The affordances of 3D and 4D digital technologies for computerized facial depiction

3D digital technologies have advanced rapidly over recent decades and they can now afford new ways of interacting with anatomical and cultural artefacts. Such technologies allow for interactive investigation of visible or non-observable surfaces, haptic generation of content and tactile experiences with digital and physical representations. These interactions and technical advances often facilitate the generation of new knowledge through interdisciplinary and sympathetic approaches. Scientific and public understanding of anatomy are often enhanced by clinical imaging technologies, 3D surface scanning techniques, 3D haptic modelling methods and 3D fabrication systems. These digital and haptic technologies are seen as non-invasive and allow scientists, artists and the public to become active investigators in the visualisation of, and interaction with, human anatomy, remains and histories. Face Lab is a Liverpool John Moores University research group that focuses on creative digital face research; specifically the further development of a 3D computerized craniofacial depiction system, utilizing 3D digital technologies in facial analysis and identification of human remains for forensic investigation, or historical figures for archaeological interpretation. This chapter explores the affordances of such interactions for the non-destructive production of craniofacial depiction, through a case-study based exploration of Face Lab workflow

Endoscopic Targeting Tasks Simulator: An Approach Using Game Engines

The pervasiveness of simulators used in professions requiring the skilled control of expensive machinery such as is the case in the aviation, mining, construction, and naval industries raises an intriguing question about the relatively poor adoption within the field of medicine. Certain surgical procedures such as neuro-endoscopic and laparoscopic lend themselves well to the application of virtual reality based simulators. This is due to the innate ability to decom- pose these complex macro level procedures into a hierarchy of subtasks that can be modelled in a software simulator to augment existing teaching and training techniques. The research in this thesis is focused with the design and implementation of a targeting- based simulator having applications in the evaluation of clinically relevant procedures within the neuro-endoscopic and potentially laparoscopic domains. Existing commercially available surgical simulators within these domains are often associated with being expensive, narrowly focussed in the skills they train, and fail to show statistically significant results in the efficacy of improving user performance through repeated use. Development of a targeting tasks simulator is used to evaluate what methods can be applied to provide a robust, objective measure of human performance as it relates to targeting tasks. In addition to performance evaluation, further research is conducted to help understand the impact of different input modalities; focusing primarily on input from a gamepad style device and as well a newer, more natural user interface provided by the Leap Motion Controller

Field sketching and the interpretation of landscape : exploring the benefits of fieldwork and drawing in contemporary landscape practice

This thesis explores potential roles for field sketching in, landscape observation and assessment, landscape planning and design, landscape representation, and in addressing the experiential dimension of the landscape.The research seeks to define and legitimise the old technique of field sketching, and the use and development of field sketches by students and practitioners of landscape architecture, and other landscape disciplines. The wider values of, fieldwork, hand -generated field notations, drawing as an interactive dialogue with others, and the sketch as a type of landscape representation, are also recognised.Whilst accurate representation and precise geometrical definition of the landscape can now be achieved quickly with photographs and by semi - automated digital means, interpretation requires careful observation. Sketching involves an observer stopping and looking and interpreting slowly and carefully. Field sketching and the uses of the field sketch are proposed as bringing an effectiveness to landscape work, valuable because of the interpretation it involves, and the time it does take: timeless because of its simplicity.A personal way of working is investigated, based on a Grounded Theory approach. Systematic analysis of case studies is made through reflection-on-practice. Practice observations (data) are collated and interpreted by practical sorting tasks, to propose a series of how to do and why important principles regarding field sketching. External support for the research findings is sought from literature, considering the broad themes of: fieldwork and the experience of landscapes, field sketching and drawing as craft and expression, and developing and using field sketches.Applications for field sketching to meet contemporary needs in landscape architecture are proposed: the sketch as a designer's tool, sketch-based visualisations as interpretive images, and field sketching as a participative technique that can be used to engage the inquirer, collaborators, and the public with landscape experience -grounded decisions

