Cheok Art and Technology of Entertainment Computing and Communication

1. Auflage 2010
ISBN: 978-1-84996-137-0
Verlag: Springer
Format: PDF
Kopierschutz: 1 - PDF Watermark

E-Book, Englisch, 299 Seiten

Art and Technology of Entertainment Computing and Communication takes a blue sky research perspective on the field of interactive media for entertainment computing. Adrian David Cheok argues that entertainment as an end-product is useful for interactive play, however it is also a powerful tool for learning and communication and it is also a key driver for the development of information technology. This book explores the future of entertainment technologies used for communication and describes quantum step research. It will inform and inspire readers to create their own radical inventions and innovations that are not incremental, but which break through ideas and non-obvious solutions. One of the main explorations is the examination of how new forms of computer interaction can lead to radical new forms of technology and art for entertainment computing. Art and Technology of Entertainment Computing and Communication is an informative and inspirational text for students and the next generation of researchers. It's main aim is to provide information that will hopefully help change the world and society for the better, through new modes of entertainment and communication. Academics, researchers, engineers, game designers, and interaction designers, will find the content both interesting and valuable. Entertainment is the 'engine' to inspire people and drive innovation in interactive digital media design. The pioneer of the field, Prof. Adrian David Cheok, takes you on an exciting tour of the future shaped by the Entertainment Technologies. Hiroshi ISHII, Muriel R. Cooper Professor of Media Arts and Sciences, MIT Media Laboratory.

Adrian David Cheok is Director of the Mixed Reality Lab, National University of Singapore. He is Associate Professor in the Department of Electrical and Computer Engineering.

Autoren/Hrsg.

