Huang / Wang Arts and Technology

First International Conference, ArtsIT 2009, Yi-Lan, Taiwan, September 24-25, 2009, Revised Selected Papers
1. Auflage 2010
ISBN: 978-3-642-11577-6
Verlag: Springer
Format: PDF
Kopierschutz: 1 - PDF Watermark

E-Book, Englisch, Band 30, 292 Seiten

Reihe: Lecture Notes of the Institute for Computer Sciences, Social Informatics and Telecommunications Engineering

This book constitutes the thoroughly refereed post-conference proceedings of the First International Conference on Arts and Technology, ArtsIT 2009, which was held in September 2009 in Yi-Lan, Taiwan. The 33 revised full papers presented were carefully reviewed and selected from about 50 submissions. These papers cover various topics such as New Media Technologies (tracking sensors, wearable computers, mixed reality), Software Art (Image processing or computer graphics techniques that create arts, including algorithmic art, mathematic art, advanced modeling and rendering), Animation Techniques (2D or 3D computer animations, AI-based animations), Multimedia (Integration of different media, such as virtual reality systems, audio, performing arts) as well as Interactive Methods (Vision-based tracking and recognition, interactive art).

Autoren/Hrsg.

Wang, Reen-Cheng

Huang, Fay

Inhaltsverzeichnis

1;Preface;5
2;Organization;7
3;Table of Contents;9
4;From Digital Imaging to Computer Image Analysis of Fine Art;12
4.1;Introduction;12
4.1.1;Authentication and Attribution;13
4.1.2;Stylometry;14
4.1.3;Dating of Works;14
4.1.4;Predicting the Effects of Conservation Treatment;14
4.1.5;Rejuvenating Faded Works;15
4.1.6;Inferring Artists’ Working Methods;15
4.1.7;Rendering New Views for Visualization;17
4.2;Conclusion;17
4.3;References;17
5;Panoramic and 3D Computer Vision;20
5.1;Introduction;20
5.2;Catadioptric into Cylindric Images;22
5.2.1;Hyperbolic into Cylindric Images;22
5.2.2;Parabolic into Cylindric Images;24
5.3;Fish-Eye into Cylindric Images;25
5.4;Experiments;26
5.5;Concluding Remarks;27
5.6;References;27
6;Meaningful Engagement: Computer-Based Interactive Media Art in Public Space;28
6.1;Introduction – The Research Background;28
6.2;The Pilot and Field Studies;29
6.2.1;Initial Findings;30
6.3;Characteristics of Engagement;31
6.3.1;Playfulness;31
6.3.2;Dominance Transfer;32
6.3.3;Mind-Orientedness;32
6.3.4;Accessible Challenges;33
6.4;Interactivity in Free Accessible Public Spaces;33
6.5;Conclusion and Future Works;34
6.6;References;34
7;Interactive WSN-Bar;36
7.1;Introduction;36
7.2;Concepts of Interactive WSN-Bar;37
7.2.1;Module 1 – Garden of Light;37
7.2.2;Module 2 – Vivacious Bushes;39
7.3;Interactive Technology;39
7.3.1;Vision-Based Tracking System;39
7.3.2;Transmission and Positioning of WSN;40
7.4;Conclusion;42
7.5;References;42
8;Immersive Painting;44
8.1;Introduction;44
8.2;State of the Art;45
8.3;Feature Extraction from Biosignals;46
8.4;The Painting Device;48
8.5;Conclusion and Future Work;48
8.6;References;49
9;Sonic Onyx: Case Study of an Interactive Artwork;51
9.1;Introduction;51
9.1.1;Research Background and Method;52
9.2;Sonic Onyx – An Interactive Art Installation;52
9.2.1;The Hardware;53
9.2.2;The Software;54
9.2.3;How Does It Work;54
9.3;Development Context of the Project;55
9.4;Evaluation of the Project;56
9.5;Conclusion;57
9.6;References;57
10;An Interactive Concert Program Based on Infrared Watermark and Audio Synthesis;59
10.1;Introduction;59
10.1.1;Digital Halftoning Technique;59
10.1.2;Digital Watermarking in Printed Medium;60
10.1.3;The Characteristics of Inks under Infrared;61
10.2;Methods;61
