Scented Sliders for Procedural Textures

International audienceProcedural textures often expose a set of parameters controlling their final appearance. This lets end users tune the final look and feel, typically through a set of sliders. However, it is difficult to predict the changes introduced by a given slider, especially as sliders interact in non-trivial ways. We augment the sliders controlling parameters with visual previews revealing the changes that will be introduced upon manipulation. These previews are constantly refreshed to reflect changes with respect to the current settings. The main challenge is to generate the visual sliders in a very limited pixel space and at an interactive rate. This is done by synthesizing the visual slider from a small set of patches ordered in accordance with the slider. These patches are chosen so as to reveal as much as possible the visual variations induced by the slider. The selection and ordering are achieved by using the seam-carving algorithm to carve patches with low visual impact. The obtained patches are then stitched together using patch-based texture synthesis to form the final visual slider

Synthèse de textures par l’exemple pour les applications interactives

Millions of individuals explore virtual worlds every day, for entertainment, training, or to plan business trips and vacations. Video games such as Eve Online, World of Warcraft, and many others popularized their existence. Sand boxes such as Minecraft and Second Life illustrated how they can serve as a media, letting people create, share and even sell their virtual productions. Navigation and exploration software such as Google Earth and Virtual Earth let us explore a virtual version of the real world, and let us enrich it with information shared between the millions of users using these services every day.Virtual environments are massive, dynamic 3D scenes, that are explored and manipulated interactively bythousands of users simultaneously. Many challenges have to be solved to achieve these goals. Among those lies the key question of content management. How can we create enough detailed graphical content so as to represent an immersive, convincing and coherent world? Even if we can produce this data, how can we then store the terra–bytes it represents, and transfer it for display to each individual users? Rich virtual environments require a massive amount of varied graphical content, so as to represent an immersive, convincing and coherent world. Creating this content is extremely time consuming for computer artists and requires a specific set of technical skills. Capturing the data from the real world can simplify this task but then requires a large quantity of storage, expensive hardware and long capture campaigns. While this is acceptable for important landmarks (e.g. the statue of Liberty in New York, the Eiffel tower in Paris) this is wasteful on generic or anonymous landscapes. In addition, in many cases capture is not an option, either because an imaginary scenery is required or because the scene to be represented no longer exists. Therefore, researchers have proposed methods to generate new content programmatically, using captured data as an example. Typically, building blocks are extracted from the example content and re–assembled to form new assets. Such approaches have been at the center of my research for the past ten years. However, algorithms for generating data programmatically only partially address the content management challenge: the algorithm generates content as a (slow) pre–process and its output has to be stored for later use. On the contrary, I have focused on proposing models and algorithms which can produce graphical content while minimizing storage. The content is either generated when it is needed for the current viewpoint, or is produced under a very compact form that can be later used for rendering. Thanks to such approaches developers gain time during content creation, but this also simplifies the distribution of the content by reducing the required data bandwidth.In addition to the core problem of content synthesis, my approaches required the development of new data-structures able to store sparse data generated during display, while enabling an efficient access. These data-structures are specialized for the massive parallelism of graphics processors. I contributed early in this domain and kept a constant focus on this area. The originality of my approach has thus been to consider simultaneously the problems of generating, storing and displaying the graphical content. As we shall see, each of these area involve different theoretical and technical backgrounds, that nicely complement each other in providing elegant solutions to content generation, management and display

Représentations cartographiques intermédiaires : comment covisualiser une carte et une orthophotographie pour naviguer entre abstraction et réalisme ?