Cheok, Adrian David

Inhaltsverzeichnis

1;Foreword;6
1.1;New Communications and the Direction Our Society Moves Toward;6
2;Preface;9
3;Acknowledgments;10
4;Contents;12
5;Introduction;18
5.1;Introduction to Embodied Media;19
5.2;Introduction to Mixed Reality;21
5.3;Feeling Communication;24
5.3.1;Emotional Communication and Entertainment Using Multi-sensory Media;26
5.4;Social and Physical Entertainment;29
5.5;Conclusion;33
5.6;References;34
6;Human Pacman: A Mobile Augmented Reality Entertainment System Based on Physical, Social, and Ubiquitous Computing;36
6.1;Introduction;36
6.2;Background;37
6.3;System Design and Game Play;40
6.3.1;Main Concepts: Team Collaboration, Ultimate Game Objectives and the Nature of Pac-world;41
6.3.2;Pacman and Ghost;44
6.3.3;Helper;46
6.3.4;Actual Game Play;48
6.3.4.1;Starting the Game;48
6.3.4.2;Collection of Plain Cookies;49
6.3.4.3;Collection of Ingredients;50
6.3.4.4;Collaboration Between Players;52
6.3.4.5;(i) Pacman/Ghost and Helper Collaboration;52
6.3.4.6;(ii) Pacman/Pacman Collaboration;52
6.3.4.7;Use of Special Cookie;52
6.3.4.8;Devouring Enemy Player;52
6.3.4.9;Ending the Game;53
6.4;User Study;53
6.4.1;Questions and Aims;54
6.4.2;Discussion;54
6.4.3;Analysis of Message Logs;62
6.4.4;Summary Findings;64
6.5;Mobile Service and Ubicomp Issues;65
6.5.1;Mobile Computing;66
6.5.1.1;Wireless Communication;66
6.5.1.2;Mobility;67
6.5.1.3;Portability;67
6.5.2;Ubicomp;68
6.5.2.1;Tangible Interface;68
6.5.2.2;Context Awareness in Outdoor Environment;69
6.5.3;Addressing Sensor-Tracking Issues;70
6.6;Conclusion;71
6.7;References;72
7;Interactive Theater Experience with 3D Live Captured Actors and Spatial Sound;76
7.1;Introduction;76
7.2;Previous Work on Interactive Theater;77
7.3;New Media Art and Interactive Theater;78
7.4;Background;79
7.4.1;Embodied Mixed Reality Space;79
7.4.2;Live 3D Actors;80
7.4.2.1;Hardware Setup;80
7.4.2.2;Software Components;81
7.4.3;Ambient Intelligence;85
7.5;Interactive Theater System;86
7.5.1;3D Live Capture Room;86
7.5.2;Interactive Theater Space;88
7.5.3;System Interaction Design;90
7.5.4;3D Sound in Interactive Theater Space;91
7.6;Conclusion;98
7.7;References;98
8;Metazoa Ludens: Mixed Reality Interaction and Play Between Humans and Animals;100
8.1;Introduction;100
8.2;Objectives;101
8.3;Related Works;102
8.3.1;Human-Animal Interaction System;102
8.3.2;Remote Interaction System;104
8.3.3;Mixed Reality System;104
8.4;Metazoa Ludens: Fundamental Design;105
8.4.1;Remote Interaction;105
8.4.2;Pet's Choice;105
8.4.3;Pet Interface;105
8.5;System Description;106
8.5.1;System Overview;107
8.5.2;Camera and Tracking Subsystem;107
8.5.2.1;Histogram Based Tracking;108
8.5.3;Hardware Subsystem;110
8.5.4;Moldable Latex Surface;110
8.5.5;Game Subsystem;111
8.5.5.1;Human Avatar;112
8.5.5.2;Pet Avatar;112
8.5.5.3;Virtual Terrain;113
8.5.5.4;Collision Detection and Collision Reaction;113
8.5.6;User Game Play Experience;113
8.6;Evaluation, Results and Discussion;115
8.6.1;Study 1: Health Benefits to the Hamsters;115
8.6.1.1;Subjects;115
8.6.1.2;Procedure;116
8.6.1.3;Statistical Analysis;116
8.6.1.4;Results;116
8.6.2;Study 2: Pets' Choice;117
8.6.2.1;Subjects;117
8.6.2.2;Procedure;117
8.6.2.3;Statistical Analysis;117
8.6.2.4;Results;117
8.6.3;Study 3: Users' Enjoyment Based on Flow;118
8.6.3.1;Subjects;118
8.6.3.2;Procedure;119
8.6.3.3;Results;119
8.7;Framework for Human-Animal Interaction System;120
8.8;Veracity of Telepresence;125
8.9;Conclusion;125
8.10;References;126
9;Poultry Internet;128
