The paper describes the design of a cephalopod-inspired soft robot that is part of the art installation Tales of C (2017). Two soft modules for movement are presented, one actuated by a servo motor the other with pneumatics. It is shown that dynamic biomorphic movements can be realized with these modules using simple control signals (linear and constant changes).
这篇论文描述了一个受头足类动物启发的软体机器人的设计，它是艺术装置《C的故事》(Tales of C, 2017)的一部分。提出了两个运动软模块，一个由伺服电机驱动，另一个由气动驱动。结果表明，这些模块可以通过简单的控制信号(线性和恒定变化)实现动态生物形态运动。
{"title":"Leveraging morphological computation for expressive movement generation in a soft robotic artwork","authors":"Jonas Jørgensen","doi":"10.1145/3077981.3078029","DOIUrl":"https://doi.org/10.1145/3077981.3078029","url":null,"abstract":"The paper describes the design of a cephalopod-inspired soft robot that is part of the art installation Tales of C (2017). Two soft modules for movement are presented, one actuated by a servo motor the other with pneumatics. It is shown that dynamic biomorphic movements can be realized with these modules using simple control signals (linear and constant changes).","PeriodicalId":206209,"journal":{"name":"Proceedings of the 4th International Conference on Movement Computing","volume":"14 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2017-06-28","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"114139787","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
In this paper we explore an interdisciplinary approach towards an aesthetics of touch. Research into the role of the body has become increasingly prevalent in fields ranging from philosophy of mind to human-computer interaction. At the same time, haptic technology has becoming ubiquitous within personalized devices and wearables. Despite this, touch remains largely under-explored within contemporary aesthetics. We firstly outline what might be gained from artistic practices that acknowledge a multisensory model of perception. Secondly, we discuss the difficulties of arriving at a standardized taxonomy for touch-based aesthetics and why this endeavor may not be fruitful. Finally, we outline an approach based on first-person felt experiences, drawing on creative practice research involving computational technology within the fields of somatics, dance, and music.
{"title":"Towards an Aesthetics of Touch","authors":"Lauren Hayes, Jessica J. Rajko","doi":"10.1145/3077981.3078028","DOIUrl":"https://doi.org/10.1145/3077981.3078028","url":null,"abstract":"In this paper we explore an interdisciplinary approach towards an aesthetics of touch. Research into the role of the body has become increasingly prevalent in fields ranging from philosophy of mind to human-computer interaction. At the same time, haptic technology has becoming ubiquitous within personalized devices and wearables. Despite this, touch remains largely under-explored within contemporary aesthetics. We firstly outline what might be gained from artistic practices that acknowledge a multisensory model of perception. Secondly, we discuss the difficulties of arriving at a standardized taxonomy for touch-based aesthetics and why this endeavor may not be fruitful. Finally, we outline an approach based on first-person felt experiences, drawing on creative practice research involving computational technology within the fields of somatics, dance, and music.","PeriodicalId":206209,"journal":{"name":"Proceedings of the 4th International Conference on Movement Computing","volume":"2 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2017-06-28","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"128003605","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
In this paper we discuss the potential of ordinary objects acting as human computer interfaces with an Inertial Measurement Unit, the Twiz, to capture a body's orientation and acceleration. The motivation behind this research is to develop a toolkit that enables end users to quickly prototype custom interfaces for artistic expressions through movement. Through an iterative design process we have enhanced existing technical implementations such as wireless data transfer, battery lifespan, two-way communication and data analysis including machine-learning techniques. We conducted object-making sessions and developed software prototypes for audio and visual feedback. We explored a range of experiments related to visual arts, dance, and music by attaching the Twiz to different types of objects to allow users to carry out impromptu interactions. As a result of this process we have gained a better understand of an object's expressive potential whilst capturing and analyzing its movement.
