26 research outputs found

    An augmented reality study for public participation in urban planning

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    Ongoing urbanisation processes invoke immense construction activities, for which citizens often participate in planning. Yet, imagining planned buildings based on visual representations is a highly demanding task. While traditional methods, such as construction spans, 2D, or 3D visualisation often fail to offer a complete picture, we propose Augmented Reality (AR) as a more adequate tool. We first present an evaluation of the suitability of AR compared to construction spans for a future building and assess which degree of abstraction of AR is most effective, as well as difficulty of interpreting them correctly. In a between-subjects field study we compare construction spans and a prototype AR application including three levels of detail (LOD) of the same building project. Participants solve two estimation tasks using the construction spans and six estimation tasks using the AR application, before answering a questionnaire on the different visualisation methods. We find participants are confident about the potential of AR, but no significant differences between the different LOD groups in subjective assessment. Results suggest that previous knowledge (e.g. in GIS) may have a positive impact on dimension estimation performance. Also, details, such as façade elements or windows, could facilitate estimation tasks because they allow inferences about a building’s size

    Sketch2Pose : estimating a 3D character pose from a bitmap sketch

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    Artists frequently capture character poses via raster sketches, then use these drawings as a reference while posing a 3D character in a specialized 3D software --- a time-consuming process, requiring specialized 3D training and mental effort. We tackle this challenge by proposing the first system for automatically inferring a 3D character pose from a single bitmap sketch, producing poses consistent with viewer expectations. Algorithmically interpreting bitmap sketches is challenging, as they contain significantly distorted proportions and foreshortening. We address this by predicting three key elements of a drawing, necessary to disambiguate the drawn poses: 2D bone tangents, self-contacts, and bone foreshortening. These elements are then leveraged in an optimization inferring the 3D character pose consistent with the artist's intent. Our optimization balances cues derived from artistic literature and perception research to compensate for distorted character proportions. We demonstrate a gallery of results on sketches of numerous styles. We validate our method via numerical evaluations, user studies, and comparisons to manually posed characters and previous work

    Animating Film Theory

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    Animating Film Theory provides an enriched understanding of the relationship between two of the most unwieldy and unstable organizing concepts in cinema and media studies: animation and film theory. For the most part, animation has been excluded from the purview of film theory. The contributors to this collection consider the reasons for this marginalization while also bringing attention to key historical contributions across a wide range of animation practices, geographic and linguistic terrains, and historical periods. They delve deep into questions of how animation might best be understood, as well as how it relates to concepts such as the still, the moving image, the frame, animism, and utopia. The contributors take on the kinds of theoretical questions that have remained underexplored because, as Karen Beckman argues, scholars of cinema and media studies have allowed themselves to be constrained by too narrow a sense of what cinema is. This collection reanimates and expands film studies by taking the concept of animation seriously. Contributors. Karen Beckman, Suzanne Buchan, Scott Bukatman, Alan Cholodenko, Yuriko Furuhata, Alexander R. Galloway, Oliver Gaycken, Bishnupriya Ghosh, Tom Gunning, Andrew R. Johnston, Hervé Joubert-Laurencin, Gertrud Koch, Thomas LaMarre, Christopher P. Lehman, Esther Leslie, John MacKay, Mihaela Mihailova, Marc Steinberg, Tess Takahash

    The Machine as Art/ The Machine as Artist

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    The articles collected in this volume from the two companion Arts Special Issues, “The Machine as Art (in the 20th Century)” and “The Machine as Artist (in the 21st Century)”, represent a unique scholarly resource: analyses by artists, scientists, and engineers, as well as art historians, covering not only the current (and astounding) rapprochement between art and technology but also the vital post-World War II period that has led up to it; this collection is also distinguished by several of the contributors being prominent individuals within their own fields, or as artists who have actually participated in the still unfolding events with which it is concerne

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    The utilization of 3D computer reconstruction visualizations in archaeology

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    Mgr. Jiří Unger The utilization of 3D computer reconstruction visualizations in archaeology Abstract of dissertation thesis The visual presentation is in the field of archaeology one of the main communication media for conveying information and interpreting it. The recent introduction of digital technologies has brought a whole new dimension to archaeological visualisations. As a result of this development, they become three-dimensional, virtual, multifunctional and interactive. Technological development moreover has not only influenced the way how to retrieve and process the data, but greatly expanded as well the ability to simulate and visualize their different aspects in virtual environment. Since the beginning the virtual archaeology has been taken as direction that would bring new groundbreaking knowledge into the archaeology. However, the current situation is that 3D computer visualizations are just popular conference theme than a standard tool of archaeology as a science, and most works on virtual archaeology still needs to advocate the benefits of 3D visualizations. Therefore, the dissertation thesis try to deal with theoretical issues of preparation, organisation and analysis of input data in the process of creation of 3D reconstruction computer models, then with possible solutions of visualization...Mgr. Jiří Unger Možnosti využití 3D rekonstrukčních počítačových vizualizací pro archeologii Abstrakt disertační práce Pro zprostředkování informací a jejich interpretaci je v archeologii jedním z hlavních sdělovacích nosičů obrazové vyjádření. Nedávné zavedení digitálních technologií navíc vneslo do archeologických vizualizací zcela novou dimenzi. Ty se tak díky tomu staly trojrozměrnými, multifunkčními, virtuálními a interaktivními. Technologický pokrok neovlivnil pouze způsoby jak získávat a zpracovat data, ale značně rozšířil možnosti hledisek jejich zkoumání, kdy jde především o možnost simulovat různé aspekty ve virtuálním prostředí a vizualizovat je. Hned od počátku byla virtuální archeologie brána jako směr, který do archeologie vnese nové přelomové poznatky. Současná situace je ovšem taková, že 3D počítačové vizualizace jsou spíše brány jako oblíbené téma konferencí než jako standartní nástroj a většina prací o virtuální archeologii má stále potřebu obhajovat výhody 3D vizualizací pro obor. Disertační práce se proto zabývá teoretickými otázkami přípravy, organizace a analýzy vstupních dat pro tvorbu 3D rekonstrukčních počítačových modelů, řešením vizualizace nejistoty dat a důvěryhodnosti těchto modelů a výslednou formou jejich výstupů a prezentace včetně využití virtuální a rzšířené reality. Tyto...Ústav pro archeologiiInstitute of ArchaeologyFaculty of ArtsFilozofická fakult

