Maintaining authenticity: transferring patina from the real world to the digital to retain narrative value

This research is concerned with utilizing new technologies to harvest existing narrative, symbolic and emotive value for use in a digital environment enabling "emotional durability" (Chapman, 2005) in future design. The projects discussed in this paper have been conducted as part of PhD research by Rosemary Wallin into 'Technology for Sustainable Luxury' at University of the Arts London, and visual effects technology research undertaken by Florian Stephens at University of West London. Jonathan Chapman describes vast consumer waste being "symptomatic of failed relationships" between consumers and the goods they buy, and suggests approaches for designing love, dependency, and even cherishability into products to give them a longer lifespan. 'Failed relationships' might also be observed in the transference of physical objects to their virtual cousins. Consider the throwaway nature of digital photography when compared to the carefully preserved prints in a family album. Apple often use a skeuomorphic (Hobbs, 2012) approach to user interface design, to digitally replicate the patina and 'value' of real objects. However, true transference of physical form and texture presumably occurs when an object is scanned and a virtual 3D model is created. This paper presents three practice-based approaches to storing and transferring patina from an original object, utilizing high resolution scanning, photogrammetry, mobile applications and 3D print technologies. The objective is not merely accuracy, but evocation of the emotive data connecting the digital and physical realm. As the human face holds experience in the lines and wrinkles of the skin, so the surface of an object holds its narrative. From the signs of the craftsman to the bumps and scratches that accumulate over the life of an item over time and generations, marks gather like evidence to be read by a familiar or a trained eye. According to the time and the culture these marks are read within, they will either add to or detract from its value. These marks can be captured via complex 3D modelling and scanning technologies, which allow detailed forms to be recreated as dense 3D wireframe, but the result is often unsatisfying. 3D greyscale surfaces can never fully capture the richness of patina. Authentic surfaces require other qualities such as colour, texture and depth, but there is something else - more difficult to define. Donald A. Norman expands on the idea of emotion and objects by describing three 'levels’ of design "visceral, behavioural and reflective". Visceral is based on "look, feel and sound", behavioural is focused on an object’s use, and reflective is concerned with its message. New technology is commonly seen in terms of its ability to increase efficiency, but this research has longer-term objectives: to repair or even rebuild Chapman's 'broken relationships' and enable ‘emotionally durable' design. The PhD that has formed the context for this paper examines the concept of luxury value, and how and why the value of patina has been replaced by fashion. Luxury goods are aspirational items often emulated in the bulk of mass production. If we are to alter behaviour around consumption, one approach might be to use technology to harvest patina as a way to retain emotional, symbolic and poetic value with a view to maintaining a relationship with the things we buy

3D Cinemagraphy from a Single Image

We present 3D Cinemagraphy, a new technique that marries 2D image animation with 3D photography. Given a single still image as input, our goal is to generate a video that contains both visual content animation and camera motion. We empirically find that naively combining existing 2D image animation and 3D photography methods leads to obvious artifacts or inconsistent animation. Our key insight is that representing and animating the scene in 3D space offers a natural solution to this task. To this end, we first convert the input image into feature-based layered depth images using predicted depth values, followed by unprojecting them to a feature point cloud. To animate the scene, we perform motion estimation and lift the 2D motion into the 3D scene flow. Finally, to resolve the problem of hole emergence as points move forward, we propose to bidirectionally displace the point cloud as per the scene flow and synthesize novel views by separately projecting them into target image planes and blending the results. Extensive experiments demonstrate the effectiveness of our method. A user study is also conducted to validate the compelling rendering results of our method.Comment: Accepted by CVPR 2023. Project page: https://xingyi-li.github.io/3d-cinemagraphy

Volumetric Cloud Rendering: An Animation of Clouds

This paper demonstrates a production workflow for a volumetric-rendering-based short animation about clouds. The animation is based on the concept of a giant fish swimming in the sky from Zhuangzi\u27s philosophical story. The algorithm and implementation for the modeling and rendering of clouds are also presented. A renderer was developed that uses the OpenVDB library for data storage, fast retrieving and grid manipulation. A user-friendly pipeline was also developed for cloud modeling and rendering, which used Python and XML for adjusting rendering parameters. The pipeline includes Maya to build the rough cloud model and Houdini to calculate the interior light points. Final compositing was done in Nuke. Several MEL and Python scripts were also used to retrieve camera and light information from Maya and Houdini, thereby facilitating the production process

