Synthesis of variable dancing styles based on a compact spatiotemporal representation of dance

Dance as a complex expressive form of motion is able to convey emotion, meaning and social idiosyncrasies that opens channels for non-verbal communication, and promotes rich cross-modal interactions with music and the environment. As such, realistic dancing characters may incorporate crossmodal information and variability of the dance forms through compact representations that may describe the movement structure in terms of its spatial and temporal organization. In this paper, we propose a novel method for synthesizing beatsynchronous dancing motions based on a compact topological model of dance styles, previously captured with a motion capture system. The model was based on the Topological Gesture Analysis (TGA) which conveys a discrete three-dimensional point-cloud representation of the dance, by describing the spatiotemporal variability of its gestural trajectories into uniform spherical distributions, according to classes of the musical meter. The methodology for synthesizing the modeled dance traces back the topological representations, constrained with definable metrical and spatial parameters, into complete dance instances whose variability is controlled by stochastic processes that considers both TGA distributions and the kinematic constraints of the body morphology. In order to assess the relevance and flexibility of each parameter into feasibly reproducing the style of the captured dance, we correlated both captured and synthesized trajectories of samba dancing sequences in relation to the level of compression of the used model, and report on a subjective evaluation over a set of six tests. The achieved results validated our approach, suggesting that a periodic dancing style, and its musical synchrony, can be feasibly reproduced from a suitably parametrized discrete spatiotemporal representation of the gestural motion trajectories, with a notable degree of compression

Real Time Animation of Virtual Humans: A Trade-off Between Naturalness and Control

Virtual humans are employed in many interactive applications using 3D virtual environments, including (serious) games. The motion of such virtual humans should look realistic (or ‘natural’) and allow interaction with the surroundings and other (virtual) humans. Current animation techniques differ in the trade-off they offer between motion naturalness and the control that can be exerted over the motion. We show mechanisms to parametrize, combine (on different body parts) and concatenate motions generated by different animation techniques. We discuss several aspects of motion naturalness and show how it can be evaluated. We conclude by showing the promise of combinations of different animation paradigms to enhance both naturalness and control

Systematic considerations within the Philosophy of the Cosmonomic Idea

Stafleu has distinguished himself with ground-breaking work on the theoretical foundations of physics. Subsequently he has broadened his scope and entered the field of general philosophy – including reflections on artefacts and technology. In his assessment of what I have done in my 2009 work on Philosophy: Discipline of the disciplines he raises a number of issues to which I respond in what follows below. In some instances it appears that we opt for different designations of the same states of affairs, but different understandings do surface in some other cases. Stafleu’s objection to the expression ‘sphere sovereignty’ because ‘no modal aspect is ruled by a sovereign’ reveals a misunderstanding of metaphorical language, which prompts a brief discussion of analogies and metaphors. The complicated challenge to find an appropriate designation of the core meaning of the physical aspect receives some attention as well as the distinction between modal laws and type laws. The nature of the transcendental–empirical method is briefly highlighted. In the past it has prompted me to pay attention to the meaning of both the social and the cultural–historical aspects of reality and to consider some implications for the nature of technology and tools. Stafleu does advance a new and insightful discussion of particular human skills characterised by different modal aspects

Animation, Simulation, and Control of Soft Characters using Layered Representations and Simplified Physics-based Methods