Two representations of the territory are widely provided simultaneously to the user through interactive tools (such as magnifiers, sliders or swipes): topographic maps and orthoimages. They provide complementary visions of the territory because of abstraction steps used to design maps and the intrisic perceived photorealism power of orthoimages. Aiming at providing efficient covisualizations of these two representations to the user, we advise not to search for an ideal graphic mix, but to produce a cartographic continuum composed of in-between representations mixing topographic data and orthoimagery. Our objective is to provide interactive tools allowing to choose an intermediate step within the continuum by controling the realism and abstraction levels. Our approach is based on three principles: first, the need for local adaptation of vector data symbolisation to preserve their readability, second, the call for graphic transitions to establish a continuity through in-between cartographic representations, and third the required control over realism level in order to ensure a visual consistency of hybrid visualisations. We provide elementary symbolisation methods to be combined in a global design process. The first one aims at interpolating SLD symbolisation parameters such as color, opacity or texturing between two symbolisations. The second one aims at defining a local symbolisation depending on the graphic context of objects to be highlighted. Those symbolisations are combined for each theme and synchronized for all themes. For these design steps, we provide guidelines based on the evaluation of the realism level coming from our user test. Finally we build a prototype software allowing to test our propositions and browse in-between representations from abstraction to realism through an interactive sliderDeux représentations du territoire sont majoritairement proposées pour être covisualisées de multiples façons (loupe, curseurs, vues asservies, etc.) : la carte topographique et l'orthophotographie. Ces deux représentations apportent une vision complémentaire du territoire : la carte topographique est l'archétype même de l'abstraction et l'orthophotographie renvoie une perception réaliste du territoire. Pour permettre à l'utilisateur de covisualiser ces deux types de représentations, nous préconisons de ne pas chercher un mélange graphique idéal mais plutôt de produire un continuum cartographique formé d'un ensemble continu de représentations intermédiaires mixant données topographiques et orthophotographie. Notre objectif est de permettre à l'utilisateur de choisir sa position entre les deux extrémités en contrôlant le degré de réalisme et d'abstraction tout au long du continuum. Notre approche se fonde sur la nécessité d'adaptation locale de la symbolisation des données topographiques pour assurer la lisibilité de chaque représentation intermédiaire, la création de transitions graphiques pour établir une continuité entre ces représentations, et la synchronisation des symbolisations visant à garantir une homogénéité visuelle de ces représentations mixtes. Nous proposons une méthode de conception reposant sur la combinaison de briques de symbolisation élémentaires. Le premier type de brique consiste à interpoler les paramètres de symbolisation de la norme SLD tels que la couleur, la transparence ou la texture (procédurale, naturelle, ou mixée) entre deux symbolisations données. Le second type de brique analyse le contexte graphique des objets à mettre en valeur afin de déterminer localement une symbolisation adaptée et lisible. Ces briques sont combinées pour chaque thème et coordonnées entre les différents thèmes. Nous émettons des préconisations de paramétrage de ces étapes de conception à partir des résultats de notre test utilisateur visant à estimer le degré de réalisme et d'abstraction des symbolisations cartographiques. Enfin, nous mettons en œuvre cette méthode de conception au sein de la plateforme de recherche GeOxygene sous la forme d'un outil permettant de naviguer dans un continuum cartographique entre réalisme et abstractio

Making Up the 3D Body: Designing for Artistic and Serendipitous Interaction in Modelling Digital Human Figures

Making Up the 3D Body: Designing for Artistic and Serendipitous Interaction in Modelling Digital Human Figures details the process of developing a new software tool for digital artistic exploration. Previously available software for modelling mesh-based 3D human figures restricts user output based on normative assumptions about the form that a body might take, particularly in terms of gender, race, and disability status, which are reinforced by ubiquitous use of range-limited sliders mapped to singular high-level design parameters. CreatorCustom, the software tool created during this research, is designed to foreground an exploratory and open-ended approach to modelling 3D human bodies, treating the digital body as a sculptural landscape rather than a pre-supposed form for rote technical representation. Building on the foundation of prior research into serendipity in Human-Computer Interaction, creativity support tools, 3D modelling systems for users at various levels of proficiency, and usability, among others, this research takes the form of two qualitative studies and an autoethnography of the author’s artistic practice. The first study explores the practices of six queer artists working with the body and the language, materials, and actions they use in their practice, as described in interview and structured material practice sessions, which were then applied toward the design of the software tool. The second study deals with the usability, creativity support, and bodily implications and outcomes of the software tool when used by thirteen artist participants in a workshop setting. Reflecting on the relationship between affect and usability, and surprises and the unexpected in creative technology and artistic practice, these strands are brought together in an analysis and discussion of the author’s experience of using the software tool to create her own artistic work dealing with gender and sexuality

