Immersion and interaction: Creating virtual 3d worlds for stage performances

This thesis was submitted for the degree of Doctor of Philosophy and awarded by Brunel University.This thesis formulates an approach towards the creation of a gesture activated and body movement controlled real time virtual 3d world in a dance performance context. It investigates immersion and navigation techniques derived from modern video games and methodologies and proposes how they can be used to further involve a performer into a virtual space as well as simultaneously offer a stimulating visual spectacle for an audience. The argument presented develops through practice-based methodology and artistic production strategies in interdisciplinary and collaborative contexts. Two choreographic performance/installations are used as cases studies to demonstrate in practice the proposed methodologies. First, the interactive dance work Suna No Onna, created in collaboration with Birringer/Danjoux and the Dap Lab, investigates the use of interactive pre-rendered animations in a real time setting and in real time by incorporating wearable sensors in the performance. Secondly, the potentials offered by the sensor technology and real time rendering engines led to the “creation scene", a key scene in the choreographic installation UKIYO (Moveable Worlds). This thesis investigates the design, creation and interaction qualities of virtual 3d spaces by exploring the potentialities offered by a shared space, between an intelligent space and a dancer in a hybrid world. The methodology applied uses as a theoretical base the phenomenological approach of Merleau-Ponty and Mark Hansen‟s mixed reality paradigm proposing the concept of the “space schema", a system which replicates and embeds proprioception, perception and motility into the space fabric offering a world which “lives”, functions and interacts with the performer. The outcome of the research is the generation of an interactive, non-linear, randomized 3d virtual space that collaborates with a technologically embedded performer in creating a 3d world which evolves and transforms, driven by the performer‟s intention and agency. This research contributes to the field of interactive performance art by making transparent the methodology, the instruments and the code used, in a non-technical terminology, making it accessible for both team members with less technological expertise as well as artists aspiring to engage interactive 3d media promoting further experimentation and conceptual discussions

Immersion and interaction : creating virtual 3D worlds for stage performances

This thesis formulates an approach towards the creation of a gesture activated and body movement controlled real time virtual 3d world in a dance performance context. It investigates immersion and navigation techniques derived from modern video games and methodologies and proposes how they can be used to further involve a performer into a virtual space as well as simultaneously offer a stimulating visual spectacle for an audience. The argument presented develops through practice-based methodology and artistic production strategies in interdisciplinary and collaborative contexts. Two choreographic performance/installations are used as cases studies to demonstrate in practice the proposed methodologies. First, the interactive dance work Suna No Onna, created in collaboration with Birringer/Danjoux and the Dap Lab, investigates the use of interactive pre-rendered animations in a real time setting and in real time by incorporating wearable sensors in the performance. Secondly, the potentials offered by the sensor technology and real time rendering engines led to the “creation scene", a key scene in the choreographic installation UKIYO (Moveable Worlds). This thesis investigates the design, creation and interaction qualities of virtual 3d spaces by exploring the potentialities offered by a shared space, between an intelligent space and a dancer in a hybrid world. The methodology applied uses as a theoretical base the phenomenological approach of Merleau-Ponty and Mark Hansen‟s mixed reality paradigm proposing the concept of the “space schema", a system which replicates and embeds proprioception, perception and motility into the space fabric offering a world which “lives”, functions and interacts with the performer. The outcome of the research is the generation of an interactive, non-linear, randomized 3d virtual space that collaborates with a technologically embedded performer in creating a 3d world which evolves and transforms, driven by the performer‟s intention and agency. This research contributes to the field of interactive performance art by making transparent the methodology, the instruments and the code used, in a non-technical terminology, making it accessible for both team members with less technological expertise as well as artists aspiring to engage interactive 3d media promoting further experimentation and conceptual discussions.EThOS - Electronic Theses Online ServiceGBUnited Kingdo