Material Visualisation for Virtual Reality: The Perceptual Investigations

Material representation plays a significant role in design visualisation and evaluation. On one hand, the simulated material properties determine the appearance of product prototypes in digitally rendered scenes. On the other hand, those properties are perceived by the viewers in order to make important design decisions. As an approach to simulate a more realistic environment, Virtual Reality (VR) provides users a vivid impression of depth and embodies them into an immersive environment. However, the scientific understanding of material perception and its applications in VR is still fairly limited. This leads to this thesis’s research question on whether the material perception in VR is different from that in traditional 2D displays, as well as the potential of using VR as a design tool to facilitate material evaluation.       This thesis is initiated from studying the perceptual difference of rendered materials between VR and traditional 2D viewing modes. Firstly, through a pilot study, it is confirmed that users have different perceptual experiences of the same material in the two viewing modes. Following that initial finding, the research investigates in more details the perceptual difference with psychophysics methods, which help in quantifying the users’ perceptual responses. Using the perceptual scale as a measuring means, the research analyses the users’ judgment and recognition of the material properties under VR and traditional 2D display environments. In addition, the research also elicits the perceptual evaluation criteria to analyse the emotional aspects of materials. The six perceptual criteria are in semantic forms, including rigidity, formality, fineness, softness, modernity, and irregularity.       The results showed that VR could support users in making a more refined judgment of material properties. That is to say, the users perceive better the minute changes of material properties under immersive viewing conditions. In terms of emotional aspects, VR is advantageous in signifying the effects induced by visual textures, while the 2D viewing mode is more effective for expressing the characteristics of plain surfaces. This thesis has contributed to the deeper understanding of users’ perception of material appearances in Virtual Reality, which is critical in achieving an effective design visualisation using such a display medium

Digital Light

Light symbolises the highest good, it enables all visual art, and today it lies at the heart of billion-dollar industries. The control of light forms the foundation of contemporary vision. Digital Light brings together artists, curators, technologists and media archaeologists to study the historical evolution of digital light-based technologies. Digital Light provides a critical account of the capacities and limitations of contemporary digital light-based technologies and techniques by tracing their genealogies and comparing them with their predecessor media. As digital light remediates multiple historical forms (photography, print, film, video, projection, paint), the collection draws from all of these histories, connecting them to the digital present and placing them in dialogue with one another. Light is at once universal and deeply historical. The invention of mechanical media (including photography and cinematography) allied with changing print technologies (half-tone, lithography) helped structure the emerging electronic media of television and video, which in turn shaped the bitmap processing and raster display of digital visual media. Digital light is, as Stephen Jones points out in his contribution, an oxymoron: light is photons, particulate and discrete, and therefore always digital. But photons are also waveforms, subject to manipulation in myriad ways. From Fourier transforms to chip design, colour management to the translation of vector graphics into arithmetic displays, light is constantly disciplined to human purposes. In the form of fibre optics, light is now the infrastructure of all our media; in urban plazas and handheld devices, screens have become ubiquitous, and also standardised. This collection addresses how this occurred, what it means, and how artists, curators and engineers confront and challenge the constraints of increasingly normalised digital visual media. While various art pieces and other content are considered throughout the collection, the focus is specifically on what such pieces suggest about the intersection of technique and technology. Including accounts by prominent artists and professionals, the collection emphasises the centrality of use and experimentation in the shaping of technological platforms. Indeed, a recurring theme is how techniques of previous media become technologies, inscribed in both digital software and hardware. Contributions include considerations of image-oriented software and file formats; screen technologies; projection and urban screen surfaces; histories of computer graphics, 2D and 3D image editing software, photography and cinematic art; and transformations of light-based art resulting from the distributed architectures of the internet and the logic of the database. Digital Light brings together high profile figures in diverse but increasingly convergent fields, from academy award-winner and co-founder of Pixar, Alvy Ray Smith to feminist philosopher Cathryn Vasseleu