Realistic simulation and animation of clouds using SkewT-LogP diagrams

Nuvens e clima são tópicos importantes em computação gráfica, nomeadamente na simulação e animação de fenómenos naturais. Tal deve-se ao facto de a simulação de fenómenos naturais−onde as nuvens estão incluídas−encontrar aplicações em filmes, jogos e simuladores de voo. Contudo, as técnicas existentes em computação gráfica apenas permitem representações de nuvens simplificadas, tornadas possíveis através de dinâmicas fictícias que imitam a realidade. O problema que este trabalho pretende abordar prende-se com a simulação de nuvens adequadas para utilização em ambientes virtuais, isto é, nuvens com dinâmica baseada em física que variam ao longo do tempo. Em meteorologia é comum usar técnicas de simulação de nuvens baseadas em leis da física, contudoossistemasatmosféricosdeprediçãonuméricasãocomputacionalmente pesados e normalmente possuem maior precisão numérica do que o necessário em computação gráfica. Neste campo, torna-se necessário direcionar e ajustar as características físicas ou contornar a realidade de modo a atingir os objetivos artísticos, sendo um fator fundamental que faz com que a computação gráfica se distinga das ciências físicas. Contudo, simulações puramente baseadas em física geram soluções de acordo com regras predefinidas e tornam-se notoriamente difíceis de controlar. De modo a enfrentar esses desafios desenvolvemos um novo método de simulação de nuvens baseado em física que possui a característica de ser computacionalmente leve e simula as propriedades dinâmicas relacionadas com a formação de nuvens. Este novo modelo evita resolver as equações físicas, ao apresentar uma solução explícita para essas equações através de diagramas termodinâmicos SkewT/LogP. O sistema incorpora dados reais de forma a simular os parâmetros necessários para a formação de nuvens. É especialmente adequado para a simulação de nuvens cumulus que se formam devido ao um processo convectivo. Esta abordagem permite não só reduzir os custos computacionais de métodos baseados em física, mas também fornece a possibilidade de controlar a forma e dinâmica de nuvens através do controlo dos níveis atmosféricos existentes no diagrama SkewT/LogP. Nestatese,abordámostambémumoutrodesafio,queestárelacionadocomasimulação de nuvens orográficas. Do nosso conhecimento, esta é a primeira tentativa de simular a formação deste tipo de nuvens. A novidade deste método reside no fato de este tipo de nuvens serem não convectivas, oque se traduz nocálculodeoutrosníveis atmosféricos. Além disso, atendendo a que este tipo de nuvens se forma sobre montanhas, é também apresentadoumalgoritmoparadeterminarainfluênciadamontanhasobreomovimento da nuvem. Em resumo, esta dissertação apresenta um conjunto de algoritmos para a modelação e simulação de nuvens cumulus e orográficas, recorrendo a diagramas termodinâmicos SkewT/LogP pela primeira vez no campo da computação gráfica.Clouds and weather are important topics in computer graphics, in particular in the simulation and animation of natural phenomena. This is so because simulation of natural phenomena−where clouds are included−find applications in movies, games and flight simulators. However, existing techniques in computer graphics only offer the simplified cloud representations, possibly with fake dynamics that mimic the reality. The problem that this work addresses is how to find realistic simulation of cloud formation and evolution, that are suitable for virtual environments, i.e., clouds with physically-based dynamics over time. It happens that techniques for cloud simulation are available within the area of meteorology, but numerical weather prediction systems based on physics laws are computationally expensive and provide more numerical accuracy than the required accuracy in computer graphics. In computer graphics, we often need to direct and adjust physical features, or even to bend the reality, to meet artistic goals, which is a key factor that makes computer graphics distinct from physical sciences. However, pure physically-based simulations evolve their solutions according to pre-set physics rules that are notoriously difficult to control. In order to face these challenges we have developed a new lightweight physically-based cloudsimulationschemethatsimulatesthedynamicpropertiesofcloudformation. This new model avoids solving the physically-based equations typically used to simulate the formation of clouds by explicitly solving these equations using SkewT/LogP thermodynamic diagrams. The system incorporates a weather model that uses real data to simulate parameters related to cloud formation. This is specially suitable to the simulation of cumulus clouds, which result from a convective process. This approach not only reduces the computational costs of previous physically-based methods, but also provides a technique to control the shape and dynamics of clouds by handling the cloud levels in SkewT/LogP diagrams. In this thesis, we have also tackled a new challenge, which is related to the simulation oforographic clouds. From ourknowledge, this isthefirstattempttosimulatethis type of cloud formation. The novelty in this method relates to the fact that these clouds are non-convective, so that different atmospheric levels have to be determined. Moreover, since orographic clouds form over mountains, we have also to determine the mountain influence in the cloud motion. In summary, this thesis presents a set of algorithms for the modelling and simulation of cumulus and orographic clouds, taking advantage of the SkewT/LogP diagrams for the first time in the field of computer graphics

