Les artistes et la réalité, des parcours croisés

Artists and Virtual Reality : a meeting of the ways. In order to understand the interest that artists have in virtual reality, this article recalls one of its origins, synthetic images, which was a very prosperous domain for artistic creation. The article goes on to evoke the beginnings of the history of artistic interactive installation, and their flowering during the period when virtual reality came to maturity. The guiding thread here is the question of the “ participation of the specatator”, i. e. the introduction of the body of the spectator, with his/ her action, perception, emotion and cognition, which are at the very heart of the aesthetic experience during the interaction with the virtual reality. Finally, the article concludes with a discussion of the question of the autonomy of virtual creatures having capacities for sensing, for action and for cognition ; and the implications of this autonomy in the field of artistic creation.Pour comprendre l’intérêt des artistes porté à la réalité virtuelle, cet article revient sur une des ses origines, l’image de synthèse, qui fut un domaine très prospère pour la création artistique. Puis, il évoque les débuts de l’histoire des installations interactives artistiques et leur épanouissement pendant l’essor de la réalité virtuelle, avec comme fil conducteur la question de la «participation du spectateur » , c’est-à-dire l’introduction du corps interagissant, de son action, de sa perception, de son émotion, et de sa cognition, au coeur même de l’expérience esthétique. Enfin, il se termine sur la question de l’autonomie des créatures virtuelles dotées de capacités sensorielles, d’action, de cognition et des implications que cette autonomie provoque dans la création artistique.Tramus Marie-Hélène. Les artistes et la réalité, des parcours croisés. In: Intellectica. Revue de l'Association pour la Recherche Cognitive, n°45, 2007/1. Virtuel et Cognition. pp. 129-142

Spectator and virtual actor movement interactions. From child gestures to interactive digital creation

International audienceAs part of the CIGALE project (Capture and Interaction with Artistic, Linguistic and Expressive Gestures), supported by the Labex ARTS-H2H, a multi-agent interaction platform has been developed, which triggers different gestural behaviors of a virtual actor who has the capacity for perception-action, within the framework of a kinematic analysis of the movement of a human interactor’s movement.Our research is fundamentally interdisciplinary, intersecting digital interactive art (relationship with a virtual actor in an artistic situation) and linguistics (gesture study and its expressivity). It leads us to confront the approach of computer modeling of interaction gesture by a finite state machine (FSM) which uses, among other things, a kinematic model of motion analysis (digital art) with the study of the spectator’s gesture through the analysis of the rotations of his arms’ joints (gesture study in linguistics) and through an aesthetic analysis. Based upon the study of the videos of the spectators’ interactions with the virtual actor within the artistic installation InterACTE, we will highlight what would favor the emergence and the continuation of a gestural interaction between a human actor and the virtual actor, thus giving the feeling of a "living" improvisation, ie : the gestures of the virtual actor having characteristics close to that of a child would give the spectator the impression of interacting with a childlike entity arousing its empathy; the alternation of an approximate imitation behavior with the idiosyncratic behavior of the virtual actor would give the impression of an imperfect mimetic capacity and of a certain autonomy proper to "living beings"; the emergence of a great variety of singular dialogues during the interaction between the spectator and the virtual actor, would be the manifestation of their improvised characteristic. A new challenge would be to go beyond an FSM and a kinematic approach through dynamic movement modelling and analysis associated with an emergentist model, so as to amplify the improvised gestural interaction between human and virtual actor, and head towards an aesthetics of improvisation. If, according to Alain Berthoz, “What makes the human being original is precisely his ability to avoid the determinism that confines him in a reality intrinsically linked to his needs and sensory tools, through the remarkable ability of his brain to implement the vicarious processes he is provided with, in order to escape reality or his reality”, could it be that these interactive artistic installations with virtual actor are expressions of vicariance

Spectator and virtual actor movement interactions. From child gestures to interactive digital creation

