Control of Augmented Reality Information Volume by Glabellar Fader

ABSTRACT In this paper, we propose a device for controlling the volume of augmented reality information by the glabellar movement. Our purpose is to avoid increasing the sum of the amount of information during the perception of "Real Space +Augmented Reality" by an intuitive and seamless control. For this, we focused on the movement of the glabella (between the eyebrows) when the user stare at objects as a trigger of information presentation. The system detects the movement of the eyebrows by the amount of the light reflected by a photo-reflector, and controlling information volume or the transparency of objects in augmented reality space

Switchback Cursor: Mouse Cursor Operation for Overlapped Windowing

Part 1: Long and Short PapersInternational audienceWhen we perform a task that involves opening a number of windows, we cannot access the objects behind them. Thus, we are forced to switch the foreground window frequently or to move it temporarily. In this paper, we propose a Switchback Cursor technique where the cursor can move underneath windows when the user presses both the left and right mouse buttons. We also discuss some of the advantages of our method and effective situations that may be suited to the Switchback Cursor

Algorithm 2 The second minimal power path algorithm. The input is a network in which each node can determine its location and its power level. The output is a routing table for each node. The parameters are PA, the total power consumption of the optimal p

In this paper, we propose Thermoscore, a musical score form that dynamically alters the temperature of the instrument/play-er interface. We developed the first version of the Thermoscore display by lining Peltier devices on piano keys. The system is controlled by MIDI notes-on messages from an MIDI sequencer, so that a composer can design songs that are sequences of temperature for each piano key. We also discuss methodologies for composing with this system, and suggest two approaches. The first is to make desirable keys (or other keys) hot. The second one uses chroma-profile, that is, a radar chart representation of the frequency of pitch notations in the piece. By making keys of the same chroma hot in reverse pro-portion to the value of the chroma-profile, it is possible to constrain the performer's improvisation and to bring the tonal-ity space close to a certain piece