Controlled metamorphosis between skeleton-driven animated polyhedral meshes of arbitrary topologies

Enabling animators to smoothly transform between animated meshes of differing topologies is a long-standing problem in geometric modelling and computer animation. In this paper, we propose a new hybrid approach built upon the advantages of scalar field-based models (often called implicit surfaces) which can easily change their topology by changing their defining scalar field. Given two meshes, animated by their rigging-skeletons, we associate each mesh with its own approximating implicit surface. This implicit surface moves synchronously with the mesh. The shape-metamorphosis process is performed in several steps: first, we collapse the two meshes to their corresponding approximating implicit surfaces, then we transform between the two implicit surfaces and finally we inverse transition from the resulting metamorphosed implicit surface to the target mesh. The examples presented in this paper demonstrating the results of the proposed technique were implemented using an in-house plug-in for Maya™. © 2013 The Authors Computer Graphics Forum © 2013 The Eurographics Association and John Wiley & Sons Ltd

Hybrid modelling of time-variant heterogeneous objects.

The physical world consists of a wide range of objects of a diverse constitution. Past research was mainly focussed on the modelling of simple homogeneous objects of a uniform constitution. Such research resulted in the development of a number of advanced theoretical concepts and practical techniques for describing such physical objects. As a result, the process of modelling and animating certain types of homogeneous objects became feasible. In fact most physical objects are not homogeneous but heterogeneous in their constitution and it is thus important that one is able to deal with such heterogeneous objects that are composed of diverse materials and may have complex internal structures. Heterogeneous object modelling is still a very new and evolving research area, which is likely to prove useful in a wide range of application areas. Despite its great promise, heterogeneous object modelling is still at an embryonic state of development and there is a dearth of extant tools that would allow one to work with static and dynamic heterogeneous objects. In addition, the heterogeneous nature of the modelled objects makes it appealing to employ a combination of different representations resulting in the creation of hybrid models. In this thesis we present a new dynamic Implicit Complexes (IC) framework incorporating a number of existing representations and animation techniques. This framework can be used for the modelling of dynamic multidimensional heterogeneous objects. We then introduce an Implicit Complexes Application Programming Interface (IC API). This IC API is designed to provide various applications with a unified set of tools allowing these to model time-variant heterogeneous objects. We also present a new Function Representation (FRep) API, which is used for the integration of FReps into complex time-variant hybrid models. This approach allows us to create a practical multilevel modelling system suited for complex multidimensional hybrid modelling of dynamic heterogeneous objects. We demonstrate the advantages of our approach through the introduction of a novel set of tools tailored to problems encountered in simulation applications, computer animation and computer games. These new tools empower users and amplify their creativity by allowing them to overcome a large number of extant modelling and animation problems, which were previously considered difficult or even impossible to solve

Software Takes Command

This book is available as open access through the Bloomsbury Open Access programme and is available on www.bloomsburycollections.com. Software has replaced a diverse array of physical, mechanical, and electronic technologies used before 21st century to create, store, distribute and interact with cultural artifacts. It has become our interface to the world, to others, to our memory and our imagination - a universal language through which the world speaks, and a universal engine on which the world runs. What electricity and combustion engine were to the early 20th century, software is to the early 21st century. Offering the the first theoretical and historical account of software for media authoring and its effects on the practice and the very concept of 'media,' the author of The Language of New Media (2001) develops his own theory for this rapidly-growing, always-changing field. What was the thinking and motivations of people who in the 1960 and 1970s created concepts and practical techniques that underlie contemporary media software such as Photoshop, Illustrator, Maya, Final Cut and After Effects? How do their interfaces and tools shape the visual aesthetics of contemporary media and design? What happens to the idea of a 'medium' after previously media-specific tools have been simulated and extended in software? Is it still meaningful to talk about different mediums at all? Lev Manovich answers these questions and supports his theoretical arguments by detailed analysis of key media applications such as Photoshop and After Effects, popular web services such as Google Earth, and the projects in motion graphics, interactive environments, graphic design and architecture. Software Takes Command is a must for all practicing designers and media artists and scholars concerned with contemporary media