9.1;Introduction;128
9.2;Motivation for Human-Pet Touch Interaction;131
9.2.1;Why Do We Keep Animals as Companions?;131
9.2.2;The Effect of Touching and Caressing on Poultry and Other Animals;132
9.3;Review of Related Works;132
9.3.1;Previous Tele-haptic Systems;132
9.3.2;Previous Human-Pet Interaction Systems ;133
9.3.3;Why Not Just Interact with Virtual or Robotic Pet?;134
9.4;Poultry Internet as a Cybernetics System;136
9.5;Technical Details of the Multi-modal Interaction System;136
9.5.1;Overall System;136
9.5.2;Remote Physical Touch;137
9.5.2.1;Mechanical Positioning Table;138
9.5.2.2;Doll;139
9.5.2.3;Mobile Wearable Computer Pet Jacket;140
9.5.3;Computer Vision Pet Tracking;142
9.6;Experiences and User Studies;144
9.7;Wider Applications;148
9.7.1;Multiplexing Existing Communication Channels;148
9.7.2;Intimacy Through Ubiquitous Computing;149
9.7.3;Spying/Rescuing Pet;150
9.8;Conclusion and Future Works;150
9.9;References;152
10;Age Invaders: Entertainment for Elderly and Young;154
10.1;Introduction;154
10.2;Related Work;156
10.3;Design Methodology;157
10.3.1;Problem Identification;157
10.3.2;Problem Exploration;158
10.3.3;Design Goals;159
10.4;Design Requirements;160
10.4.1;Resources and Time Constraints;160
10.4.2;User Needs;161
10.4.3;Context of Use;161
10.5;Design Idea Generation;161
10.6;Prototype Iterations;162
10.7;Current System Description;163
10.7.1;System Architecture;163
10.7.2;Game Play;165
10.8;User Studies Results;167
10.8.1;Intergenerational Player Study;167
10.8.2;Focus Group Session with Older Players;168
10.8.3;Physical Interface Design Issues;169
10.8.4;Physicality Issues of the Virtual and Physical Player Roles;171
10.9;Software Libraries and Toolkit;172
10.9.1;Aipic Object;173
10.9.2;Shoe Object;173
10.9.3;Convert Object;173
10.9.4;Instrument Object;174
10.9.5;Burn Object;174
10.10;Product Development;175
10.11;Conclusion;176
10.12;References;176
11;Huggy Pajama: A Remote Interactive Touch and Hugging System;178
11.1;Introduction;178
11.2;Background;181
11.2.1;Why Touch Communication?;181
11.2.2;Previous Work;182
11.3;System Description;185
11.3.1;Mediated Touch Module;185
11.3.1.1;Input Touch Sensing Module;186
11.3.1.1.1;QTC-Based Force Sensing Unit;187
11.3.1.2;Output Touch Actuation Module;188
11.3.2;Thermal Controlled Fabric Display;190
11.3.2.1;Temperature Control System;191
11.3.2.2;Thermo-Electric Temperature Control System;191
11.3.3;Design of Experiments;192
11.3.3.1;Quantitative Study;192
11.3.3.1.1;Experiment Setup;194
11.3.3.1.2;Participants Description;194
11.3.3.1.3;Procedure;194
11.3.3.1.4;Data Analysis;196
11.3.3.2;Qualitative Study;197
11.4;Results and Discussion;197
11.4.1;Input Touch Sensing Module;197
11.4.2;Output Touch Actuation Module;198
11.4.3;Thermal Control System;202
11.4.3.1;Color Changing Fabric Display;202
11.4.4;Evaluation of System;204
11.4.4.1;Quantitative Study;204
11.4.4.2;Qualitative Study;206
11.5;Conclusion;208
11.6;References;209
12;Culture Computing: Interactive Technology to Explore Culture;212
12.1;Introduction;212
12.2;Prior Research;213
12.3;Features of Cultural Computing;214
12.4;Media Me;215
12.4.1;Introduction;215
12.4.2;Motivation;218
12.4.3;System Description;218
12.4.4;Video Indexing;221
12.5;BlogWall;223
12.5.1;Introduction;223
12.5.2;Motivation;223
12.5.3;System Description;224
12.5.3.1;Standard Display Mode;225
12.5.3.2;Polling Mode;225
12.5.3.3;Keyword Triggering Mode;225
12.5.3.4;Poetry Mixing Mode;226
12.5.4;An Example of Poetry Mixing;229
