CONVR 2011 : Proceedings of the 11th International Conference on Construction Applications of Virtual Reality

Proceedings of the 11th International Conference on Construction Applications of Virtual Realit

Avance en el tratamiento de la información de bienes culturales adscritos al patrimonio histórico industrial para su implementación en administraciones, museos o centros de interpretación interactivos mediante el empleo de las nuevas técnicas gráficas y de análisis

La presente Tesis Doctoral desarrolla desde la ingeniería gráfica nuevas metodologías para obtener resultados en el tratamiento de la información del patrimonio histórico industrial que permitan su puesta en valor, en especial de los eólicos y oleícolas, y su implementación para su difusión por parte de las administraciones públicas, museos y centros de interpretación interactivos. Para ello, la estructura de la misma se plasma en los siguientes capítulos: El Capítulo 1 revisa el concepto del patrimonio histórico industrial y sus fuentes de documentación, estudiando la evolución del conocimiento a lo largo del periodo histórico industrial y realizando el análisis de uno de los pilares del patrimonio cultural: el paisaje. El Capítulo 2 se centra en las técnicas y metodologías de ingeniería gráfica para la recuperación del patrimonio histórico industrial, completándose con el estudio y perfeccionamiento de las distintas potencialidades que ofrece la ingeniería gráfica en las tareas propias de la disciplina de la arqueología industrial. El Capítulo 3 versa sobre la recuperación de los bienes industriales desde diferentes entornos virtuales, persiguiendo el estudio e implementación de las técnicas de animación por ordenador en el patrimonio histórico industrial, en busca de recreaciones virtuales de carácter realista. El Capítulo 4 muestra la representación de los bienes industriales sobre la superficie terrestre. De esta forma se logra inventarios cuya base es la tecnología de los sistemas de información geográfica y se llevan a cabo análisis geoespaciales cuyo objetivo será la propuesta de rutas turísticas, aplicándose al patrimonio histórico eólico andaluz. El Capítulo 5 parte de la documentación gráfica anteriormente obtenida para someterla a distintos análisis desde la ingeniería, como el estudio clásico eólico o los análisis por elementos o volúmenes finitos, resultando nuevo conocimiento técnicotecnológico del patrimonio histórico industrial...The present Ph.D. Thesis develops new engineering graphics methodologies to increase the value enhancement of historical industrial heritage information. Research applications have focused on windmill and olive oil heritage in order to their implementation for dissemination by public administrations, museums and interactive interpretation centers. Therefore, this Ph.D. Thesis is structured in the following chapters: Chapter 1 reviews the concept of historical industrial heritage and its documentation sources. Knowledge evolution is analyzed along the historic industrial period and landscape is assessed as one of the foundations of the cultural heritage. Chapter 2 focuses on the techniques and methodologies of engineering graphics to recover the historical industrial heritage. Several potentialities based on normal discipline tasks of industrial archeology are studied and improvement by engineering graphics. Chapter 3 deals with the recovery of industrial properties from different virtual environments. Computer virtual techniques are studied and implemented on virtual realistic recreations and immersive environments in the historical industrial heritage. Chapter 4 shows the representation of industrial properties over land surface in order to generate windmill inventory based on geographic information system technologies. A geospatial analysis is performed with the main aim to propose tourist routes applied to Andalusian windmill heritage. Chapter 5 analyzes the previously graphic documentation obtained under an engineering perspective, as classic wind study, finite and volume elements analysis. The result is a new technical-technological knowledge of historical industrial heritage. Chapter 6 develops three specific areas for the results divulgation to make proposals for cultural tourist routes. These areas are based on a standardization of educational resources applied to industrial archaeology by engineering graphics. Additionally, information flow diagram for a suitable virtual museum is proposed to public administration, on-site museums or interactive interpretation centers..