Hybrid modelling of time-variant heterogeneous objects

The physical world consists of a wide range of objects of a diverse constitution. Past research was mainly focussed on the modelling of simple homogeneous objects of a uniform constitution. Such research resulted in the development of a number of advanced theoretical concepts and practical techniques for describing such physical objects. As a result, the process of modelling and animating certain types of homogeneous objects became feasible. In fact most physical objects are not homogeneous but heterogeneous in their constitution and it is thus important that one is able to deal with such heterogeneous objects that are composed of diverse materials and may have complex internal structures. Heterogeneous object modelling is still a very new and evolving research area, which is likely to prove useful in a wide range of application areas. Despite its great promise, heterogeneous object modelling is still at an embryonic state of development and there is a dearth of extant tools that would allow one to work with static and dynamic heterogeneous objects. In addition, the heterogeneous nature of the modelled objects makes it appealing to employ a combination of different representations resulting in the creation of hybrid models. In this thesis we present a new dynamic Implicit Complexes (IC) framework incorporating a number of existing representations and animation techniques. This framework can be used for the modelling of dynamic multidimensional heterogeneous objects. We then introduce an Implicit Complexes Application Programming Interface (IC API). This IC API is designed to provide various applications with a unified set of tools allowing these to model time-variant heterogeneous objects. We also present a new Function Representation (FRep) API, which is used for the integration of FReps into complex time-variant hybrid models. This approach allows us to create a practical multilevel modelling system suited for complex multidimensional hybrid modelling of dynamic heterogeneous objects. We demonstrate the advantages of our approach through the introduction of a novel set of tools tailored to problems encountered in simulation applications, computer animation and computer games. These new tools empower users and amplify their creativity by allowing them to overcome a large number of extant modelling and animation problems, which were previously considered difficult or even impossible to solve.EThOS - Electronic Theses Online ServiceGBUnited Kingdo

Software Takes Command

This book is available as open access through the Bloomsbury Open Access programme and is available on www.bloomsburycollections.com. Software has replaced a diverse array of physical, mechanical, and electronic technologies used before 21st century to create, store, distribute and interact with cultural artifacts. It has become our interface to the world, to others, to our memory and our imagination - a universal language through which the world speaks, and a universal engine on which the world runs. What electricity and combustion engine were to the early 20th century, software is to the early 21st century. Offering the the first theoretical and historical account of software for media authoring and its effects on the practice and the very concept of 'media,' the author of The Language of New Media (2001) develops his own theory for this rapidly-growing, always-changing field. What was the thinking and motivations of people who in the 1960 and 1970s created concepts and practical techniques that underlie contemporary media software such as Photoshop, Illustrator, Maya, Final Cut and After Effects? How do their interfaces and tools shape the visual aesthetics of contemporary media and design? What happens to the idea of a 'medium' after previously media-specific tools have been simulated and extended in software? Is it still meaningful to talk about different mediums at all? Lev Manovich answers these questions and supports his theoretical arguments by detailed analysis of key media applications such as Photoshop and After Effects, popular web services such as Google Earth, and the projects in motion graphics, interactive environments, graphic design and architecture. Software Takes Command is a must for all practicing designers and media artists and scholars concerned with contemporary media

Dynamic Maps: Representations of Change in Geospatial Modeling and Visualization

By coining the descriptive phrase ―user-centric geographic cosmology, Goodchild (1998), challenges the geographically oriented to address GIS in the broadest imaginable context: as interlocutor between persons and geo-phenomena. This investigation responds both in a general way, and more specifically, to the representations of change in GIS modeling and visualization leading to dynamic mapping. The investigation, consisting of a report and a series of experiments, explores and demonstrates prototype workarounds that enhance GIS capabilities by drawing upon ideas, techniques, and components from agent-based modeling and visualization software, and suggests shifts at the conceptual, methodological, and technical levels. The workarounds and demonstrations presented here are four-dimensional visualizations, representing changes and behaviors of different types of entities such as living creatures, mobile assets, features, structures, and surfaces, using GIS, agent-based modeling and animation techniques. In a typical case, a creature begins as a point feature in GIS, becomes a mobile and interactive object in agent-based modeling, and is fleshed out to three dimensions in an animated representation. In contrast, a land surface remains much the same in all three stages. The experiments address change in location, orientation, shape, visual attributes, viewpoint, scale, and speed in applications representing predator-prey, search and destroy, sense and locate and urban sprawl. During the experiments, particular attention is paid to factors of modeling and visualization involved in engaging human sensing and cognitive abilities

An Investigation into the uncanny: character design, behaviour and context.