    Reoriented Illustration: Towards the Networked Image

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    In recent years there has emerged an increasing theoretical and contextual impetus from within the discipline of illustration that would seek to define the practice by authorial approaches to the production and distribution of illustrated content. The priority of this investigation is the attempt to imagine a theoretical landscape or environment in which an ‘authorial turn’ within the discipline might emerge and anchor itself to strategies outside of persisting colloquial or industrial notions of illustration practice. Specifically, this paper aims to tie such thinking to existing practices and concepts relevant to the contemporary construction, distribution and exchange of networked images

    Digital Techniques for Documenting and Preserving Cultural Heritage

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    In this unique collection the authors present a wide range of interdisciplinary methods to study, document, and conserve material cultural heritage. The methods used serve as exemplars of best practice with a wide variety of cultural heritage objects having been recorded, examined, and visualised. The objects range in date, scale, materials, and state of preservation and so pose different research questions and challenges for digitization, conservation, and ontological representation of knowledge. Heritage science and specialist digital technologies are presented in a way approachable to non-scientists, while a separate technical section provides details of methods and techniques, alongside examples of notable applications of spatial and spectral documentation of material cultural heritage, with selected literature and identification of future research. This book is an outcome of interdisciplinary research and debates conducted by the participants of the COST Action TD1201, Colour and Space in Cultural Heritage, 2012–16 and is an Open Access publication available under a CC BY-NC-ND licence.https://scholarworks.wmich.edu/mip_arc_cdh/1000/thumbnail.jp

    Studying and solving visual artifacts occurring when procedural texturing with paradoxical requirements

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    International audienceTextures are images widely used by computer graphics artists to add visual detail to their work. Textures may come from different sources, such as pictures of real-world surfaces, manually created images using graphics editors, or algorithmic processes. “Procedural texturing” refers to the creation of textures using algorithmic processes.Procedural textures offer many advantages, including the ability to manipulate their appearance through parameters. Many applications rely on changing those parameters to evolve the look of those textures over time or space. This often introduces requirements contradictory with the structure of the unaltered texture, often resulting in visible rendering artifacts. As an example, to animate a lava flow the rendered texture should be an effective representation of the simulated flow, but features such as rocks floating over should not be distorted, nor brutally appearor disappear thus disrupting the illusion. Informally, we want our lava texture to “change, but stay the same”. This example is an instance of the consistency problem that arises when changing parameters of a texture, resulting in noticeable artifacts in the rendered result.In this project, we seek to classify these artifacts depending on their causes and their effects on textures, but also how we can objectively detect and explain their presence, and so predict their occurrence. Analytical and statistical analysis of procedural texturing processes will be performed, in order to find the relation with the corresponding artifacts.Les textures sont des images largement utilisées par les artistes infographistes pour ajouter des détails dans leurs rendus. Ces textures peuvent provenir de différentes sources, telles que des images de surfaces réelles, des images créées manuellement dans des logiciels, ou des processus algorithmiques. Ces dernières sont appelées“textures procédurales”.Les textures procédurales offrent beaucoup d’avantages, notamment la possibilité de définir leur apparence à partir de paramètres. Dans de nombreuses situations, ces paramètres évoluent au cours du temps ou dans l’espace. Cela introduit cependant des contraintes contradictoires à l’apparence de la texture originale, introduisant ainsi des artefacts visibles. Par exemple, pour animer un flot de lave, la texture rendue devrait suivre le flot simulé, mais les formes telles que des rochers flottants à la surface ne devraient pas être distordus, ni apparaître ou disparaîtrebrutalement, ce qui casserait l’illusion. Informellement, cette texture de lave doit “changer, mais rester la même”. Cet exemple est une instance du problème de la cohérence temporelle lié à l’évolution de paramètres d’une texture, ce qui introduit des artefacts dans le rendu final.Au cours de ce projet, nous essayons de classer les différents artefacts selon les causes qui les produisent et leurs effets sur les textures. Nous cherchons aussi des méthodes pour décrire objectivement et détecter leur présence, et même prédire leur apparition. Des méthodes analytiques mais aussi statistiques des procédés de texture vont être mis en œuvre, afin de trouver les liens entre artefacts et descripteurs
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