Wearable performance

This is the post-print version of the article. The official published version can be accessed from the link below - Copyright @ 2009 Taylor & FrancisWearable computing devices worn on the body provide the potential for digital interaction in the world. A new stage of computing technology at the beginning of the 21st Century links the personal and the pervasive through mobile wearables. The convergence between the miniaturisation of microchips (nanotechnology), intelligent textile or interfacial materials production, advances in biotechnology and the growth of wireless, ubiquitous computing emphasises not only mobility but integration into clothing or the human body. In artistic contexts one expects such integrated wearable devices to have the two-way function of interface instruments (e.g. sensor data acquisition and exchange) worn for particular purposes, either for communication with the environment or various aesthetic and compositional expressions. 'Wearable performance' briefly surveys the context for wearables in the performance arts and distinguishes display and performative/interfacial garments. It then focuses on the authors' experiments with 'design in motion' and digital performance, examining prototyping at the DAP-Lab which involves transdisciplinary convergences between fashion and dance, interactive system architecture, electronic textiles, wearable technologies and digital animation. The concept of an 'evolving' garment design that is materialised (mobilised) in live performance between partners originates from DAP Lab's work with telepresence and distributed media addressing the 'connective tissues' and 'wearabilities' of projected bodies through a study of shared embodiment and perception/proprioception in the wearer (tactile sensory processing). Such notions of wearability are applied both to the immediate sensory processing on the performer's body and to the processing of the responsive, animate environment. Wearable computing devices worn on the body provide the potential for digital interaction in the world. A new stage of computing technology at the beginning of the 21st Century links the personal and the pervasive through mobile wearables. The convergence between the miniaturisation of microchips (nanotechnology), intelligent textile or interfacial materials production, advances in biotechnology and the growth of wireless, ubiquitous computing emphasises not only mobility but integration into clothing or the human body. In artistic contexts one expects such integrated wearable devices to have the two-way function of interface instruments (e.g. sensor data acquisition and exchange) worn for particular purposes, either for communication with the environment or various aesthetic and compositional expressions. 'Wearable performance' briefly surveys the context for wearables in the performance arts and distinguishes display and performative/interfacial garments. It then focuses on the authors' experiments with 'design in motion' and digital performance, examining prototyping at the DAP-Lab which involves transdisciplinary convergences between fashion and dance, interactive system architecture, electronic textiles, wearable technologies and digital animation. The concept of an 'evolving' garment design that is materialised (mobilised) in live performance between partners originates from DAP Lab's work with telepresence and distributed media addressing the 'connective tissues' and 'wearabilities' of projected bodies through a study of shared embodiment and perception/proprioception in the wearer (tactile sensory processing). Such notions of wearability are applied both to the immediate sensory processing on the performer's body and to the processing of the responsive, animate environment

Conversational Sensing

Recent developments in sensing technologies, mobile devices and context-aware user interfaces have made it possible to represent information fusion and situational awareness as a conversational process among actors - human and machine agents - at or near the tactical edges of a network. Motivated by use cases in the domain of security, policing and emergency response, this paper presents an approach to information collection, fusion and sense-making based on the use of natural language (NL) and controlled natural language (CNL) to support richer forms of human-machine interaction. The approach uses a conversational protocol to facilitate a flow of collaborative messages from NL to CNL and back again in support of interactions such as: turning eyewitness reports from human observers into actionable information (from both trained and untrained sources); fusing information from humans and physical sensors (with associated quality metadata); and assisting human analysts to make the best use of available sensing assets in an area of interest (governed by management and security policies). CNL is used as a common formal knowledge representation for both machine and human agents to support reasoning, semantic information fusion and generation of rationale for inferences, in ways that remain transparent to human users. Examples are provided of various alternative styles for user feedback, including NL, CNL and graphical feedback. A pilot experiment with human subjects shows that a prototype conversational agent is able to gather usable CNL information from untrained human subjects

Human-centric light sensing and estimation from RGBD images: the invisible light switch

Lighting design in indoor environments is of primary importance for at least two reasons: 1) people should perceive an adequate light; 2) an effective lighting design means consistent energy saving. We present the Invisible Light Switch (ILS) to address both aspects. ILS dynamically adjusts the room illumination level to save energy while maintaining constant the light level perception of the users. So the energy saving is invisible to them. Our proposed ILS leverages a radiosity model to estimate the light level which is perceived by a person within an indoor environment, taking into account the person position and her/his viewing frustum (head pose). ILS may therefore dim those luminaires, which are not seen by the user, resulting in an effective energy saving, especially in large open offices (where light may otherwise be ON everywhere for a single person). To quantify the system performance, we have collected a new dataset where people wear luxmeter devices while working in office rooms. The luxmeters measure the amount of light (in Lux) reaching the people gaze, which we consider a proxy to their illumination level perception. Our initial results are promising: in a room with 8 LED luminaires, the energy consumption in a day may be reduced from 18585 to 6206 watts with ILS (currently needing 1560 watts for operations). While doing so, the drop in perceived lighting decreases by just 200 lux, a value considered negligible when the original illumination level is above 1200 lux, as is normally the case in offices

Human-centric light sensing and estimation from RGBD images: The invisible light switch

Lighting design in indoor environments is of primary importance for at least two reasons: 1) people should perceive an adequate light; 2) an effective lighting design means consistent energy saving. We present the Invisible Light Switch (ILS) to address both aspects. ILS dynamically adjusts the room illumination level to save energy while maintaining constant the light level perception of the users. So the energy saving is invisible to them. Our proposed ILS leverages a radiosity model to estimate the light level which is perceived by a person within an indoor environment, taking into account the person position and her/his viewing frustum (head pose). ILS may therefore dim those luminaires, which are not seen by the user, resulting in an effective energy saving, especially in large open offices (where light may otherwise be ON everywhere for a single person). To quantify the system performance, we have collected a new dataset where people wear luxmeter devices while working in office rooms. The luxmeters measure the amount of light (in Lux) reaching the people gaze, which we consider a proxy to their illumination level perception. Our initial results are promising: in a room with 8 LED luminaires, the energy consumption in a day may be reduced from 18585 to 6206 watts with ILS (currently needing 1560 watts for operations). While doing so, the drop in perceived lighting decreases by just 200 lux, a value considered negligible when the original illumination level is above 1200 lux, as is normally the case in offices

Natural images from the birthplace of the human eye

Here we introduce a database of calibrated natural images publicly available through an easy-to-use web interface. Using a Nikon D70 digital SLR camera, we acquired about 5000 six-megapixel images of Okavango Delta of Botswana, a tropical savanna habitat similar to where the human eye is thought to have evolved. Some sequences of images were captured unsystematically while following a baboon troop, while others were designed to vary a single parameter such as aperture, object distance, time of day or position on the horizon. Images are available in the raw RGB format and in grayscale. Images are also available in units relevant to the physiology of human cone photoreceptors, where pixel values represent the expected number of photoisomerizations per second for cones sensitive to long (L), medium (M) and short (S) wavelengths. This database is distributed under a Creative Commons Attribution-Noncommercial Unported license to facilitate research in computer vision, psychophysics of perception, and visual neuroscience.Comment: Submitted to PLoS ON