Real-Time Expression Control System for Wearable Animatronics

The animatoronics is used for the expression of the character with many pic-ture works which includes movies. As for the animatronics mask that the per-son wears of the lively character, the expression of lively character is truly possible because the actor\u27s performance is reflected directly. In this research, I suggest using an animatronics mask in order to reflect the character\u27s feelings and expressions real time by the actor wearing the mask.Conventionally, it is necessary for the actor to look good with the movements and facial expressions beforehand in order to determine if the actor can intuitively play the character but thinks that an actor can play a character intuitively by using this system.Art and Design Research for Sustainable Development ; September 22, 2018Conference: Tsukuba Global Science Week 2018Date: September 20-22, 2018Venue: Tsukuba International Congress Center Sponsored: University of Tsukub

Autonomous interactive intermediaries : social intelligence for mobile communication agents

Thesis (Ph. D.)--Massachusetts Institute of Technology, School of Architecture and Planning, Program in Media Arts and Sciences, 2005.Includes bibliographical references (p. 151-167).Today's cellphones are passive communication portals. They are neither aware of our conversational settings, nor of the relationship between caller and callee, and often interrupt us at inappropriate times. This thesis is about adding elements of human style social intelligence to our mobile communication devices in order to make them more socially acceptable to both user and local others. I suggest the concept of an Autonomous Interactive Intermediary that assumes the role of an actively mediating party between caller, callee, and co-located people. In order to behave in a socially appropriate way, the Intermediary interrupts with non-verbal cues and attempts to harvest 'residual social intelligence' from the calling party, the called person, the people close by, and its current location. For example, the Intermediary obtains the user's conversational status from a decentralized network of autonomous body-worn sensor nodes. These nodes detect conversational groupings in real time, and provide the Intermediary with the user's conversation size and talk-to-listen ratio. The Intermediary can 'poll' all participants of a face-to-face conversation about the appropriateness of a possible interruption by slightly vibrating their wirelessly actuated finger rings.(cont.) Although the alerted people do not know if it is their own cellphone that is about to interrupt, each of them can veto the interruption anonymously by touching his/her ring. If no one vetoes, the Intermediary may interrupt. A user study showed significantly more vetoes during a collaborative group-focused setting than during a less group oriented setting. The Intermediary is implemented as a both a conversational agent and an animatronic device. The animatronics is a small wireless robotic stuffed animal in the form of a squirrel, bunny, or parrot. The purpose of the embodiment is to employ intuitive non-verbal cues such as gaze and gestures to attract attention, instead of ringing or vibration. Evidence suggests that such subtle yet public alerting by animatronics evokes significantly different reactions than ordinary telephones and are seen as less invasive by others present when we receive phone calls. The Intermediary is also a dual conversational agent that can whisper and listen to the user, and converse with a caller, mediating between them in real time.(cont.) The Intermediary modifies its conversational script depending on caller identity, caller and user choices, and the conversational status of the user. It interrupts and communicates with the user when it is socially appropriate, and may break down a synchronous phone call into chunks of voice instant messages.by Stefan Johannes Walter Marti.Ph.D

Contents

Art and Design Research for Sustainable Development ; September 22, 2018Conference: Tsukuba Global Science Week 2018Date: September 20-22, 2018Venue: Tsukuba International Congress Center Sponsored: University of Tsukub

Second Year Report Institute of Making, UCL 2014-15

An account of the activities and impact of the UCL Institute of Making, 2014-201

Abel: Integrating Humanoid Body, Emotions, and Time Perception to Investigate Social Interaction and Human Cognition

Humanoids have been created for assisting or replacing humans in many applications, providing encouraging results in contexts where social and emotional interaction is required, such as healthcare, education, and therapy. Bioinspiration, that has often guided the design of their bodies and minds, made them also become excellent research tools, probably the best platform by which we can model, test, and understand the human mind and behavior. Driven by the aim of creating a believable robot for interactive applications, as well as a research platform for investigating human cognition and emotion, we are constructing a new humanoid social robot: Abel. In this paper, we discussed three of the fundamental principles that motivated the design of Abel and its cognitive and emotional system: hyper-realistic humanoid aesthetics, human-inspired emotion processing, and human-like perception of time. After reporting a brief state-of-the-art on the related topics, we present the robot at its stage of development, what are the perspectives for its application, and how it could satisfy the expectations as a tool to investigate the human mind, behavior, and consciousness

The hidden world of gaming: an exploration of pre-production design, hyperrealism, and its function in establishing conceptual and aesthetic visualisation, characterisation and narrative structure.