Cloud animation

Clouds are animate forms, shifting and evanescent, mutable and always in movement. They have also long been a subject of imagery, especially painting, because paint, most notably watercolour, as John Constable knew, seeped into thick drawing papers much as a cloud seeped itself through the sky. The drama of clouds in the 20th century was seized by film and it is striking to note that many Hollywood Studio logos use clouds. Clouds from Constable to the Hollywood logos are Romantic clouds. They drift and float, produce ambience and mood, along with weather. But the cloud appears in the digital age too, in more ways than one. Clouds have been constituted digitally by commercial animation studios and used as main characters in cartoons; they are available in commercial applications, such as architecture and landscaping packages; they have been made and represented by art animators. This body of work, kitsch and dumb as some of it is, is treated in this article as emblematic of an age in which the digital cloud looms as a new substance. The cloud in the digital age is a source of form, like a 3D printer, a source of any imaginable form. As such it comes to be less a metaphor of something else and more a generator of a metaphor that is itself. Now we live alongside – and even inside - a huge cloud metaphor that is The Cloud. In what ways do the clouds in the sky speak across to the platform and matter that is called The Cloud? What is at work in the digitalising of clouds in animation, and the production of animation through the technologies of the Cloud? Are we witnessing the creation of a synthetic heaven into which all production has been relocated and the digital clouds make all the moves? Keywords Cloud, day-dreaming, dust, digital, metaphor, Romanticis

Computer-Assisted Interactive Documentary and Performance Arts in Illimitable Space

This major component of the research described in this thesis is 3D computer graphics, specifically the realistic physics-based softbody simulation and haptic responsive environments. Minor components include advanced human-computer interaction environments, non-linear documentary storytelling, and theatre performance. The journey of this research has been unusual because it requires a researcher with solid knowledge and background in multiple disciplines; who also has to be creative and sensitive in order to combine the possible areas into a new research direction. [...] It focuses on the advanced computer graphics and emerges from experimental cinematic works and theatrical artistic practices. Some development content and installations are completed to prove and evaluate the described concepts and to be convincing. [...] To summarize, the resulting work involves not only artistic creativity, but solving or combining technological hurdles in motion tracking, pattern recognition, force feedback control, etc., with the available documentary footage on film, video, or images, and text via a variety of devices [....] and programming, and installing all the needed interfaces such that it all works in real-time. Thus, the contribution to the knowledge advancement is in solving these interfacing problems and the real-time aspects of the interaction that have uses in film industry, fashion industry, new age interactive theatre, computer games, and web-based technologies and services for entertainment and education. It also includes building up on this experience to integrate Kinect- and haptic-based interaction, artistic scenery rendering, and other forms of control. This research work connects all the research disciplines, seemingly disjoint fields of research, such as computer graphics, documentary film, interactive media, and theatre performance together.Comment: PhD thesis copy; 272 pages, 83 figures, 6 algorithm

"Death Itself Shall Be Deathless”: Transrationalism and Eternal Death in Don DeLillo’s Zero K

The status of human mortality in the face of rapid and overwhelming scientific and technological change is by no means a new topic in DeLillo’s fiction. For many critics, death fulfills a crucial function in the author’s work, its very possibility operating to maintain the boundaries of time and space that are otherwise under threat of disappearance in post war culture. Don DeLillo’s eighteenth novel, Zero K (2016), offers an augmented examination of this conjunction between death and technology, depicting an industrial and scientific landscape where fantasies of eternal life can be legitimately realized via radical advances in cryonic technologies. Yet rather than circumventing death and prolonging life as intended, this article argues that DeLillo instead presents cryonic freezing as a form of eternal death. Subsumed within the technological matrix, death’s ineluctability is disturbed and remodulated, meaning that temporal and spatial boundaries become violently unhinged and entirely immeasurable. This boundlessness becomes vividly mirrored in the architectural and temporal logic of the “Convergence” facility itself, a “transrational” space that unravels concepts such as time, space, language, and subjectivity

Digital Alchemy: Matter and Metamorphosis in Contemporary Digital Animation and Interface Design

The recent proliferation of special effects in Hollywood film has ushered in an era of digital transformation. Among scholars, digital technology is hailed as a revolutionary moment in the history of communication and representation. Nevertheless, media scholars and cultural historians have difficulty finding a language adequate to theorizing digital artifacts because they are not just texts to be deciphered. Rather, digital media artifacts also invite critiques about the status of reality because they resurrect ancient problems of embodiment and transcendence.In contrast to scholarly approaches to digital technology, computer engineers, interface designers, and special effects producers have invented a robust set of terms and phrases to describe the practice of digital animation. In order to address this disconnect between producers of new media and scholars of new media, I argue that the process of digital animation borrows extensively from a set of preexisting terms describing materiality that were prominent for centuries prior to the scientific revolution. Specifically, digital animators and interface designers make use of the ancient science, art, and technological craft of alchemy. Both alchemy and digital animation share several fundamental elements: both boast the power of being able to transform one material, substance, or thing into a different material, substance, or thing. Both seek to transcend the body and materiality but in the process, find that this elusive goal (realism and gold) is forever receding onto the horizon.The introduction begins with a literature review of the field of digital media studies. It identifies a gap in the field concerning disparate arguments about new media technology. On the one hand, scholars argue that new technologies like cyberspace and digital technology enable radical new forms of engagement with media on individual, social, and economic levels. At the same time that media scholars assert that our current epoch is marked by a historical rupture, many other researchers claim that new media are increasingly characterized by ancient metaphysical problems like embodiment and transcendence. In subsequent chapters I investigate this disparity