Hand-drawn spaces

Kaiser, P.

doi:10.1145/281388.281884

Cited by 6 publications

(2 citation statements)

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“…First, The Plane [33] unified dance, theatre and computer media in a duo between a dancer and his own image. With more interactive features, Hand-Drawn Spaces [14] presented a 3D choreography of hand-drawn graphics, where the real dancer's movements were captured and applied to virtual characters. Such interaction coupled with real time computing were achieved in "The Jew of Malta" [34] where virtual buildings architecture cuts and virtual costumes were generated, in real time, depending on the music and the opera singer's position on the stage.…”

Section: Augmented and Interactive Showsmentioning

confidence: 99%

Interactions and systems for augmenting a live dance performance

Clay

Couture

Nigay³

et al. 2012

2012 IEEE International Symposium on Mixed and Augmented Reality - Arts, Media, and Humanities (ISMAR-AMH)

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The context of this work is to develop, adapt and integrate augmented reality related tools to enhance the emotion involved in cultural performances. Part of the work was dedicated to augmenting a stage in a live performance, with dance as an application case. In this paper, we present a milestone of this work, an augmented dance show that brings together several tools and technologies that were developed over the project's lifetime. This is the result of mixing an artistic process with scientific research and development. This augmented show brings to stage issues from the research fields of Human-Machine Interaction (HMI) and Augmented Reality (AR). Virtual elements are added on stage (visual and audio) and the dancer is able to interact with them in real-time, using different interaction techniques. The originality of this work is threefold. Firstly, we propose a set of movement-based interaction techniques that can be used independently on stage or in another context. In this set, some techniques are direct, while others go through a high level of abstraction. Namely, we performed movement-based emotion recognition on the dancer, and used the recognized emotions to generate emotional music pieces and emotional poses for a humanoid robot. Secondly, those interaction techniques rely on various interconnected systems that can be reassembled. We hence propose an integrated, interactive system for augmenting a live performance, a context where system failure is not tolerated. The final system can be adapted following the artist's preferences. Finally, those systems were validated through an on field experiment -the show itself -after which we gathered and analyzed the feedback from both the audience and the choreographer.

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Section: Augmented and Interactive Showsmentioning

confidence: 99%

Interactions and systems for augmenting a live dance performance

Clay

Couture

Nigay³

et al. 2012

2012 IEEE International Symposium on Mixed and Augmented Reality - Arts, Media, and Humanities (ISMAR-AMH)

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“…In such a configuration, the computer system is seen as an instrument of the show rather than a stage setup. Hand-Drawn Spaces [14] presented a 3D choreography of hand-drawn graphics, where the real dancer's movements were captured and applied to virtual characters. Motion capture was not performed in real time and only virtual dancers were on stage.…”

Section: Expressive Movement and Augmented Performancesmentioning

confidence: 99%

Expressive virtual modalities for augmenting the perception of affective movements

Clay

Courgeon

Couture

et al. 2009

Proceedings of the International Workshop on Affective-Aware Virtual Agents and Social Robots

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Recent progress in augmented reality enables them to be integrated in performing arts applications. So-called "augmented performances" are set up around the world, providing the audience with a new experience. As artistic tools, augmentation elicits aesthetic emotions within the audience by conveying the artists' emotional intent. The emotional communicative power of augmented reality in a performance has however not yet been formally evaluated from a perception point of view. This paper reports an experiment about the emotionally communicative power of several virtual modalities. We first describe how we collected a set of emotionally-expressive dance sequences from a professional dancer. We explain how the emotion expressed in each sequence is recognized by computer automatic recognition techniques and human subjects. We explain how we generated for each sequence virtual elements that are animated according to the expressed emotion. The resulting augmented dance sequences are then evaluated by human judges in order to determine which augmentation better conveys the original emotion. Results report that complex emotions are harder to recognize than simple emotions in a dance context, but that augmentation might improve recognition of those complex emotions.

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