Virtual Heritage: new technologies for edutainment

Cultural heritage represents an enormous amount of information and knowledge. Accessing this treasure chest allows not only to discover the legacy of physical and intangible attributes of the past but also to provide a better understanding of the present. Museums and cultural institutions have to face the problem of providing access to and communicating these cultural contents to a wide and assorted audience, meeting the expectations and interests of the reference end-users and relying on the most appropriate tools available. Given the large amount of existing tangible and intangible heritage, artistic, historical and cultural contents, what can be done to preserve and properly disseminate their heritage significance? How can these items be disseminated in the proper way to the public, taking into account their enormous heterogeneity? Answering this question requires to deal as well with another aspect of the problem: the evolution of culture, literacy and society during the last decades of 20th century. To reflect such transformations, this period witnessed a shift in the museum’s focus from the aesthetic value of museum artifacts to the historical and artistic information they encompass, and a change into the museums’ role from a mere "container" of cultural objects to a "narrative space" able to explain, describe, and revive the historical material in order to attract and entertain visitors. These developments require creating novel exhibits, able to tell stories about the objects and enabling visitors to construct semantic meanings around them. The objective that museums presently pursue is reflected by the concept of Edutainment, Education + Entertainment. Nowadays, visitors are not satisfied with ‘learning something’, but would rather engage in an ‘experience of learning’, or ‘learning for fun’, being active actors and players in their own cultural experience. As a result, institutions are faced with several new problems, like the need to communicate with people from different age groups and different cultural backgrounds, the change in people attitude due to the massive and unexpected diffusion of technology into everyday life, the need to design the visit by a personal point of view, leading to a high level of customization that allows visitors to shape their path according to their characteristics and interests. In order to cope with these issues, I investigated several approaches. In particular, I focused on Virtual Learning Environments (VLE): real-time interactive virtual environments where visitors can experience a journey through time and space, being immersed into the original historical, cultural and artistic context of the work of arts on display. VLE can strongly help archivists and exhibit designers, allowing to create new interesting and captivating ways to present cultural materials. In this dissertation I will tackle many of the different dimensions related to the creation of a cultural virtual experience. During my research project, the entire pipeline involved into the development and deployment of VLE has been investigated. The approach followed was to analyze in details the main sub-problems to face, in order to better focus on specific issues. Therefore, I first analyzed different approaches to an effective recreation of the historical and cultural context of heritage contents, which is ultimately aimed at an effective transfer of knowledge to the end-users. In particular, I identified the enhancement of the users’ sense of presence in VLE as one of the main tools to reach this objective. Presence is generally expressed as the perception of 'being there', i.e. the subjective belief of users that they are in a certain place, even if they know that the experience is mediated by the computer. Presence is related to the number of senses involved by the VLE and to the quality of the sensorial stimuli. But in a cultural scenario, this is not sufficient as the cultural presence plays a relevant role. Cultural presence is not just a feeling of 'being there' but of being - not only physically, but also socially, culturally - 'there and then'. In other words, the VLE must be able to transfer not only the appearance, but also all the significance and characteristics of the context that makes it a place and both the environment and the context become tools capable of transferring the cultural significance of a historic place. The attention that users pay to the mediated environment is another aspect that contributes to presence. Attention is related to users’ focalization and concentration and to their interests. Thus, in order to improve the involvement and capture the attention of users, I investigated in my work the adoption of narratives and storytelling experiences, which can help people making sense of history and culture, and of gamification approaches, which explore the use of game thinking and game mechanics in cultural contexts, thus engaging users while disseminating cultural contents and, why not?, letting them have fun during this process. Another dimension related to the effectiveness of any VLE is also the quality of the user experience (UX). User interaction, with both the virtual environment and its digital contents, is one of the main elements affecting UX. With respect to this I focused on one of the most recent and promising approaches: the natural interaction, which is based on the idea that persons need to interact with technology in the same way they are used to interact with the real world in everyday life. Then, I focused on the problem of presenting, displaying and communicating contents. VLE represent an ideal presentation layer, being multiplatform hypermedia applications where users are free to interact with the virtual reconstructions by choosing their own visiting path. Cultural items, embedded into the environment, can be accessed by users according to their own curiosity and interests, with the support of narrative structures, which can guide them through the exploration of the virtual spaces, and conceptual maps, which help building meaningful connections between cultural items. Thus, VLE environments can even be seen as visual interfaces to DBs of cultural contents. Users can navigate the VE as if they were browsing the DB contents, exploiting both text-based queries and visual-based queries, provided by the re-contextualization of the objects into their original spaces, whose virtual exploration can provide new insights on specific elements and improve the awareness of relationships between objects in the database. Finally, I have explored the mobile dimension, which became absolutely relevant in the last period. Nowadays, off-the-shelf consumer devices as smartphones and tablets guarantees amazing computing capabilities, support for rich multimedia contents, geo-localization and high network bandwidth. Thus, mobile devices can support users in mobility and detect the user context, thus allowing to develop a plethora of location-based services, from way-finding to the contextualized communication of cultural contents, aimed at providing a meaningful exploration of exhibits and cultural or tourist sites according to visitors’ personal interest and curiosity