12.6;Confucius Computer;232
12.6.1;Introduction;232
12.6.2;Motivation;232
12.6.3;System Description;232
12.7;Conclusion;235
12.8;References;237
13;Kawaii/Cute Interactive Media;240
13.1;Introduction;240
13.2;The Cute Aesthetic;240
13.2.1;Kawaii: Cute Culture History and Development in Japan;240
13.2.2;History of Manga;242
13.2.3;Kawaii Culture Development in Modern Japan;244
13.2.4;Kawaii Globalization;245
13.3;Contemporary Perceptions of Kawaii/Cute;247
13.4;Cuteness in Interactive Systems;247
13.4.1;Child-Like Innocence and Play;248
13.4.2;Moments of Surprise;248
13.4.3;Relationship with Object's Personality;249
13.5;Studying Cuteness;249
13.5.1;Defining Cuteness;250
13.5.2;Color Selection;250
13.5.2.1;Why These Colors?;251
13.5.3;Texture;252
13.5.3.1;Texture Study Details;252
13.5.3.2;Why These Textures?;253
13.5.4;Motion;253
13.5.4.1;Why These Movements?;254
13.5.5;Sound;254
13.5.5.1;Why Are These Sounds so Cute?;255
13.5.6;Size and Proportion;255
13.5.6.1;Why Are These Proportions Cute?;257
13.5.7;Shapes and Form;257
13.5.8;Smell and Taste;260
13.6;Related Works. Cute Interactive Systems;260
13.7;Cute Engineering;261
13.7.1;Cute Filter;261
13.7.2;Research-Oriented Design;263
13.8;Qoot Systems. Petimo and Virtual World for Social Networking;263
13.9;Sensing, Actuation and Feedback;266
13.9.1;Sensing;267
13.9.1.1;Touch Sensing;267
13.9.2;Actuation and Feedback;268
13.9.2.1;Display Module;268
13.10;Conclusion;270
13.11;References;270
14;Designing for Entertaining Everyday Experiences;272
14.1;Introduction;272
14.2;Everyday Media;273
14.2.1;Amagatana;274
14.2.1.1;Interaction Design;275
14.2.1.2;Technology;275
14.2.2;Tabby;275
14.2.2.1;Interaction Design;275
14.2.2.2;Technology;276
14.3;Embodied Media;276
14.3.1;Morel;277
14.3.1.1;Interaction Design;277
14.3.1.2;Technology;277
14.3.2;MYSQ;278
14.3.2.1;Interaction Design;278
14.3.2.2;Technology;278
14.3.3;livePic;279
14.3.3.1;Interaction Design;279
14.3.3.2;Technology;280
14.4;Sensuous Media;281
14.4.1;Nozoki-Hana;281
14.4.1.1;Interaction Design;282
14.4.1.2;Technology;282
14.4.2;Mamagoto;283
14.4.2.1;Interaction Design;283
14.4.2.2;Technology;283
14.5;Collective Media;284
14.5.1;Mopie;284
14.5.1.1;Interaction Design;284
14.5.1.2;Technology;285
14.6;Conclusion;285
14.7;References;286
15;Tabletop Games: Platforms, Experimental Games and Design Recommendations;288
15.1;Introduction;288
15.2;Tabletop Hardware & the Types of Interaction They Support;289
15.2.1;SmartBoard;290
15.2.2;DiamondTouch;290
15.2.3;SmartSkin;291
15.2.4;Microsoft Surface;292
15.2.5;Frustrated Total Internal Reflection (FTIR);293
15.2.6;Entertaible;293
15.2.7;Stylus;294
15.3;Experimental Tabletop Games;295
15.3.1;Educational;295
15.3.2;Therapeutic;297
15.3.3;Entertainment;300
15.4;Case Studies;301
15.4.1;Jam-O-World: CircleMaze;301
15.4.2;CircleMaze;302
15.4.3;User Testing and Observations;303
15.4.4;Porting to a Direct-Touch Tabletop;303
15.4.5;Comino and NeonRacer;303
15.4.6;User Testing and Observations;304
15.4.7;Interaction Design for a Walk-up-and-Use Tabletop Game;305
15.5;Heuristics for Tabletop Games;306
15.5.1;Evaluation Process;307
15.6;Ten Heuristics for Tabletop Games;310
15.6.1;Cognitive Workload;310
15.6.2;Challenge;310
15.6.3;Reach;310
15.6.4;Examinability;311
15.6.5;Adaptability;311
15.6.6;Interaction;311
15.6.7;Level of Automation;311
15.6.8;Collaboration and Communication;312
15.6.9;Feedback;312
15.6.10;Comfort of the Physical Setup;313
15.7;Conclusions;313
15.8;References;313
16;Index;316