Humanistic Computing: WearComp as a New Framework and Application for Intelligent Signal Processing

Humanistic computing is proposed as a new signal processing framework in which the processing apparatus is inextricably intertwined with the natural capabilities of our human body and mind. Rather than trying to emulate human intelligence, humanistic computing recognizes that the human brain is perhaps the best neural network of its kind, and that there are many new signal processing applications (within the domain of personal technologies) that can make use of this excellent but often overlooked processor. The emphasis of this paper is on personal imaging applications of humanistic computing, to take a first step toward an intelligent wearable camera system that can allow us to effortlessly capture our day-to-day experiences, help us remember and see better, provide us with personal safety through crime reduction, and facilitate new forms of communication through collective connected humanistic computing. The author’s wearable signal processing hardware, which began as a cumbersome backpackbased photographic apparatus of the 1970’s and evolved into a clothing-based apparatus in the early 1980’s, currently provides the computational power of a UNIX workstation concealed within ordinary-looking eyeglasses and clothing. Thus it may be worn continuously during all facets of ordinary day-to-day living, so that, through long-term adaptation, it begins to function as a true extension of the mind and body

The Effect of Anthropometric Properties of Self-Avatars on Action Capabilities in Virtual Reality

The field of Virtual Reality (VR) has seen a steady exponential uptake in the last decade and is being continuously incorporated into areas of popular interest like healthcare, training, recreation and gaming. This steady upward trend and prolonged popularity has resulted in numerous extravagant virtual environments, some that aim to mimic real-life experiences like combat training, while others intend to provide unique experiences that may otherwise be difficult to recreate like flying over ancient Egypt as a bird. These experiences often showcase highly realistic graphics, intuitive interactions and unique avatar embodiment scenarios with the help of various tracking sensors, high definition graphic displays, sound systems, etc. The literature suggests that estimates and affordance judgments in VR scenarios such as the ones described above are affected by the properties and the nature of the avatar embodied by the user. Therefore, to provide users with the finest experiences it is crucial to understand the interaction between the embodied self and the action capabilities afforded by it in the surrounding virtual environment. In a series of studies aimed at exploring the effect of gender matched body-scaled self-avatars on the user\u27s perception, we investigate the effect of self-avatars on the perception of size of objects in an immersive virtual environment (IVE) and how this perception affects the actions one can perform as compared to the real world. In the process, we make use of newer tracking technology and graphic displays to investigate the perceived differences between real world environments and their virtual counterparts to understand how the spatial properties of the environment and the embodied self-avatars affect affordances by means of passability judgments. We describe techniques for creation and mapping VR environments onto their real world counterparts and the creation of gender matched body-scaled self-avatars that provides real time full-body tracking. The first two studies investigate how newer graphical displays and off-the-shelf tracking devices can be utilized to create salient gender matched body-scaled self-avatars and their effect on the judgment of passability as a result of the embodied body schema. The study involves creating complex scripts that automate the process of mapping virtual worlds onto their real world counterparts within a 1cm margin of error and the creation of self-avatars that match height, limb proportions and shoulder width of the participant using tracking sensors. The experiment involves making judgments about the passability of an adjustable doorway in the real world and in a virtual to-scale replica of the real world environment. The results demonstrated that the perception of affordances in IVEs is comparable to the real world but the behavior leading to it differs in VR. Also, the body-scaled self-avatars generated provide salient information yielding performance similar to the real world. Several insights and guidelines related to creating veridical virtual environments and realistic self-avatars were achieved from this effort. The third study investigates how the presence of body-scaled self-avatars affects the perception of size of virtual handheld objects and the influence of the person-plus-virtual-object system created by lifting the said virtual object on passability. This is crucial to understand as VR simulations now often utilize self-avatars that carry objects while maneuvering through the environment. How they interact with these handheld objects can influence what they do in critical scenarios where split second decisions can change the outcome like combat training, role-playing games, first person shooting, thrilling rides, physiotherapy, etc. It has also been reported that the avatar itself can influence the perception of size of virtual objects, in turn influencing action capabilities. There is ample research on different interaction techniques to manipulate objects in a virtual world but the question about how the objects affect our action capabilities upon interaction remains unanswered, especially when the haptic feedback associated with holding a real object is mismatched or missing. The study investigates this phenomenon by having participants interact with virtual objects of different sizes and making frontal and lateral passability judgments to an adjustable aperture similar to the first experiment. The results suggest that the presence of self-avatars significantly affects affordance judgments. Interestingly, frontal and lateral judgments in IVEs seem to similar unlike the real world. Investigating the concept of embodied body schema and its influence on action-capabilities further, the fourth study looks at how embodying self-avatars that may vary slightly from your real world body affect performance and behavior in dynamic affordance scenarios. In this particular study, we change the eye height of the participants in the presence or absence of self-avatars that are either bigger, smaller or the same size as the participant. We then investigate how this change in eye height and anthropometric properties of the self-avatar affects their judgments when crossing streets with oncoming traffic in virtual reality. We also evaluate any changes in the perceived walking speed as a result of embodying altered self-avatars. The findings suggest that the presence of self-avatars results in safer crossing behavior, however scaling the eye height or the avatar does not seem to affect the perceived walking speed. A detailed discussion on all the findings can be found in the manuscript