Whilst there has been a substantial amount of research into the uncanny valley, defining research that contextualises a character as they would normally be viewed remains an unexplored area. Often previous research focused solely on realistic render styles giving characters an unfair basis that tended towards the realistic, thus facilitating only one mode of animation style: realism. Furthermore, characters were not contextualized because researchers often used footage from previous productions. These characters also differed in quality as various artists worked on different productions. This research considers characterisation as three key components, the aesthetic, the behaviour and the contextualisation. Attempts were made to develop a greater understanding of how these components contribute to the appeal of a character within the field of 3D computer animation. Research consisted of two experiments. Both experiments were conducted using an online survey method. The first experiment used five different characters ranging from realistic to abstract. Each character displayed three different behaviours and the characters were contextualized within a six panel narrative. Data obtained from the first experiment was used to refine the second experiment. A further experiment was conducted to further define how combinations of different behaviours and the context containing a character affected the subject’s perception. The second experiment used three different character types and the characters were contextualized within a video stimulus. Findings from the first experiment indicated a strong relationship between character type and context. Interest with the various characters changed depending on adaptions to either the behaviour of the said character or the contextualisation. Certain character types based on appearance where better suited to different contexts than others. An abstract character was more likely to be perceived positively by the subject in a surprising context stipulated by the behaviour of the character and form of the narrative sequence. Other characters such as one based around an inanimate object found a greater positive reception with the subjects under sad contextual constraints rather than happy or surprise. The first experiment took into account various independent variables obtained from the subject and aimed to draw parallels if found between these variables and the subjects perception of a given character be it positive or negative. However, these variables namely gender, nationality and age had no effect on the subject’s perception. In the second experiment, it was found that in order for the realistic human character to be perceived more positively, the behaviour needed to match the context. When a mismatch occurred the subjects began to perceive the character more negatively. The cartoon character was however not affected by the mismatch of behaviour and context. The experiment was further expanded when two different character types were compared committing negative actions and having negative actions inflicted upon them and what effect it had on the subjects perception. It was found that a cartoon character committing a negative action was perceived positively whilst a human character committing the same act was perceived negatively. However, when a negative action was inflicted on these same characters, subjects were more concerned for the human character than the cartoon character. Results from both experiments confirm the idea that various characters are perceived very differently by the viewers and come with predefined notions within the viewer of how they should behave. What is expected of one character type is not acceptable for another character type. Cartoon characters can get away with bizarre behaviour. A real human character may have some sort of novel unusual behaviour, whilst a realistic CG human character is assessed on how realistically (normally) it behaves. This research expands upon previous research into this area by offering a greater understanding of character types and emphasising the importance of contextualisation

The aesthetics of science fiction spaceship design

In this thesis, we present a detailed analysis of the conventions that appear in fictional spaceship design, including a discussion of their origins, their uses in emulating certain traits, and reasons these conventions might be followed or ignored. We uncover these conventions by examining and comparing popular spaceship designs from the past sixty years, which we present in a detailed survey. We also examine an aesthetic interpretation of information theory, which can be used to describe the balance of uniformity amidst variety, and discuss specific strategies for incorporating these principles into the creation of spaceship surface details. Procedural modeling describes a set of techniques used to allow computers to generate digital content such as 3D digital models automatically. However, procedural modeling to date has focused on very specific areas: natural scenery such as trees and terrain, or cityscapes such as road maps and buildings. While these types of models are important and useful, they focus on a specific subset of the procedural modeling problem. Though procedural generation can be an invaluable tool for providing viable and dynamic content, it is troubling that so few types of objects have been studied in this area. Using the aesthetic and spaceship principles we define, we have developed a prototype system to procedurally generate the surface details of a large scale spaceship. Given a surface representing the frame of a spaceship, we apply geometry automatically in a coherent manner to achieve the appearance of a spaceship by emulating important traits

What is the Avatar? Fiction and Embodiment in Avatar-Based Singleplayer Computer Games: Revised and Commented Edition

What are the characteristic features of avatar-based singleplayer videogames, from Super Mario Bros. to Grand Theft Auto? The author examines this question with a particular focus on issues of fictionality and realism, and their relation to cinema and Virtual Reality. Through close-up analysis and philosophical discussion, the author argues that avatar-based gaming is a distinctive and dominant form of virtual self-embodiment in digital culture. This book is a revised edition of Rune Klevjer's pioneering work from 2007, featuring a new introduction by the author and afterword by Stephan Günzel, Jörg Sternagel, and Dieter Mersch