Artistic creation and computer interactive multisensory simulation force feedback gesture transducers

International audienceThe team built up from 1976 with fundamental aims motivated by the computer entering in several fields of artistic creation. The deep mutation represented by the computer, regarding the technology history, required a new and fundamental analysis of the role of the material tools in artistic creation as well as the role of the computer itself as tool. New concepts and theories were necessary that cannot be simply deduced from the previous. The computer was then envisaged to introduce explicitly a new mediation level in the creation process, through the paradigm of the interactive and multisensory simulation (IMS) of physical objects. This principle and its correlated techniques are the core of the computer creation tool envisaged. The higher level functionality being built from this base

Bowed string synthesis with force feedback gesture interaction

International audienceThe CORDIS ANIMA formalism allows to model physical objects according to a modular methodology which guaranties, at each step of modeling, the energetic consistency of the behavior of the model. Maintening this energetic consistency is a crucial point in the use of interactive simulation by means of Physical Modeling and Force Feedback Gesture Devices. This paper presents a CORDIS-ANIMA model of bowed string, which closely links the properties of the produced sounds to the gesture and energetic investment of the player. A pertinent feature of real bowed instruments is their high sensitivity to the gesture dynamic. The proposed model restitutes this sensitivity providing high musical quality and nuances in the synthetic sounds. In addition, the use of the consistent physically-based modular designing presented here, allows the designer to lead towards a minimal physical model able to restitute this so pertinent feature

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

Humanizing robot dance movements

Tese de mestrado integrado. Engenharia Informática e Computação. Universidade do Porto. Faculdade de Engenharia. 201

Voice of the Machine

Opening a discussion about digital voices in contemporary spaces and popular music in two parts: 1) An essay that traces discourses of disembodiment and the rise in prominence of digital voices in electronic music, enumerates the ways in which they are enacting physical change via examples like the virtual star Hatsune Miku, and situates their arrival within an emerging trend to materialize digital forms and blue the line between physical and digital creation. 2) An audio project for which I employed pop, experimental, and electronic music techniques in order to create a science fiction-inspired narrative featuring as the central instrument digital voices

Vector synthesis: a media archaeological investigation into sound-modulated light

Vector Synthesis is a computational art project inspired by theories of media archaeology, by the history of computer and video art, and by the use of discarded and obsolete technologies such as the Cathode Ray Tube monitor. This text explores the military and techno-scientific legacies at the birth of modern computing, and charts attempts by artists of the subsequent two decades to decouple these tools from their destructive origins. Using this history as a basis, the author then describes a media archaeological, real time performance system using audio synthesis and vector graphics display techniques to investigate direct, synesthetic relationships between sound and image. Key to this system, realized in the Pure Data programming environment, is a didactic, open source approach which encourages reuse and modification by other artists within the experimental audiovisual arts community.Holzer, Dere

Optical turntable as an interface for musical performance

Thesis (S.M.)--Massachusetts Institute of Technology, School of Architecture and Planning, Program in Media Arts and Sciences, 2002."June 2002."Includes bibliographical references (leaves 80-82).This thesis proposes a model of creative activity on the computer incorporating the elements of programming, graphics, sound generation, and physical interaction. An interface for manipulating these elements is suggested, based on the concept of a disk-jockey turntable as a performance instrument. A system is developed around this idea, enabling optical pickup of visual information from physical media as input to processes on the computer. Software architecture(s) are discussed and examples are implemented, illustrating the potential uses of the interface for the purpose of creative expression in the virtual domain.Nikita Pashenkov.S.M