International audienceAs part of the CIGALE project (Capture and Interaction with Artistic, Linguistic and Expressive Gestures), supported by the Labex ARTS-H2H, a multi-agent interaction platform has been developed, which triggers different gestural behaviors of a virtual actor who has the capacity for perception-action, within the framework of a kinematic analysis of the movement of a human interactor’s movement.Our research is fundamentally interdisciplinary, intersecting digital interactive art (relationship with a virtual actor in an artistic situation) and linguistics (gesture study and its expressivity). It leads us to confront the approach of computer modeling of interaction gesture by a finite state machine (FSM) which uses, among other things, a kinematic model of motion analysis (digital art) with the study of the spectator’s gesture through the analysis of the rotations of his arms’ joints (gesture study in linguistics) and through an aesthetic analysis. Based upon the study of the videos of the spectators’ interactions with the virtual actor within the artistic installation InterACTE, we will highlight what would favor the emergence and the continuation of a gestural interaction between a human actor and the virtual actor, thus giving the feeling of a "living" improvisation, ie : the gestures of the virtual actor having characteristics close to that of a child would give the spectator the impression of interacting with a childlike entity arousing its empathy; the alternation of an approximate imitation behavior with the idiosyncratic behavior of the virtual actor would give the impression of an imperfect mimetic capacity and of a certain autonomy proper to "living beings"; the emergence of a great variety of singular dialogues during the interaction between the spectator and the virtual actor, would be the manifestation of their improvised characteristic. A new challenge would be to go beyond an FSM and a kinematic approach through dynamic movement modelling and analysis associated with an emergentist model, so as to amplify the improvised gestural interaction between human and virtual actor, and head towards an aesthetics of improvisation. If, according to Alain Berthoz, “What makes the human being original is precisely his ability to avoid the determinism that confines him in a reality intrinsically linked to his needs and sensory tools, through the remarkable ability of his brain to implement the vicarious processes he is provided with, in order to escape reality or his reality”, could it be that these interactive artistic installations with virtual actor are expressions of vicariance

Le motif textile imprimé dans le champ du numérique (comment la mobilité propre à l'image numérique, peut-elle pénétrer l'image textile imprimée ?)

Le développement des nouvelles technologies a profondément modifié les activités du secteur industriel et notamment celui de l impression textile. Il a également bouleversé les pratiques artistiques qui utilisent le médium numérique. D une culture des objets et des stabilités , nous évoluons aujourd hui dans une culture de flux et d instabilités . Cette thèse s interroge précisément sur les implications d une telle mutation dans le secteur du textile imprimé et sur ses modes de conception/production. Parmi les domaines explorés (motif hybride; intégration image/ support; simulation virtuelle des concepts; prototypage rapide; création textile mixte), l accent est porté sur l image textile mobile . A travers elle, un paradoxe cherche à être résolu: comment maintenir la convertibilité d une image numérique, tout en déposant une trace stable et visible sur un supporttextile? La mise au point d une impression textile vivante, offre plus qu une approche polysensorielle inédite. Elle dévoile la logique interne de l impression textile et engendre des méthodes de travail et des concepts d élaboration réellement inédits. La technologie d impression numérique associée à la réalité virtuelle, est en mesure de répondre à ces questions: quelle image pour l impression textile numérique, comment l impression numérique fait-elle écho sur le textile? La science, la technique et l art sont réunis autour d un même objet: l image textile numérique. Laissons dialoguer dans leur similitude et leur différence pour permettre à de nouveaux concepts d émergerThe development of the new technologies profoundly modified the activities of the branch of industry in particular that of the textile printing. It also upset the artistic practices which use the digital medium. Of a culture of "objects and stability ", we evolve in a " culture of stream and instabilities " today. This thesis wonders exactly about the implications of such a transformation in the sector of the printed textile and about its fashions of conception / production. Among investigated domains (hybrid motive; integration image / support; virtual reality of the concepts; mixed textile creation), the accent is concerned "the mobile textile image ". Through it, a paradox tries to be resolved: how to maintain the convertibility of a digital image, while depositing a stable and visible track on a textile support? The development of an alive textile printing, offers more than an approach new picture. It reveals the internal logic of the textile printing and engender methods of work and really unpublished concepts of elaboration. The technology of digital printing associated with the virtual reality is capable of answering these questions: which picture for the digital textile printing, how does the digital printing make echo on the textile? Science, technique and art are combined here around same object: digital textile picture. Let us let have conversation in their resemblance and their difference to allow new concepts to appear.ST DENIS-BU PARIS8 (930662101) / SudocSudocFranceF

Interaction between Human and Virtual Actor through Movement: from Child Gestures to Interactive Digital Creation

International audienceThis article is based on the CIGALE project, an interdisciplinary research between digital art, linguistics, and theater on motion capture and interaction with artistic, co-speech and expressive gestures. The aim of this project is to explore an interactive gestural dialogue between human and virtual actors. We will explain how our artistic modalities deal with space, time, and movement in a particular way to achieve our specific artistic goal: to encourage the emergence of a gestural interaction between human and virtual actor, thus giving the feeling of a "living" improvisation while exploring the lineaments of the aesthetics of improvisation. First, we will describe the design and development process of InterACTE, an artistic installation serving as a device for improvised gestural interaction between a spectator (human actor) and a digital partner (virtual actor). Then, from seven recorded videos of interactions between the virtual actor and human actor, we will present the interdisciplinary study we conducted using first, an artistic approach, and second, a linguistic approach