Masters Degree. University of KwaZulu-Natal, Pietermaritzburg.Pre-production design in the video game industry is an extremely important and fundamental part of the pipeline production as it impacts the production, post-production and distribution phases of game development. It is what sets the foundation for the visual and narrative style of the project and, if done incorrectly, it can have adverse effects on the other phases of production, ultimately wasting time, money and contributing to the failure of a project being executed efficiently. The purpose of this study is to explore the impact of pre-production design on the video game industry as a whole and the effects that hyperrealism has had on the industry itself. To fully understand the context and importance of pre-production design, its history and origin will be explored. The two aspects of hyperrealism that I will be referring to and discussing are those of creating a reality that goes beyond true reality, and the integration of the constructed reality into one’s own natural reality. How does a game appear visually hyper-realistic. Where the visuals of the game can picture perfect and in fact sometime better than reality? Secondly, how does a game as a whole evoke the notion of hyperrealism as expressed by theorists like Umberto Eco and Jean Baudrillard where playing the game becomes a part of one’s life? The notion of leaving the game can be distressing as the player does not want to lose out on this aspect of the hyper-real simulation (or Simulacra) that has become a part of his life. As this study has a practice-based component, a set of character and creature designs will accompany my theoretical work as an exploration of pre-production design within the context of video games. This has been done in order to explore how design ties in with hyperrealism when looking at creature and character design. Gameplay mechanics have also been briefly considered as the character and creature designs will impact what is visually achievable in the game. Through investigation of both theoretical and practical applications, the study will conclude that pre-production design is imperative to the success of the making of a video game

Ethics and Power Dynamics in Playful Technology for Animals: Using speculative design to provoke reflection

Technology (digital or otherwise) is a great enabler; it bridges gaps and opens doors and, in the process, alters the reality within which it and its users exist. As technology aimed at non-human animals is becoming commonplace, questions about its efficacy and the ethical implications of its use are becoming ever more pertinent. To explore these issues, we conducted a workshop in which speculative design was used as a means of debating ways through which play, a widespread phenomenon across animal species, can be used as a tool for enabling interspecies communication. We describe the context for this discussion, the methods used, and present a set of speculative designs that illustrate aspects of ethics, equality, and appropriate play in order to provoke further reflection and discussion

Development of the huggable social robot Probo: on the conceptual design and software architecture

This dissertation presents the development of a huggable social robot named Probo. Probo embodies a stuffed imaginary animal, providing a soft touch and a huggable appearance. Probo's purpose is to serve as a multidisciplinary research platform for human-robot interaction focused on children. In terms of a social robot, Probo is classified as a social interface supporting non-verbal communication. Probo's social skills are thereby limited to a reactive level. To close the gap with higher levels of interaction, an innovative system for shared control with a human operator is introduced. The software architecture de nes a modular structure to incorporate all systems into a single control center. This control center is accompanied with a 3D virtual model of Probo, simulating all motions of the robot and providing a visual feedback to the operator. Additionally, the model allows us to advance on user-testing and evaluation of newly designed systems. The robot reacts on basic input stimuli that it perceives during interaction. The input stimuli, that can be referred to as low-level perceptions, are derived from vision analysis, audio analysis, touch analysis and object identification. The stimuli will influence the attention and homeostatic system, used to de ne the robot's point of attention, current emotional state and corresponding facial expression. The recognition of these facial expressions has been evaluated in various user-studies. To evaluate the collaboration of the software components, a social interactive game for children, Probogotchi, has been developed. To facilitate interaction with children, Probo has an identity and corresponding history. Safety is ensured through Probo's soft embodiment and intrinsic safe actuation systems. To convey the illusion of life in a robotic creature, tools for the creation and management of motion sequences are put into the hands of the operator. All motions generated from operator triggered systems are combined with the motions originating from the autonomous reactive systems. The resulting motion is subsequently smoothened and transmitted to the actuation systems. With future applications to come, Probo is an ideal platform to create a friendly companion for hospitalised children

VR Storytelling

The question of cinematic VR production has been on the table for several years. This is due to the peculiarity of VR language which, even if it is de ned by an image that surrounds and immerses the viewer rather than placing them, as in the classic cinematic situation, in front of a screen, relies decisively on an audiovisual basis that cannot help but refer to cinematic practices of constructing visual and auditory experience. Despite this, it would be extremely reductive to consider VR as the mere transposition of elements of cinematic language. The VR medium is endowed with its own speci city, which inevitably impacts its forms of narration. We thus need to investigate the narrative forms it uses that are probably related to cinematic language, and draw their strength from the same basis, drink from the same well, but develop according to di erent trajectories, thus displaying di erent links and a nities