{"title":"Digital Oxymorons: From Ordinary to Expressive Objects Using Tiny Wireless IMUs","authors":"Andreas Schlegel, Cédric Honnet","doi":"10.1145/3077981.3078040","DOIUrl":"https://doi.org/10.1145/3077981.3078040","url":null,"abstract":"In this paper we discuss the potential of ordinary objects acting as human computer interfaces with an Inertial Measurement Unit, the Twiz, to capture a body's orientation and acceleration. The motivation behind this research is to develop a toolkit that enables end users to quickly prototype custom interfaces for artistic expressions through movement. Through an iterative design process we have enhanced existing technical implementations such as wireless data transfer, battery lifespan, two-way communication and data analysis including machine-learning techniques. We conducted object-making sessions and developed software prototypes for audio and visual feedback. We explored a range of experiments related to visual arts, dance, and music by attaching the Twiz to different types of objects to allow users to carry out impromptu interactions. As a result of this process we have gained a better understand of an object's expressive potential whilst capturing and analyzing its movement.","PeriodicalId":206209,"journal":{"name":"Proceedings of the 4th International Conference on Movement Computing","volume":"376 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2017-06-28","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"115475822","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
This paper presents an observational study of the interaction of professional percussionists with a simplified hand percussion instrument. We reflect on how the sound-producing gestural language of the percussionists developed over the course of an hour session, focusing on the elements of their gestural vocabulary that remained in place at the end of the session, and on those that ceased to be used. From these observations we propose a model of movement-based digital musical instruments as a projection downwards from a multidimensional body language to a reduced set of sonic features or behaviours. Many factors of an instrument's design, above and beyond the mapping of sensor degrees of freedom to dimensions of control, condition the way this projection downwards happens. We argue that there exists a world of richness of gesture beyond that which the sensors capture, but which can be implicitly captured by the design of the instrument through its physicality, constituent materials and form. We provide a case study of this model in action.
{"title":"Rich gesture, reduced control: the influence of constrained mappings on performance technique","authors":"Robert H. Jack, T. Stockman, Andrew Mcpherson","doi":"10.1145/3077981.3078039","DOIUrl":"https://doi.org/10.1145/3077981.3078039","url":null,"abstract":"This paper presents an observational study of the interaction of professional percussionists with a simplified hand percussion instrument. We reflect on how the sound-producing gestural language of the percussionists developed over the course of an hour session, focusing on the elements of their gestural vocabulary that remained in place at the end of the session, and on those that ceased to be used. From these observations we propose a model of movement-based digital musical instruments as a projection downwards from a multidimensional body language to a reduced set of sonic features or behaviours. Many factors of an instrument's design, above and beyond the mapping of sensor degrees of freedom to dimensions of control, condition the way this projection downwards happens. We argue that there exists a world of richness of gesture beyond that which the sensors capture, but which can be implicitly captured by the design of the instrument through its physicality, constituent materials and form. We provide a case study of this model in action.","PeriodicalId":206209,"journal":{"name":"Proceedings of the 4th International Conference on Movement Computing","volume":"10 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2017-06-28","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"115526223","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
A fundamental property of movement is its dynamically changing variability and its adaptive nature. These features seem to be connected to the cognitive control of our actions by the brain. However, it has been a challenge to connect cognitive neuroscience and movement science in developing a framework amenable to study the coupled dynamics of the brain and body during natural movements. Part of the problem has been the lack of proper sensors to probe both activities in tandem. Fortunately, contemporary advances in wireless technology with high sampling resolution have paved the way to address this challenge. In this paper, we make use of wireless wearable sensors and a new statistical platform to study the dynamic interactions of the brain, body and heart during natural walking. To examine the influence of cognitive tasks on deliberate (self-emergent), spontaneous, or inevitable (autonomic) processes, we combine the use of a metronome and specific instructions on paced breathing, while harnessing the heart signal underlying the evoked behaviors. This paper presents a new platform for the individualized behavioral analyses, which incorporates a new set of data types and visualization tools, to quantify the outcome of such experimental paradigm. We discuss our results and suggest that these new methods and paradigm may serve to unify and advance the fields of cognitive neuroscience and neuro-motor control.