Spectator and virtual actor movement interactions. From child gestures to interactive digital creation

International audienceAs part of the CIGALE project (Capture and Interaction with Artistic, Linguistic and Expressive Gestures), supported by the Labex ARTS-H2H, a multi-agent interaction platform has been developed, which triggers different gestural behaviors of a virtual actor who has the capacity for perception-action, within the framework of a kinematic analysis of the movement of a human interactor’s movement.Our research is fundamentally interdisciplinary, intersecting digital interactive art (relationship with a virtual actor in an artistic situation) and linguistics (gesture study and its expressivity). It leads us to confront the approach of computer modeling of interaction gesture by a finite state machine (FSM) which uses, among other things, a kinematic model of motion analysis (digital art) with the study of the spectator’s gesture through the analysis of the rotations of his arms’ joints (gesture study in linguistics) and through an aesthetic analysis. Based upon the study of the videos of the spectators’ interactions with the virtual actor within the artistic installation InterACTE, we will highlight what would favor the emergence and the continuation of a gestural interaction between a human actor and the virtual actor, thus giving the feeling of a "living" improvisation, ie : the gestures of the virtual actor having characteristics close to that of a child would give the spectator the impression of interacting with a childlike entity arousing its empathy; the alternation of an approximate imitation behavior with the idiosyncratic behavior of the virtual actor would give the impression of an imperfect mimetic capacity and of a certain autonomy proper to "living beings"; the emergence of a great variety of singular dialogues during the interaction between the spectator and the virtual actor, would be the manifestation of their improvised characteristic. A new challenge would be to go beyond an FSM and a kinematic approach through dynamic movement modelling and analysis associated with an emergentist model, so as to amplify the improvised gestural interaction between human and virtual actor, and head towards an aesthetics of improvisation. If, according to Alain Berthoz, “What makes the human being original is precisely his ability to avoid the determinism that confines him in a reality intrinsically linked to his needs and sensory tools, through the remarkable ability of his brain to implement the vicarious processes he is provided with, in order to escape reality or his reality”, could it be that these interactive artistic installations with virtual actor are expressions of vicariance

Du photoréalisme au rendu expressif en image 3D temps réel dans le jeu vidéo (programmation graphique pour la profondeur de champ, la matière, la réflexion, les fluides et les contours)

Cette étude vise à sortir de l'esthétique standardisée des jeux vidéo par l'apport de nouvelles techniques de représentation pour l'image numérique temps réel. Le rendu dit photoréaliste manque souvent de contrôle et de flexibilité pour l'artiste qui cherche à aller au-delà de la fidélité au réel. La crédibilité et l'immersion passent alors par une stylisation de l'image pour proposer un visuel convaincant et esthétique. Le rendu dit expressif va plus loin en prenant en compte le regard personnel de l'artiste tout en se basant sur des caractéristiques et des phénomènes issus du réel pour les détourner. Nous montrerons que le photoréalisme et le rendu expressif se rejoignent et se complètent sur de nombreux points. Trois thèmes différents seront présentés du point de vue du photoréalisme et accompagnés de la création de techniques personnelles. Le thème du flou de profondeur de champ nous amènera à prendre en compte la forme de la lentille de la caméra virtuelle à travers l'algorithme des Hexagonal Summed Area Tables. Nous aborderons ensuite la matière, la lumière et surtout la réflexion spéculaire ambiante et l'importance de la parallaxe pour celle-ci. Notre troisième thème sera celui du mouvement des fluides et de l'advection de textures en fonction du courant afin d'ajouter du détail facilement et efficacement. Ces mêmes sujets seront ensuite intégrés au rendu expressif et utilisés comme des outils d'expression pour l'artiste, à travers la création d'un effet rêve , de fluides en espace-écran et du travail de la matière hachurée. Enfin, nous présenterons nos créations spécifiquement dédiées au rendu expressif et à la stylisation des contours.This study seeks to go beyond the standardized video games aesthetics by adding new depiction techniques for real-time digital imagery. Photorealistic rendering is often limited in control and flexibility for an artist who searches beyond fidelity to real. Achieving credibility and immersion will then often require stylization for the view to be more convincing and aesthetic. Expressive rendering goes further by taking care of the artist's personal vision, while being based on some real life attributes and phenomena, altering them at the same time. We will show that photorealism and expressive rendering join and complete each other under numerous aspects. Three themes related to photorealism will be presented, then some personal original techniques will be introduced. The theme of depth of field will lead us to consider the shape of the virtual camera's lens through the Hexagonal Summed Area Table algorithm. We will then look at material, light and especially ambient and specular reflections and the importance of parallax correction with regards to them. Our third theme will be the rendering of fluid motion and the advection of textures according to the flow for easy and efficient detail addition. These three subjects will then be integrated into expressive rendering and used as expression tools for the artist, through the creation of a dream effect, of screen-space rendered fluids, and of hatched material shading. Finally, we will show our creations specifically dedicated to expressive rendering and stroke stylization.ST DENIS-BU PARIS8 (930662101) / SudocSudocFranceF

