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

Animating observed emotional behaviour: a practice-based investigation comparing three approaches to self-figurative animation

This research explores different animation approaches to rendering observed emotional behaviour, through the creation of an animated artefact. It opens with an introduction to the research and the methodology chosen before progressing to a review of academic and practitioner-based literature associated with observed emotional behaviour. Building upon this foundation of literature, the thesis outlines how the artifact was created with a practice based approach drawn from Haseman’s cycle of creation, feedback, reflection and then creation. The main research question is augmented by a series of contributory questions that explore the research through iterations of animation drawn from a base of live action footage of observed emotional behaviour. These exploratory iterations progress though motion capture, rotoscopy and finally freeform animation. The completed artifact and its findings are explored first though a perception study and then a production study. This thesis is based on the investigation and discourse of observed emotional behaviour surrounding the use of animation, specifically, the direct study of the observation of emotional behaviour through the application of animation as a tool of research. It aims to provide a basis of discussion and contribution to knowledge for animation practitioners, theorists and practitioner-researchers seeking to use less performative and exaggerated forms

Spectators’ aesthetic experiences of sound and movement in dance performance

In this paper we present a study of spectators’ aesthetic experiences of sound and movement in live dance performance. A multidisciplinary team comprising a choreographer, neuroscientists and qualitative researchers investigated the effects of different sound scores on dance spectators. What would be the impact of auditory stimulation on kinesthetic experience and/or aesthetic appreciation of the dance? What would be the effect of removing music altogether, so that spectators watched dance while hearing only the performers’ breathing and footfalls? We investigated audience experience through qualitative research, using post-performance focus groups, while a separately conducted functional brain imaging (fMRI) study measured the synchrony in brain activity across spectators when they watched dance with sound or breathing only. When audiences watched dance accompanied by music the fMRI data revealed evidence of greater intersubject synchronisation in a brain region consistent with complex auditory processing. The audience research found that some spectators derived pleasure from finding convergences between two complex stimuli (dance and music). The removal of music and the resulting audibility of the performers’ breathing had a significant impact on spectators’ aesthetic experience. The fMRI analysis showed increased synchronisation among observers, suggesting greater influence of the body when interpreting the dance stimuli. The audience research found evidence of similar corporeally focused experience. The paper discusses possible connections between the findings of our different approaches, and considers the implications of this study for interdisciplinary research collaborations between arts and sciences

Choreography, or framed kinaesthetics

This catalogue essay defines, for a visual art audience, the notion of choreography in dance with an emphasis on modern dance. Intersections with and differences between historical approached to dance-making and approaches in the visual arts are discussed

Feasibility of using low-cost markerless motion capture for assessing functional outcomes after lower extremity musculoskeletal cancer surgery

\ua9 2024 Furtado et al. This is an open access article distributed under the terms of the Creative Commons Attribution License, which permits unrestricted use, distribution, and reproduction in any medium, provided the original author and source are credited. Background Physical limitations are frequent and debilitating after sarcoma treatment. Markerless motion capture (MMC) could measure these limitations. Historically expensive cumbersome systems have posed barriers to clinical translation. Research question Can inexpensive MMC [using Microsoft KinectTM] assess functional outcomes after sarcoma surgery, discriminate between tumour sub-groups and agree with existing assessments? Methods Walking, unilateral stance and kneeling were measured in a cross-sectional study of patients with lower extremity sarcomas using MMC and standard video. Summary measures of temporal, balance, gait and movement velocity were derived. Feasibility and early indicators of validity of MMC were explored by comparing MMC measures i) between tumour sub-groups; ii) against video and iii) with established sarcoma tools [Toronto Extremity Salvage Score (TESS)), Musculoskeletal Tumour Rating System (MSTS), Quality of lifecancer survivors (QoL-CS)]. Statistical analysis was conducted using SPSS v19. Tumour sub-groups were compared using Mann-Whitney U tests, MMC was compared to existing sarcoma measures using correlations and with video using Intraclass correlation coefficient agreement. Results Thirty-four adults of mean age 43 (minimum value—maximum value 19–89) years with musculoskeletal tumours in the femur (19), pelvis/hip (3), tibia (9), or ankle/foot (3) participated; 27 had limb sparing surgery and 7 amputation. MMC was well-tolerated and feasible to deliver. MMC discriminated between surgery groups for balance (p<0.05*), agreed with video for kneeling times [ICC = 0.742; p = 0.001*] and showed moderate relationships between MSTS and gait (p = 0.022*, r = -0.416); TESS and temporal outcomes (p = 0.016* and r = -0.0557*), movement velocity (p = 0.021*, r = -0.541); QoL-CS and balance (p = 0.027*, r = 0.441) [* = statistical significance]. As MMC uncovered important relationships between outcomes, it gave an insight into how functional impairments, balance, gait, disabilities and quality of life (QoL) are associated with each other. This gives an insight into mechanisms of poor outcomes, producing clinically useful data i.e. data which can inform clinical practice and guide the delivery of targeted rehabilitation. For example, patients presenting with poor balance in various activities can be prescribed with balance rehabilitation and those with difficulty in movements or activity transitions can be managed with exercises and training to improve the quality and efficiency of the movement. Significance In this first study world-wide, investigating the use of MMC after sarcoma surgery, MMC was found to be acceptable and feasible to assess functional outcomes in this cancer population. MMC demonstrated early indicators of validity and also provided new knowledge that functional impairments are related to balance during unilateral stance and kneeling, gait and movement velocity during kneeling and these outcomes in turn are related to disabilities and QoL. This highlighted important relationships between different functional outcomes and QoL, providing valuable information for delivering personalised rehabilitation. After completing future validation work in a larger study, this approach can offer promise in clinical settings. Low-cost MMC shows promise in assessing patient’s impairments in the hospitals or their homes and guiding clinical management and targeted rehabilitation based on novel MMC outcomes affected, therefore providing an opportunity for delivering personalised exercise programmes and physiotherapy care delivery for this rare cancer

FROM CELLULOID REALITIES TO BINARY DREAMSCAPES: CINEMA AND PERCEPTUAL EXPERIENCE IN THE AGE OF DIGITAL IMMERSION

Technologies in digital cinema are quickly changing the way contemporary filmmakers create films and how audiences currently perceive them. As we move onward into the digital turn, it becomes ever more apparent that the medium of film has been emancipated from its dependence on the photograph. Directors are no longer required to capture the objectively real as it sits before the photographic lens, but can essentially construct it via groundbreaking advancements in computer-generated imagery, motion capture technology, and digital 3D camera systems and display technologies. Since the origins of film, spectators and filmmakers have assumed an existing relationship between reality and the photographic image. Yet digital film technologies now provide us with hyper-facsimiles of reality that are perceived as photographic, but are often created by way of computer processes. Digital cinema currently allows the viewer to inhabit and interact with cinematic realities in unprecedented ways, and it is this contemporary paradigmatic shift from the analog to the digital that has catalyzed fundamentally new ways of looking at the filmic image. In this paper, I will examine the perceptual complexities of contemporary digital film through the lens of these cinematic technologies by examining their impact on the viewer’s experience