Embodied Cognition and the Grotesque in Calvino\u27s La giornata d\u27uno scrutatore and Sanguineti\u27s Capriccio italiano

In his article Embodied Cognition and the Grotesque in Calvino\u27s La giornata d\u27uno scrutatore and Sanguineti\u27s Capriccio italiano Marco Caracciolo analyzes the multiple dimensions of embodied experience and how they can be brought to bear on literary texts. Drawing on scholarship in cognitive science, he argues that the embodiment of people\u27s engagement with the world emerges from the interaction between the physical structure of the body and socio-cultural practices. Caracciolo shows how such nexus of biological make-up and culture can give rise to particularly complex meanings in the representation of grotesque bodies. In order to illustrate his postulates, Caracciolo analyzes Italo Calvino\u27s La giornata d\u27uno scrutatore (The Watcher) and Edoardo Sanguineti\u27s Capriccio italiano, wherein distorted bodies play an important role

Machine Performers: Agents in a Multiple Ontological State

In this thesis, the author explores and develops new attributes for machine performers and merges the trans-disciplinary fields of the performing arts and artificial intelligence. The main aim is to redefine the term “embodiment” for robots on the stage and to demonstrate that this term requires broadening in various fields of research. This redefining has required a multifaceted theoretical analysis of embodiment in the field of artificial intelligence (e.g. the uncanny valley), as well as the construction of new robots for the stage by the author. It is hoped that these practical experimental examples will generate more research by others in similar fields. Even though the historical lineage of robotics is engraved with theatrical strategies and dramaturgy, further application of constructive principles from the performing arts and evidence from psychology and neurology can shift the perception of robotic agents both on stage and in other cultural environments. In this light, the relation between representation, movement and behaviour of bodies has been further explored to establish links between constructed bodies (as in artificial intelligence) and perceived bodies (as performers on the theatrical stage). In the course of this research, several practical works have been designed and built, and subsequently presented to live audiences and research communities. Audience reactions have been analysed with surveys and discussions. Interviews have also been conducted with choreographers, curators and scientists about the value of machine performers. The main conclusions from this study are that fakery and mystification can be used as persuasive elements to enhance agency. Morphologies can also be applied that tightly couple brain and sensorimotor actions and lead to a stronger stage presence. In fact, if this lack of presence is left out of human replicants, it causes an “uncanny” lack of agency. Furthermore, the addition of stage presence leads to stronger identification from audiences, even for bodies dissimilar to their own. The author demonstrates that audience reactions are enhanced by building these effects into machine body structures: rather than identification through mimicry, this causes them to have more unambiguously biological associations. Alongside these traits, atmospheres such as those created by a cast of machine performers tend to cause even more intensely visceral responses. In this thesis, “embodiment” has emerged as a paradigm shift – as well as within this shift – and morphological computing has been explored as a method to deepen this visceral immersion. Therefore, this dissertation considers and builds machine performers as “true” performers for the stage, rather than mere objects with an aura. Their singular and customized embodiment can enable the development of non-anthropocentric performances that encompass the abstract and conceptual patterns in motion and generate – as from human performers – empathy, identification and experiential reactions in live audiences

4 Worlds: Coping With Technology Complexity

The purpose of this article is to introduce a model for theorizing contemporary information technologies and systems (technology) from a perspective of complexity. Technology is constitutive of the present ubiquitous complexity, and its complexity requires a matching epistemological inquiry. A model inspired by Karl Popper’s three-world ontology expanded with a social domain is proposed with this end in mind. The model is called MIPS after its four ontological aspects – material, intellectual, personal, and social. A review of ontologies deployed in information systems research indicates that the social aspect of MIPS has strong grounding. MIPS approaches technology from the four ontological bases and from different actor perspectives. The article reports on pilot testing MIPS on technologies used in social media