Creating art through virtual environments

Dolinsky, Margaret

doi:10.1145/271247.271270

Cited by 6 publications

(4 citation statements)

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“…Virtual reality is a technology, which allows a user to interact with a model in a computer-simulated environment [31][32][33][34][35][36]. It is the result of the combination of human imagination and electronic technologies.…”

Section: Automatic Spray Simulationmentioning

confidence: 99%

Study on Automatic Spray of Distribution Boom System of Truck-Mounted Concrete Pump

Zhou¹,

Guo

Zhang³

2008

TOMEJ

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Truck-mounted concrete pumps have been adopted in many construction projects. However, the investigations about the automatization or robotization of distribution boom system of the truck-mounted concrete pump are very scattered. In this study, a scheme of automatic concrete spray of the distribution boom system of the truck-mounted concrete pump has been presented and discussed. The concrete spray process and the kinematics of the boom sections were analyzed including its inverse kinematics problem. Transient dynamic analysis was performed to validate the effect of the new control system on the boom system base on the flexible body co-simulation among ANSYS software, ADAMS software and Matlab/Simulink software. A three-dimensional simulation was programmed to imitate the process of automatic spray and verify the control algorithm. The simulation result shows that the system can pour concrete on a long narrow area automatically thereby satisfying, and the trajectory movement of boom mechanism.

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Section: Automatic Spray Simulationmentioning

confidence: 99%

Study on Automatic Spray of Distribution Boom System of Truck-Mounted Concrete Pump

Zhou¹,

Guo

Zhang³

2008

TOMEJ

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“…Virtual environments are influencing art [Dolinsky, 1997] [Brown, 1997] and new technology is used for various installations.…”

Section: Interactive Installationsmentioning

confidence: 99%

“…Benefits from using virtual reality technology Not only are new applications made possible in virtual reality as cost factors are reduced, but also virtual reality is influencing "real" art [Brown, 1997] [Dolinsky, 1997]. The objectives of the Helical Keyboard project were several, including pedagogical (illustrating musical concepts), artistic (towards visual music), and technical (developing an extensible infrastructure capable of supporting such applications).…”

Section: The Helical Keyboardmentioning

confidence: 99%

The Helical Keyboard: Perspectives for Spatial Auditory Displays and Visual Music

Herder¹,

Cohen²

2002

Journal of New Music Research

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Auditory displays with the ability to dynamically spatialize virtual sound sources under realtime conditions enable advanced applications for art and music. The listener can be deeply immersed while interacting and participating in the experience. We review some of those applications while focusing on the Helical Keyboard project and discussing the required technology. Inspired by the cyclical nature of octaves and helical structure of a scale, a model of a piano-style keyboard was prepared, which was then geometrically warped into a helicoidal configuration, one octave/revolution, pitch mapped to height and chroma. It can be driven by MIDI events, realtime or sequenced, which stream is both synthesized and spatialized by a spatial sound display. The sound of the respective notes is spatialized with respect to sinks, avatars of the human user, by default in the tube of the helix. Alternative coloring schemes can be applied, including a color map compatible with chromastereoptic eyewear. The graphical display animates polygons, interpolating between the notes of a chord across the tube of the helix. Recognition of simple chords allows directionalization of all the notes of a major triad from the position of its musical root. The system is designed to allow, for instance, separate audition of harmony and melody, commonly played by the left and right hands, respectively, on a normal keyboard. Perhaps the most exotic feature of the interface is the ability to fork one's presence, replicating subject instead of object by installing multiple sinks at arbitrary places around a virtual scene so that, for example, harmony and melody can be separately spatialized, using two heads to normalize the octave; such a technique effectively doubles the helix from the perspective of a single listener. Rather than a symmetric arrangement of the individual helices, they are perceptually superimposed in-phase, co-extensively, so that corresponding notes in different registers are at the same azimuth.

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“…It is composed of a main environment that presents gateways or portals to specific subject categories established by predefined searches. The gateways resemble heads and are seen as sculptural forms (Dolinsky, 1997). The notion of "headings" is extrapolated into the creation of "heads".…”

Section: Figure 5: Two Wooden Dance Masks From Gabonmentioning

confidence: 99%