7 research outputs found
WhoLoDancE: Deliverable 1.5 - Data acquisition plan
The following deliverable presents the methodology which was followed in order to plan the Motion Capture Sessions of WhoLoDancE, in a way that will maximize the impact of the technologies used, optimize the time management, select the movement sequences that we need to capture and store, and prepare for these sessions aiming at building a repository of movement which will cover the needs of the learning scenarios of WhoLoDancE. This deliverable according to the project time-plan has a delivery date later than the conclusion of the motion capture sessions as foreseen from the same time-plan. The deliverable reports both the data acquisition plan as it has been formulated before the realization of the sessions and also gives an overview of the results of the process. Sections 2 and 3 outline the planning process and provide details on how it has been realized whereas section 4 presents a summary of the outcomes, both in terms of content produced and infrastructure used for its storage. In particular, in section 2 (Methodology and Preparation), we describe the steps which we have followed to organize the collaboration between technical and dance partners and deal with the variety and diversity of the four different dance genres/use cases of WhoLoDancE (Contemporary dance, Ballet, Greek Folk, Flamenco). We explain the systematic way of preparing the shot list, aiming at keeping the balance between a) user-oriented and context-specific perspective, in order to select kinetic content which will be satisfying to deliver the needs of each dance genre learning scenario, and b) technical perspective, through selecting data which will be subject to further automated analysis, and synthesis of movements and will support the different objectives of the WhoLoDancE project. In section 4 (The process: Motion Capture Sessions), we describe the process of the Motion Capture sessions, including a short description of the technologies used, the locations, the context of capturing and quality control. The third and last part summarizes the outcome of the Motion Capture sessions and provides numbers and statistics about the produced data. Finally, at the end (section 5) there is an appendix with the detailed schedules and other relevant documents
OntoPIM: How to Rely on a Personal Ontology for Personal Information Management
Nowadays, our personal computer contains a huge amount of information, that is stored in several different formats, including emails, pictures, text documents, media file, address books, etc. When we need to look for some information, one possibility is to use a keyword-based search tool, such as Google Desktop [1]. We then get several links t
An approach to designing and implementing virtual museums
Abstract. The current paper describes an approach to designing and implementing a virtual environment comprising ten different museums. The number of museums as well as the variety of their exhibits lead to the adoption of a generalised strategy that catered for all museum presentation needs and allowed for future expansion. Furthermore, the system architecture supports the delivery of multimedia content either over the Internet or via a local immersive virtual reality installation
Exploring Visualizations in Real-time Motion Capture for Dance Education
In this paper, we describe an ongoing work towards developing a
whole-body interaction interface for exploring different visualizations
of movement, using real-time motion capture and 3D models, to apply in
dance learning and improvisation within a creative, gamified context. A
full inertial motion capture system is used by the performer while a
simple user interface provides the option to the user to experiment with
different avatars, and visualizations e.g., trace of motions on
different parts of the body and to interact with virtual objects. The 3D
simulation provides a real-time visual feedback for the movement. The
interaction follows the paradigm of moving from mimicking kinetic
material into a self-reflection teaching approach. The interactive
avatar is the reflection of the performer, but on the same time the
avatar depicts a character, a dance partner which can inspire the user
who moves to explore different ways of moving. Either within the
framework of artistic experimentation and creativity, or in the context
of education, the visual metaphors of movement shape and qualities
consist a powerful tool and raise many scientific and research
questions
BalOnSe: Ballet Ontology for Annotating and Searching Video performances
In this paper we present BalOnSe (named after the ballet step balance),
an ontology-based web interface that allows the user to annotate
classical ballet videos, with a hierarchical domain specific vocabulary
and provides an archival system for videos of dance. The interface
integrates a hierarchical vocabulary based on classical ballet syllabus
terminology (Ballet.owl) implemented as an OWL-2 ontology. BalOnSe
supports the search and browsing of the multimedia content using
metadata (title, dancer featured, etc.), and also implements the
functionality of “searching by movement concepts”, i.e., filtering
the videos that are associated with particular required terms of the
vocabulary, based on previous submitted annotations. In the paper, we
present the ballet.owl ontology, and its structure, explaining the
conceptual modeling decisions. We highlight the main functionality of
the system and finally, we present how the manual ontology guided
annotation allows the user to search the content through the
vocabularies and also view statistics in the form of tag clouds
Designing a virtual museum within a museum
A virtual environment system installed within a real museum can offer a number of advantages, which are discussed in this paper: overcoming the lack of exhibition space, responding to the need for interaction with certain exhibits, affording easy transfer of exhibitions to remote sites. This paper also presents an approach towards designing and developing a virtual reality museum comprising ten different museums. The processes of digitisation, architectural design and exhibit presentation are outlined and points of particular importance are explained. Exhibits from real world museums have been digitised and integrated in this VE