Realistic behavior of computer generated characters is key to bringing virtual environments, computer games, and other interactive applications to life. The plausibility of a virtual scene is strongly influenced by the way objects move around and interact with each other. Traditionally, actions are limited to motion capture driven or pre-scripted motion of the characters. Physics enhance the sense of realism: physical simulation is required to make objects act as expected in real life. To make gaming and virtual environments truly immersive,it is crucial to simulate the response of characters to collisions and to produce secondary effects such as skin wrinkling and muscle bulging. Unfortunately, existing techniques cannot generally achieve these effects in real time, do not address the coupled response of a character's skeleton and skin to collisions nor do they support artistic control. In this dissertation, I present interactive algorithms that enable physical simulation of deformable characters with high surface detail and support for intuitive deformation control. I propose a novel unified framework for real-time modeling of soft objects with skeletal deformations and surface deformation due to contact, and their interplay for object surfaces with up to tens of thousands of degrees of freedom.I make use of layered models to reduce computational complexity. I introduce dynamic deformation textures, which map three dimensional deformations in the deformable skin layer to a two dimensional domain for extremely efficient parallel computation of the dynamic elasticity equations and optimized hierarchical collision detection. I also enhance layered models with responsive contact handling, to support the interplay between skeletal motion and surface contact and the resulting two-way coupling effects. Finally, I present dynamic morph targets, which enable intuitive control of dynamic skin deformations at run-time by simply sculpting pose-specific surface shapes. The resulting framework enables real-time and directable simulation of soft articulated characters with frictional contact response, capturing the interplay between skeletal dynamics and complex,non-linear skin deformations

Look me in the eyes: A survey of eye and gaze animation for virtual agents and artificial systems

International audienceA person's emotions and state of mind are apparent in their face and eyes. As a Latin proverb states: "The face is the portrait of the mind; the eyes, its informers.". This presents a huge challenge for computer graphics researchers in the generation of artificial entities that aim to replicate the movement and appearance of the human eye, which is so important in human-human interactions. This State of the Art Report provides an overview of the efforts made on tackling this challenging task. As with many topics in Computer Graphics, a cross-disciplinary approach is required to fully understand the workings of the eye in the transmission of information to the user. We discuss the movement of the eyeballs, eyelids, and the head from a physiological perspective and how these movements can be modelled, rendered and animated in computer graphics applications. Further, we present recent research from psychology and sociology that seeks to understand higher level behaviours, such as attention and eye-gaze, during the expression of emotion or during conversation, and how they are synthesised in Computer Graphics and Robotics

Directional adposition use in English, Swedish and Finnish

Directional adpositions such as to the left of describe where a Figure is in relation to a Ground. English and Swedish directional adpositions refer to the location of a Figure in relation to a Ground, whether both are static or in motion. In contrast, the Finnish directional adpositions edellä (in front of) and jäljessä (behind) solely describe the location of a moving Figure in relation to a moving Ground (Nikanne, 2003). When using directional adpositions, a frame of reference must be assumed for interpreting the meaning of directional adpositions. For example, the meaning of to the left of in English can be based on a relative (speaker or listener based) reference frame or an intrinsic (object based) reference frame (Levinson, 1996). When a Figure and a Ground are both in motion, it is possible for a Figure to be described as being behind or in front of the Ground, even if neither have intrinsic features. As shown by Walker (in preparation), there are good reasons to assume that in the latter case a motion based reference frame is involved. This means that if Finnish speakers would use edellä (in front of) and jäljessä (behind) more frequently in situations where both the Figure and Ground are in motion, a difference in reference frame use between Finnish on one hand and English and Swedish on the other could be expected. We asked native English, Swedish and Finnish speakers’ to select adpositions from a language specific list to describe the location of a Figure relative to a Ground when both were shown to be moving on a computer screen. We were interested in any differences between Finnish, English and Swedish speakers. All languages showed a predominant use of directional spatial adpositions referring to the lexical concepts TO THE LEFT OF, TO THE RIGHT OF, ABOVE and BELOW. There were no differences between the languages in directional adpositions use or reference frame use, including reference frame use based on motion. We conclude that despite differences in the grammars of the languages involved, and potential differences in reference frame system use, the three languages investigated encode Figure location in relation to Ground location in a similar way when both are in motion. Levinson, S. C. (1996). Frames of reference and Molyneux’s question: Crosslingiuistic evidence. In P. Bloom, M.A. Peterson, L. Nadel & M.F. Garrett (Eds.) Language and Space (pp.109-170). Massachusetts: MIT Press. Nikanne, U. (2003). How Finnish postpositions see the axis system. In E. van der Zee & J. Slack (Eds.), Representing direction in language and space. Oxford, UK: Oxford University Press. Walker, C. (in preparation). Motion encoding in language, the use of spatial locatives in a motion context. Unpublished doctoral dissertation, University of Lincoln, Lincoln. United Kingdo