{"title":"Methods for Tracking Dynamically Coupled Brain-Body Activities during Natural Movement","authors":"Jihye Ryu, Joseph Vero, E. Torres","doi":"10.1145/3077981.3078054","DOIUrl":"https://doi.org/10.1145/3077981.3078054","url":null,"abstract":"A fundamental property of movement is its dynamically changing variability and its adaptive nature. These features seem to be connected to the cognitive control of our actions by the brain. However, it has been a challenge to connect cognitive neuroscience and movement science in developing a framework amenable to study the coupled dynamics of the brain and body during natural movements. Part of the problem has been the lack of proper sensors to probe both activities in tandem. Fortunately, contemporary advances in wireless technology with high sampling resolution have paved the way to address this challenge. In this paper, we make use of wireless wearable sensors and a new statistical platform to study the dynamic interactions of the brain, body and heart during natural walking. To examine the influence of cognitive tasks on deliberate (self-emergent), spontaneous, or inevitable (autonomic) processes, we combine the use of a metronome and specific instructions on paced breathing, while harnessing the heart signal underlying the evoked behaviors. This paper presents a new platform for the individualized behavioral analyses, which incorporates a new set of data types and visualization tools, to quantify the outcome of such experimental paradigm. We discuss our results and suggest that these new methods and paradigm may serve to unify and advance the fields of cognitive neuroscience and neuro-motor control.","PeriodicalId":206209,"journal":{"name":"Proceedings of the 4th International Conference on Movement Computing","volume":"52 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2017-06-28","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"115687578","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
This paper explores movement and its capacity for meaning-making and eliciting affect in human-robot interaction. Bringing together creative robotics, dance and machine learning, our research project develops a novel relational approach that harnesses dancers' movement expertise to design a non-anthropomorphic robot, its potential to move and capacity to learn. The project challenges the common assumption that robots need to appear human or animal-like to enable people to form connections with them. Our performative body-mapping (PBM) approach, in contrast, embraces the difference of machinic embodiment and places movement and its connection-making, knowledge-generating potential at the center of our social encounters. The paper discusses the first stage of the project, in which we collaborated with dancers to study how movement propels the becoming-body of a robot, and outlines our embodied approach to machine learning, grounded in the robot's performative capacity.
{"title":"Movement Matters: How a Robot Becomes Body","authors":"Petra Gemeinboeck, Rob Saunders","doi":"10.1145/3077981.3078035","DOIUrl":"https://doi.org/10.1145/3077981.3078035","url":null,"abstract":"This paper explores movement and its capacity for meaning-making and eliciting affect in human-robot interaction. Bringing together creative robotics, dance and machine learning, our research project develops a novel relational approach that harnesses dancers' movement expertise to design a non-anthropomorphic robot, its potential to move and capacity to learn. The project challenges the common assumption that robots need to appear human or animal-like to enable people to form connections with them. Our performative body-mapping (PBM) approach, in contrast, embraces the difference of machinic embodiment and places movement and its connection-making, knowledge-generating potential at the center of our social encounters. The paper discusses the first stage of the project, in which we collaborated with dancers to study how movement propels the becoming-body of a robot, and outlines our embodied approach to machine learning, grounded in the robot's performative capacity.","PeriodicalId":206209,"journal":{"name":"Proceedings of the 4th International Conference on Movement Computing","volume":"137 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2017-06-28","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"114374681","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
The 3D modeling methods and approach presented in this paper attempt to bring the richness and spontaneity of human kinesthetic interaction in the physical world to the process of shaping digital form, by exploring playfully creative interaction techniques that augment gestural movement. The principal contribution of our research is a novel dynamics-driven approach for immersive freeform modeling, which extends our physical reach and supports new forms of expression. In this paper we examine three augmentations of freehand 3D interaction that are inspired by the dynamics of physical phenomena. These are experienced via immersive augmented reality to intensify the virtual physicality and heighten the sense of creative empowerment.
{"title":"Incorporating Kinesthetic Creativity and Gestural Play into Immersive Modeling","authors":"Sung-A Jang, Graham Wakefield, Sung-Hee Lee","doi":"10.1145/3077981.3078045","DOIUrl":"https://doi.org/10.1145/3077981.3078045","url":null,"abstract":"The 3D modeling methods and approach presented in this paper attempt to bring the richness and spontaneity of human kinesthetic interaction in the physical world to the process of shaping digital form, by exploring playfully creative interaction techniques that augment gestural movement. The principal contribution of our research is a novel dynamics-driven approach for immersive freeform modeling, which extends our physical reach and supports new forms of expression. In this paper we examine three augmentations of freehand 3D interaction that are inspired by the dynamics of physical phenomena. These are experienced via immersive augmented reality to intensify the virtual physicality and heighten the sense of creative empowerment.","PeriodicalId":206209,"journal":{"name":"Proceedings of the 4th International Conference on Movement Computing","volume":"31 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2017-06-28","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"123996975","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Designing for and through movement is becoming increasingly important in human computer interaction, and it is widely accepted that the designers should develop their bodily skills and learn how to use the movement as design material. Yet, the reports on the education space around embodied interaction are scarce. We present an approach for teaching and designing embodied interaction in collaboration with contemporary dance choreographers. We describe a workshop, where after movement sessions, simple projects were implemented by the participants. The evaluation of projects and student feedback indicate that the four learning objectives, namely: 1) movement as a design material, 2) bodily skills needed for technological implementation, 3) movement qualities, and 4) practical projects, were attained for most of the participants. For some participants, however, the movement qualities were hard concepts to grasp and utilize in design, and this difficulty had an impact on all the other learning objectives. Further experiments with new tools, techniques, contexts, and guidelines are therefore required to highlight the importance of movement qualities in design.