VR : Time Machine

Time Machine is an immersive Virtual Reality installation that explains – in simple terms – the Striatal Beat Frequency (SBF) model of time perception. The installation was created as a collaboration between neuroscientists within the field of time perception along with a team of digital designers and audio composers/engineers. This paper outlines the process, as well as the lessons learned, while designing the virtual reality experience that aims to simplify a complex idea to a novice audience. The authors describe in detail the process of creating the world, the user experience mechanics and the methods of placing information in the virtual place in order to enhance the learning experience. The work was showcased at the 4th International Conference on Time Perspective, where the authors collected feedback from the audience. The paper concludes with a reflection on the work and some suggestions for the next iteration of the project

The tamarind forest: an augmented virtuality experience

The tamarind forest is a virtual reality (VR) installation that explores shifts of perception through a somatic experience in a virtual space. As part of a larger show (kimosphere no.4) that explored immersion and an entwinement of real and virtual spaces, The Tamarind forest experiments with augmented virtuality and invites the audience to pay attention to their physical body while taking a journey through a virtual forest. This paper describes the piece, the technology and the design process as well as the main takeaways and reflections

The Fall of R'Thea

As part of a special team of experts, you are asked to infiltrate R’Thea, a virtual world created by a sentient A.I. Techno God. All communications with the city have been lost and an alarming message has just surfaced from one of the scientists working on the project. Work with your team to uncover the secrets of the city and the terrifying reasons behind the collapse of Project R

Poe's tree

This artwork is inspired by the short story "The Gold-Bug" by Edgar Alan Poe. The story follows William Legrand, his servant Jupiter and an unnamed narrator on their quest to uncover a buried treasure. Poe took advantage of the popularity of cryptography as he was writing the "The Gold-Bug" and his story revolves around the team trying to solve a cipher. The characters in the story follow a simple substitution cipher to decode a message that eventually leads them to the treasure. With this project, the aim was to re-encode the decrypted text into a digital form and turn it into a 3d tree. In order for this to be achieved, the following process was used: 1) Using Chomky's Context-Free-Grammar, the text was broken down into a syntax tree. 2) By using a simple substitution process, like the one used by Poe, the syntax tree was turned into an L-systems syntax. 3) The tree was then generated using the build-in L-Systems function in Houdini 4) Maya was used to stylize, texture and render the 3d tree

The Last Play: A transmedia installation

This paper focuses on the methodology undertaken, and the lessons learned, to create the location-based, Virtual Reality (VR) story-telling experience. The last play was initially staged in Limassol at a student exhibition show in May 2021 and then again in September 2021 at the Animatikkon Fes-tival in Pafos. The installation is for two people and takes place in two different sections, one physical and one virtual, and it can be experienced in either order. The experience aims to immerse and engage the users by utilizing mecha-nisms borrowed by immersive theatre and game-design such as spatial storytelling, agency, engaging multiple senses and telling the story through multiple mediums. The integration of these various practices seems to be an important element that complements the immersive qualities of the VR experi-ence. Furthermore, the spatial storytelling methodology, the transmedia approach, and the integration of the various physical objects into the experience seem to positively con-tribute to the storytelling aspect of location-based VR instal-lations

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This thesis formulates an approach towards the creation of a gesture activated and body movement controlled real time virtual 3d world in a dance performance context. It investigates immersion and navigation techniques derived from modern video games and methodologies and proposes how they can be used to further involve a performer into a virtual space as well as simultaneously offer a stimulating visual spectacle for an audience. The argument presented develops through practice-based methodology and artistic production strategies in interdisciplinary and collaborative contexts. Two choreographic performance/installations are used as cases studies to demonstrate in practice the proposed methodologies. First, the interactive dance work Suna No Onna, created in collaboration with Birringer/Danjoux and the Dap Lab, investigates the use of interactive pre-rendered animations in a real time setting and in real time by incorporating wearable sensors in the performance. Secondly, the potentials offered by the sensor technology and real time rendering engines led to the “creation scene",

Designing Modular AI Robots Inspired by Amerindian Material Culture

Doros Polydorou, Alexis Karkotis, ‘Designing Modular AI Robots Inspired by Amerindian Material Culture’, in Hooman Samani, ed., Cognitive Robotics (FL, USA: CRC Press, 2015), ISBN 978-1-4822-4456-4, eISBN 978-1-4822-4457-1.Peer reviewe