Interaction between Human and Virtual Actor through Movement: from Child Gestures to Interactive Digital Creation

International audienceThis article is based on the CIGALE project, an interdisciplinary research between digital art, linguistics, and theater on motion capture and interaction with artistic, co-speech and expressive gestures. The aim of this project is to explore an interactive gestural dialogue between human and virtual actors. We will explain how our artistic modalities deal with space, time, and movement in a particular way to achieve our specific artistic goal: to encourage the emergence of a gestural interaction between human and virtual actor, thus giving the feeling of a "living" improvisation while exploring the lineaments of the aesthetics of improvisation. First, we will describe the design and development process of InterACTE, an artistic installation serving as a device for improvised gestural interaction between a spectator (human actor) and a digital partner (virtual actor). Then, from seven recorded videos of interactions between the virtual actor and human actor, we will present the interdisciplinary study we conducted using first, an artistic approach, and second, a linguistic approach

Réflexions rétrospectives et prospectives sur les avatars et acteurs virtuels issues d’explorations expérimentales artistiques

Deux chercheuses-artistes des Arts et technologies de l’image s’entretiennent à deux occasions avec les co-directeurs de ce numéro d’Hybrid pour éclairer les enjeux des acteurs virtuels et des avatars, en s’appuyant sur leurs expériences respectives au sein d’un laboratoire universitaire (INREV-AIAC de Paris 8) et d’un festival d’art numérique (Laval Virtual/Recto VRso). La première rencontre traite de la question des dynamiques arts-sciences concernant les protagonistes virtuels selon les trajectoires rétrospectives et actuelles. Interrogeant les avatars et acteurs virtuels, ils livrent leur analyse sur leur expressivité, sensibilité, impression de vie, imperfection, ainsi que sur l’empathie qu’ils provoquent, et sur l’externalisation/intégration des compétences humaines. Se repère alors ce passage du corps réel du spectateur vers le virtuel par l’avatarisation, abordant ainsi leur humanisation, versus notre artificialisation et l’émergence de « co-espèces » virtuelles. La seconde rencontre favorise un échange plus informel qui aide à reformuler les types d’hybridation. Y sont aussi débattues les possibles explorations artistiques et créatives des métavers par les avatars dans une visée prospective à partir de plusieurs questionnements : pluralité ou unicité des identités ; anticipation de l’évolutions des usages et hybridations. Au cœur du débat, se pensent les fonctions de l’art et des artistes, entre libertés et limites ; appropriations et subversions ; création d’univers singuliers, appelés ici « singulavers », ou simple investissement des espaces non artistiques pour tester les options possibles pour mieux vivre ensemble avec ou à travers ces créatures virtuelles

Prospective and retrospective reflections on avatars and virtual actors in artistic experimental exploration.

Two researchers and artists in the Art and Technology of the Image sat down twice with the co-editors of this issue of Hybrid to explore the stakes involved regarding virtual actors and avatars based on their respective experiences in the university laboratory (INREV-AIAC at Paris 8) and with a digital art festival (Laval Virtual/Recto VRso). The first interview grapples with the dynamic that exists between art and science as it pertains to virtual protagonists in terms of their current and retrospective trajectories. While discussing avatars and virtual actors, they share their analysis regarding their expressivity, their sensitive and thoughtful natures, their human likeness, their imperfections, the empathy they illicit and how they externalise and integrate human skills. From this, the journey from the spectator’s real body to a virtual one, through avatarisation, becomes visible. In this way, their humanisation can be addressed and contrasted with our artificialisation and the emergence of a virtual co-species. The second interview is more informal, which creates a context whereby types of hybridation can be reformulated. The researchers and designers discuss the scope of artistic and creative exploration in the metaverse through avatars with the objective of being prospective in light of several issues: plural or singular identities and anticipating how behaviour and hybridisations evolve. At the heart of the debate lies the function of art and artists, between freedom and constraint, appropriation and subversion, the creation of singular worlds, referred to as “singularverses,” or the simple occupation of non-artistic spaces to test the possibilities of living together better with or through virtual creatures. virtual actors, interactive avatars, hybridisation, research and creation, technological experiments, virtual exhibition, metavers