Digital light

Light symbolises the highest good, it enables all visual art, and today it lies at the heart of billion-dollar industries. The control of light forms the foundation of contemporary vision. Digital Light brings together artists, curators, technologists and media archaeologists to study the historical evolution of digital light-based technologies. Digital Light provides a critical account of the capacities and limitations of contemporary digital light-based technologies and techniques by tracing their genealogies and comparing them with their predecessor media. As digital light remediates multiple historical forms (photography, print, film, video, projection, paint), the collection draws from all of these histories, connecting them to the digital present and placing them in dialogue with one another.Light is at once universal and deeply historical. The invention of mechanical media (including photography and cinematography) allied with changing print technologies (half-tone, lithography) helped structure the emerging electronic media of television and video, which in turn shaped the bitmap processing and raster display of digital visual media. Digital light is, as Stephen Jones points out in his contribution, an oxymoron: light is photons, particulate and discrete, and therefore always digital. But photons are also waveforms, subject to manipulation in myriad ways. From Fourier transforms to chip design, colour management to the translation of vector graphics into arithmetic displays, light is constantly disciplined to human purposes. In the form of fibre optics, light is now the infrastructure of all our media; in urban plazas and handheld devices, screens have become ubiquitous, and also standardised. This collection addresses how this occurred, what it means, and how artists, curators and engineers confront and challenge the constraints of increasingly normalised digital visual media.While various art pieces and other content are considered throughout the collection, the focus is specifically on what such pieces suggest about the intersection of technique and technology. Including accounts by prominent artists and professionals, the collection emphasises the centrality of use and experimentation in the shaping of technological platforms. Indeed, a recurring theme is how techniques of previous media become technologies, inscribed in both digital software and hardware. Contributions include considerations of image-oriented software and file formats; screen technologies; projection and urban screen surfaces; histories of computer graphics, 2D and 3D image editing software, photography and cinematic art; and transformations of light-based art resulting from the distributed architectures of the internet and the logic of the database.Digital Light brings together high profile figures in diverse but increasingly convergent fields, from academy award-winner and co-founder of Pixar, Alvy Ray Smith to feminist philosopher Cathryn Vasseleu

Non-photorealistic rendering: a critical examination and proposed system.

In the first part of the program the emergent field of Non-Photorealistic Rendering is explored from a cultural perspective. This is to establish a clear understanding of what Non-Photorealistic Rendering (NPR) ought to be in its mature form in order to provide goals and an overall infrastructure for future development. This thesis claims that unless we understand and clarify NPR's relationship with other media (photography, photorealistic computer graphics and traditional media) we will continue to manufacture "new solutions" to computer based imaging which are confused and naive in their goals. Such solutions will be rejected by the art and design community, generally condemned as novelties of little cultural worth ( i.e. they will not sell). This is achieved by critically reviewing published systems that are naively described as Non-photorealistic or "painterly" systems. Current practices and techniques are criticised in terms of their low ability to articulate meaning in images; solutions to this problem are given. A further argument claims that NPR, while being similar to traditional "natural media" techniques in certain aspects, is fundamentally different in other ways. This similarity has lead NPR to be sometimes proposed as "painting simulation" — something it can never be. Methods for avoiding this position are proposed. The similarities and differences to painting and drawing are presented and NPR's relationship to its other counterpart, Photorealistic Rendering (PR), is then delineated. It is shown that NPR is paradigmatically different to other forms of representation — i.e. it is not an "effect", but rather something basically different. The benefits of NPR in its mature form are discussed in the context of Architectural Representation and Design in general. This is done in conjunction with consultations with designers and architects. From this consultation a "wish-list" of capabilities is compiled by way of a requirements capture for a proposed system. A series of computer-based experiments resulting in the systems "Expressive Marks" and 'Magic Painter" are carried out; these practical experiments add further understanding to the problems of NPR. The exploration concludes with a prototype system "Piranesi" which is submitted as a good overall solution to the problem of NPR. In support of this written thesis are : - • The Expressive Marks system • Magic Painter system • The Piranesi system (which includes the EPixel and Sketcher systems) • A large portfolio of images generated throughout the exploration

Investigating the use of 3D digitisation for public facing applications in cultural heritage institutions

This thesis contains research into the use of 3D digitisation technologies by cultural heritage institutions in public facing applications. It is particularly interested in those technologies that can be adopted by institutions with limited budget and no previous experience in 3D digitisation. Whilst there has been research in the area of 3D imaging by museums and cultural heritage institutions, the majority is concerned with the use of the technology for academic or professional, curatorial purposes and on technical comparisons of the various technologies used for capture. Similarly, research conducted on the use of 3D models for public facing and public engagement applications has tended to focus on the various capture technologies, while little has been published on processing raw data for public facing applications – a time-consuming and potentially costly procedure. This research will investigate the issues encountered through the entire 3D digitisation workflow, from capture through processing to dissemination, focusing on the specific problems inherent in public facing projects and the heterogeneous and often problematic nature of museum objects. There has been little research published on the efficacy of 3D models both as providers of informational content and as public engagement tools used to fulfil a cultural heritage institution’s public facing remit. This research assesses the utility of interactive 3D models, as well as rendered animations of 3D content used as in-gallery exhibits and disseminated online. It finds that there is a prima facie case for believing that 3D models may be used to further a museum’s engagement and educational aims, and that there is an appetite among the general public for the use of this type of content in cultural heritage applications. The research will also compare a variety of methods for assessing the success of models

Media Space: an analysis of spatial practices in planar pictorial media.