Supporting pro-amateur composers using digital audio workstations

This thesis investigates the activity of pro-amateur composers in order to identify possible design improvements to a category of composition software called digital audio workstations. Pro-amateur composers are composers who are not full-time professional musicians but who have a considerably greater level of expertise than amateurs. In contrast to the collaborative settings that this group is normally studied in this thesis will focus on situations where pro-amateur composers work independently. Existing research on the use of composition software is reviewed, revealing that the composition process can involve a wide variety of component activities and overarching macro structures, and that other aids are often used in addition to composition software. Studies have also indicated that the design of composition software may constrain the creativity of composers. Four important considerations are identified for studying composers: triangulating multiple data capture methods, avoiding study designs that constrain what activities can be observed, capturing use of any external aids, and studying the use of a variety of composition software (or a prototype design) to mitigate any constraints that are due to the software's design. Four pro-amateur composers were observed composing in their usual environments using a methodology based on interaction analysis. Based on information recorded about the settings, artefacts used, and activities carried out, three major patterns are observed. Firstly, existing tools support different composition activities to varying degrees, with additional support needed for improvisation, reflection, and auditioning incompletely specified material; secondly, composers make coordinated use of multiple representations; and finally, composers make use of strategies that enable selective allocation of time and effort (habituation, limited exploration, and self-constraining). Previous authors have used many different notions of external cognition when studying the use of composition software. A literature review of such studies identifies techniques that can be applied to improve the representations used in composition software. Seven techniques are described: selective representation, diverse media types, structured representations, incomplete specification, representing alternatives, task lists, and representing history. A detailed review of evidence from the literature and the observational study is used to identify implementation suggestions for each technique. The technique of task lists has been studied significantly less in the literature on composition software and appears to be a fruitful avenue for further exploration. A prototype to-do list website designed for coordinated use with Ableton Live is created to further investigate the task lists technique by studying how it is used by five pro-amateur composers. Using thematic analysis of interviews triangulated with video recordings and logs, four main themes are identified: using to-do lists to plan and focus, changing to-do list items over time, organising to-do lists, and applicability of to-do lists. Seven key patterns of activity that are enabled by task lists are also described: planning activity, journalling activity, interleaving activities, reflection, organising the to-do list, idea capture, and collaboration. Task lists appear to be useful because explicitly representing tasks, processes, and plans helps the composer to consider those subjects; and also because task lists ease many related activities, such as tracking incomplete work, monitoring deviation from a planned creative direction, or identifying and re-using useful strategies. Two important considerations for design of task lists in DAWs are identified: how task lists are integrated with the DAW, and how to increase the visibility of the composer's activity. For both considerations, specific suggestions are made for how these could be achieved

User Experience for Elephants: Researching Interactive Enrichment through Design and Craft

This thesis explores the challenge for humans of designing and crafting interactive enrichment systems for elephants housed in captivity. Captive elephants may have limited opportunity to express a full range of natural behaviours and therefore benefit from well-designed environmental enrichment. We asked whether technology could support the design and development of novel enrichment for elephants and investigated what kinds of technology-enabled systems would hold their interest. Crucially, these systems were designed to provide the elephants with opportunities to make and enact choices – giving them more control over what happened in their environment. After researching wild elephant lifestyle and characteristics, our fieldwork started with an ethnographic study of captive elephants. We then followed an exploratory approach: Research through Design and Craft. Over several years, a range of interactive systems were crafted for elephants. Each device included embedded technology that enabled elephant interactions to be captured and mapped to associated system outputs. Elephants and their keepers were involved in this cyclical process, and the elephants’ reactions to the devices were noted and interpreted, giving rise to insights that informed the subsequent designs. Analysis of the design and development of the enrichment systems revealed important interface attributes and design considerations that we describe in this document. Finally, we offer five contributions for the ACI community: (i) Research through Design and Craft methodology, which was developed and tested over several years; (ii) ZooJam workshops, which were organised with colleagues over three years; (iii) six key principles of interaction design for ACI development – consistency, differentiation, graduation, specificity, multiplicity and affordance; (iv) an exploration of More than Human Aesthetics focusing on performative aesthetics; (v) a prototype deck of Concept Craft Cards that share theoretical and practical topics with other designers and developers

SELF-INITIATED CREATIVITY IN THE ELEMENTARY CLASSROOM

In this study, the researcher used an action research methodology to investigate the self-initiated creative processes and artifacts of his fourth and fifth grade students over the course of one school year in an attempt to shed light on the pedagogical effects of an elementary classroom that allows its students significant creative agency. The majority of the literature on the self-initiated creativity of children examines the work of primary grade students in an art room setting, revealing a gap in the literature and the need for a study regarding self-initiated creative processes and products made by children in an intermediate general classroom setting. The research site was a democratically based, child-centered classroom in a private day school where students were encouraged to share in the development of the conceptual, curricular, and physical aspects of the learning environment. The self-initiated creative activities of the children provided a unique lens through which the researcher was able to view and understand his students’ learning styles, gain insight into their metacognitive processes, and observe the ways they navigated their classroom space. Empowering students to become critical agents through choice and autonomy led to arts-based approaches of inquiry and spontaneous creative learning experiences. An analysis of the data contributed to an understanding of six essential principles for facilitating self-initiated creativity within the everyday constraints of a traditional schooling environment, as well as cautionary revelations about how I could have been more effective at co-constructing an enduring culture that supported self-initiated creative learning in collaboration with my colleagues at the research site