Facial Modelling and animation trends in the new millennium : a survey

M.Sc (Computer Science)Facial modelling and animation is considered one of the most challenging areas in the animation world. Since Parke and Waters’s (1996) comprehensive book, no major work encompassing the entire field of facial animation has been published. This thesis covers Parke and Waters’s work, while also providing a survey of the developments in the field since 1996. The thesis describes, analyses, and compares (where applicable) the existing techniques and practices used to produce the facial animation. Where applicable, the related techniques are grouped in the same chapter and described in a chronological fashion, outlining their differences, as well as their advantages and disadvantages. The thesis is concluded by exploratory work towards a talking head for Northern Sotho. Facial animation and lip synchronisation of a fragment of Northern Sotho is done by using software tools primarily designed for English.Computin

Virtual Movement from Natural Language Text

It is a challenging task for machines to follow a textual instruction. Properly understanding and using the meaning of the textual instruction in some application areas, such as robotics, animation, etc. is very difficult for machines. The interpretation of textual instructions for the automatic generation of the corresponding motions (e.g. exercises) and the validation of these movements are difficult tasks. To achieve our initial goal of having machines properly understand textual instructions and generate some motions accordingly, we recorded five different exercises in random order with the help of seven amateur performers using a Microsoft Kinect device. During the recording, we found that the same exercise was interpreted differently by each human performer even though they were given identical textual instructions. We performed a quality assessment study based on the derived data using a crowdsourcing approach. Later, we tested the inter-rater agreement for different types of visualization, and found the RGB-based visualization showed the best agreement among the annotatorsa animation with a virtual character standing in second position. In the next phase we worked with physical exercise instructions. Physical exercise is an everyday activity domain in which textual exercise descriptions are usually focused on body movements. Body movements are considered to be a common element across a broad range of activities that are of interest for robotic automation. Our main goal is to develop a text-to-animation system which we can use in different application areas and which we can also use to develop multiple-purpose robots whose operations are based on textual instructions. This system could be also used in different text to scene and text to animation systems. To generate a text-based animation system for physical exercises the process requires the robot to have natural language understanding (NLU) including understanding non-declarative sentences. It also requires the extraction of semantic information from complex syntactic structures with a large number of potential interpretations. Despite a comparatively high density of semantic references to body movements, exercise instructions still contain large amounts of underspecified information. Detecting, and bridging and/or filling such underspecified elements is extremely challenging when relying on methods from NLU alone. However, humans can often add such implicit information with ease due to its embodied nature. We present a process that contains the combination of a semantic parser and a Bayesian network. In the semantic parser, the system extracts all the information present in the instruction to generate the animation. The Bayesian network adds some brain to the system to extract the information that is implicit in the instruction. This information is very important for correctly generating the animation and is very easy for a human to extract but very difficult for machines. Using crowdsourcing, with the help of human brains, we updated the Bayesian network. The combination of the semantic parser and the Bayesian network explicates the information that is contained in textual movement instructions so that an animation execution of the motion sequences performed by a virtual humanoid character can be rendered. To generate the animation from the information we basically used two different types of Markup languages. Behaviour Markup Language is used for 2D animation. Humanoid Animation uses Virtual Reality Markup Language for 3D animation