The thesis analyses the visual space displayed in pictures, film, television and digital interactive media. The argument is developed that depictions are informed by the objectives of the artefact as much as by any simple visual correspondence to the observed world. The simple concept of ‘realism’ is therefore anatomised and a more pragmatic theory proposed which resolves some of the traditional controversies concerning the relation between depiction and vision. This is then applied to the special problems of digital interactive media. An introductory chapter outlines the topic area and the main argument and provides an initial definition of terms. To provide a foundation for the ensuing arguments, a brief account is given of two existing and contrasted approaches to the notion of space: that of perception science which gives priority to acultural aspects, and that of visual culture which emphasises aspects which are culturally contingent. An existing approach to spatial perception (that of JJ Gibson originating in the 1940s and 50s) is applied to spatial depiction in order to explore the differences between seeing and picturing, and also to emphasise the many different cues for spatial perception beyond those commonly considered (such as binocularity and linear perspective). At this stage a simple framework of depiction is introduced which identifies five components or phases: the objectives of the picture, the idea chosen to embody the objectives, the model (essentially, the visual ‘subject matter’), the characteristics of the view and finally the substantive picture or depiction itself. This framework draws attention to the way in which each of the five phases presents an opportunity for decision-making about representation. The framework is used and refined throughout the thesis. Since pictures are considered in some everyday sense to be ‘realistic’ (otherwise, in terms of this thesis, they would not count as depictions), the nature of realism is considered at some length. The apparently unitary concept is broken down into several different types of realism and it is argued that, like the different spatial cues, each lends itself to particular objectives intended for the artefact. From these several types, two approaches to realism are identified, one prioritising the creation of a true illusion (that the picture is in fact a scene) and the other (of which there are innumerably more examples both across cultures and over historical time) one which evokes aspects of vision without aiming to exactly imitate the optical stimulus of the scene. Various reasons for the latter approach, and the variety of spatial practices to which it leads, are discussed. In addition to analysing traditional pictures, computer graphics images are discussed in conjunction with the claims for realism offered by their authors. In the process, informational and affective aspects of picture-making are distinguished, a distinction which it is argued is useful and too seldom made. Discussion of still pictures identifies the evocation of movement (and other aspects of time) as one of the principal motives for departing from attempts at straightforward optical matching. The discussion proceeds to the subject of film where, perhaps surprisingly now that the depiction of movement is possible, the lack of straightforward imitation of the optical is noteworthy again. This is especially true of the relationship between shots rather than within them; the reasons for this are analysed. This reinforces the argument that the spatial form of the fiction film, like that of other kinds of depiction, arises from its objectives, presenting realism once again as a contingent concept. The separation of depiction into two broad classes – one which aims to negate its own mediation, to seem transparent to what it depicts, and one which presents the fact of depiction ostensively to the viewer – is carried through from still pictures, via film, into a discussion of factual television and finally of digital interactive media. The example of factual television is chosen to emphasise how, despite the similarities between the technologies of film and television, spatial practices within some television genres contrast strongly with those of the mainstream fiction film. By considering historic examples, it is shown that many of the spatial practices now familiar in factual television were gradually expunged from the classical film when the latter became centred on the concerns of narrative fiction. By situating the spaces of interactive media in the context of other kinds of pictorial space, questions are addressed concerning the transferability of spatial usages from traditional media to those which are interactive. During the thesis the spatial practices of still-picture-making, film and television are characterised as ‘mature’ and ‘expressive’ (terms which are defined in the text). By contrast the spatial practices of digital interactive media are seen to be immature and inexpressive. It is argued that this is to some degree inevitable given the context in which interactive media artefacts are made and experienced – the lack of a shared ‘language’ or languages in any new media. Some of the difficult spatial problems which digital interactive media need to overcome are identified, especially where, as is currently normal, interaction is based on the relation between a pointer and visible objects within a depiction. The range of existing practice in digital interactive media is classified in a seven-part taxonomy, which again makes use of the objective-idea-model-view-picture framework, and again draws out the difference between self-concealing approaches to depiction and those which offer awareness of depiction as a significant component of the experience. The analysis indicates promising lines of enquiry for the future and emphasises the need for further innovation. Finally the main arguments are summarised and the thesis concludes with a short discussion of the implications for design arising from the key concepts identified – expressivity and maturity, pragmatism and realism