{"title":"Embodied Interaction through Movement in a Course Work","authors":"Cumhur Erkut, S. Dahl","doi":"10.1145/3077981.3078026","DOIUrl":"https://doi.org/10.1145/3077981.3078026","url":null,"abstract":"Designing for and through movement is becoming increasingly important in human computer interaction, and it is widely accepted that the designers should develop their bodily skills and learn how to use the movement as design material. Yet, the reports on the education space around embodied interaction are scarce. We present an approach for teaching and designing embodied interaction in collaboration with contemporary dance choreographers. We describe a workshop, where after movement sessions, simple projects were implemented by the participants. The evaluation of projects and student feedback indicate that the four learning objectives, namely: 1) movement as a design material, 2) bodily skills needed for technological implementation, 3) movement qualities, and 4) practical projects, were attained for most of the participants. For some participants, however, the movement qualities were hard concepts to grasp and utilize in design, and this difficulty had an impact on all the other learning objectives. Further experiments with new tools, techniques, contexts, and guidelines are therefore required to highlight the importance of movement qualities in design.","PeriodicalId":206209,"journal":{"name":"Proceedings of the 4th International Conference on Movement Computing","volume":"28 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2017-06-28","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"124962766","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
A first approach to an autonomous virtual agent able to play body percussion with real body percussionists is presented. The agent is autonomous in the sense that it can recognize the artists' calls and react to them by playing back a prerecorded sequence. The agent architecture is described focusing mainly on the artists' calls recognition module. This work, still under construction, produced two artistic performances which were presented in front of an audience.
{"title":"Real and virtual body percussionists interaction","authors":"Elisabetta Bevacqua, G. Desmeulles","doi":"10.1145/3077981.3078048","DOIUrl":"https://doi.org/10.1145/3077981.3078048","url":null,"abstract":"A first approach to an autonomous virtual agent able to play body percussion with real body percussionists is presented. The agent is autonomous in the sense that it can recognize the artists' calls and react to them by playing back a prerecorded sequence. The agent architecture is described focusing mainly on the artists' calls recognition module. This work, still under construction, produced two artistic performances which were presented in front of an audience.","PeriodicalId":206209,"journal":{"name":"Proceedings of the 4th International Conference on Movement Computing","volume":"89 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2017-06-28","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"123021499","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
This paper examines the way movement based interactive visuals were used as a storytelling device in the physical theatre production of Creature: Dot and the Kangaroo. A number of performers and artists involved in the production were interviewed and their perceptions of the interactive technology have been contrasted against a similar study into abstract dance. The animated backgrounds and interactive animal graphics projected onto the stage were found to reduce the density of script by describing the location of action and spirit of the character, reducing the necessity for this to be spoken. Peak moments of the show were identified by those interviewed and a scene analysis revealed that the most successful scenes featured a more integrated storytelling where the interaction between performers and the digital projections portrayed a key narrative message.
{"title":"Storytelling with Interactive Physical Theatre: A case study of Dot and the Kangaroo","authors":"Andrew Bluff, Andrew Johnston","doi":"10.1145/3077981.3078036","DOIUrl":"https://doi.org/10.1145/3077981.3078036","url":null,"abstract":"This paper examines the way movement based interactive visuals were used as a storytelling device in the physical theatre production of Creature: Dot and the Kangaroo. A number of performers and artists involved in the production were interviewed and their perceptions of the interactive technology have been contrasted against a similar study into abstract dance. The animated backgrounds and interactive animal graphics projected onto the stage were found to reduce the density of script by describing the location of action and spirit of the character, reducing the necessity for this to be spoken. Peak moments of the show were identified by those interviewed and a scene analysis revealed that the most successful scenes featured a more integrated storytelling where the interaction between performers and the digital projections portrayed a key narrative message.","PeriodicalId":206209,"journal":{"name":"Proceedings of the 4th International Conference on Movement Computing","volume":"381 5","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2017-06-28","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"133522734","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
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