new media arts, digital arts, electronic arts, art, technology, activism, mapping, alternative art spaces, collaboration, segregation, ICT, digital age, virtual, community, network cultures, feminism, cyberfeminism, Atenea, STEM, STEAM, girls, organisational, curatorial, networking platform, mentoring,Robles Mateo, E. (2020). All-Women Initiatives in Art and Technology 1986-2020. Atenea: Mentoring and Networking Project in Steam [Tesis doctoral]. Universitat Politècnica de València. https://doi.org/10.4995/Thesis/10251/159248TESI

Biometric Data Art: Personalized Narratives and Multimodal Interaction

Biometric technology has brought enhancements to identification and access control. As more digital applications request people to input their biometric data as a more convenient and secure method of identification, the possibility of losing their personal data and identities may increase. The phenomenon of biometric data abuse causes one to question what their true identity may be and what methods can be used to define identity and hidden narratives. The questions of identification and the insecurity of biometric data have become my inspiration, providing artistic approaches to the manipulation of biometric data and having the potential to suggest new directions for solving the problems. To do so, in-depth investigation of the narratives beyond the visual features of the biometric data is necessary. This content can create a close link between an artwork and its audience by causing the latter to become deeply engaged with the artwork through their own stories.This dissertation examines narratives and artistic explorations discovered from one form of biometric data, fingerprints, drawing on insights from various fields such as genetics, hand analysis, and biology. It also presents contributions on new ways of creating interactive media artworks using fingerprint data based on visual feature analysis of the data and multimodal interaction to explore their sonic signatures. Therefore, the artwork enriches interactive media art by incorporating personalization into the artistic experience, and creates unique personalized experience for each audience member. This thesis documents developments and productions of a series of artworks, Digiti Sonus, by focusing on its conceptual approaches, design, techniques, challenges and future directions

NEUVis: Comparing Affective and Effective Visualisation

Data visualisations are useful for providing insight from complex scientific data. However, even with visualisation, scientific research is difficult for non-scientists to comprehend. When developed by designers in collaboration with scientists, data visualisation can be used to articulate scientific data in a way that non-experts can understand. Creating human-centred visualisations is a unique challenge, and there are no frameworks to support their design. In response, this thesis presents a practice-led study investigating design methods that can be used to develop Non-Expert User Visualisations (NEUVis), data visualisations for a general public, and the response that people have to different kinds of NEUVis. For this research, two groups of ten users participated in quantitative studies, informed by Yvonna Lincoln and Egon Guba’s method of Naturalistic Inquiry, which asked non-scientists to express their cognitive and emotional response to NEUVis using different media. The three different types of visualisations were infographics, 3D animations and an interactive installation. The installation used in the study, entitled 18S rDNA, was developed and evaluated as part of this research using John Zimmerman’s Research Through Design methodology. 18S rDNA embodies the knowledge and design methods that were developed for this research, and provided an opportunity for explication of the entire NEUVis design process. The research findings indicate that developing visualisations for the non-expert audience requires a new process, different to the way scientists visualise data. The result of this research describes how creative practitioners collaborate with primary researchers and presents a new human-centred design thinking model for NEUVis. This model includes two design tools. The first tool helps designers merge user needs with data they wish to visualise. The second tool helps designers take that merged information and begin an iterative, user-centred design process