10.2.1;Music Data Encoding;62
10.2.2;Design of the Infrared Watermark;62
10.2.3;Audio Synthesis and System Installation;63
10.3;Results and Discussion;64
10.4;Conclusions;65
10.5;References;66
11;Butterfly Effect Fractal;67
11.1;Introduction;67
11.2;The Butterfly Effect;68
11.2.1;Lorenz Equations and Lorenz Attractor;68
11.2.2;Integration of Fractal and Lorenz Equations;69
11.3;Program Design;70
11.3.1;Results;73
11.4;Conclusions;73
11.5;References;74
12;Pattern Formation in Networks Inspired by Biological Development;75
12.1;Introduction;75
12.2;Pattern Formation in Euclidean Spaces;76
12.2.1;The Conceptual Framework;76
12.2.2;Example Algorithm;77
12.2.3;Generating Gray-Scaled Images;79
12.3;Pattern Formation in Networks;80
12.4;Concluding Remarks;82
12.5;References;82
13;A Watercolor NPR System with Web-Mining 3D Color Charts;83
13.1;Introduction;83
13.2;3D Color Charts;84
13.2.1;The Basis of Color Combination;84
13.2.2;Customizing the Color Charts;85
13.3;System Architecture of the 3D Watercolor NPR System with a Sketch-Based GUI;85
13.3.1;Compose 3D Scene and Synthesize Strokes;85
13.3.2;Watercolor Simulation;87
13.3.3;Lattice Boltzmann Method (LBM);87
13.3.4;Automatic and Hand-Drawing Phases;87
13.4;Experimental Results;87
13.5;Conclusion and Future Work;89
13.6;References;90
14;Gas and Shadow Swing;91
14.1;Introduction;91
14.2;Creative Ideas;91
14.3;Literature Review;92
14.4;Research Methods;93
14.5;Conclusion;98
14.6;References;98
15;Artist-Oriented Real-Time Skin Deformation Using Dynamic Patterns;99
15.1;Introduction;99
15.2;Related Work;101
15.3;Skin Deformation;102
15.4;Implementation;103
15.4.1;User Interface;104
15.4.2;Deformation Model;104
15.5;Experiments and Discussion;105
15.6;Conclusion;106
15.7;References;106
16;Interaction Analysis in Performing Arts: A Case Study in Multimodal Choreography;108
16.1;Introduction;108
16.2;The Typology of Actors and of Their Interactions;109
16.3;The Interactive Analysis;110
16.4;A New Situation;110
16.5;The Modelling of the Virtual Elements and Their Interactions;112
16.6;The Simulation Exercise;112
16.7;Conclusion and Perspectives;114
16.8;References;115
17;BWAIN: An Artistic Web Interpretation;116
17.1;Introduction;116
17.2;Program Development;118
17.3;Sound;119
17.4;Visualization;120
17.5;UserInterface;121
17.6;Conclusion;122
17.7;References;122
18;Treasure Transformers: Novel Interpretative Installations for the National Palace Museum;123
18.1;Introduction;123
18.2;Related Works;124
18.3;Design Principles;125
18.4;System Implementation;126
18.4.1;uPoster: Ladies, People Are Coming;126
18.4.2;$i-m-Top$: Livening Up Paintings on the Tabletop;126
18.4.3;Interactive Virtual Display: Magic Crystal Ball;127
18.4.4;Virtual Panel: Animals of Fantasy;127
18.5;Evaluation;128
18.6;Conclusion;129
18.7;References;130
19;JacksonBot – Design, Simulation and Optimal Control of an Action Painting Robot;131
19.1;Introduction;131
19.2;TheRoboticsPlatform;133
19.3;Optimal Control Based Solution of Inverse Kinematics to Generate Robot Motions;134
19.4;Example Paintings Generated by JacksonBot;136
19.5;Conclusion;138
19.6;References;138
20;RF Sounding: A System for Generating Sounds from Spectral Analysis;139
20.1;Introduction and Motivations;139
20.2;System Architecture;140
20.3;Localization;143
20.4;Spatialization and Sound Processing;143
20.5;Conclusions and Future Works;145
20.6;References;145
21;Depicting Time Evolving Flow with Illustrative Visualization Techniques;147
21.1;Introduction;147
21.2;Related Work;148
21.3;Object-Based Approach;149
21.3.1;Transfer Function Specification;150
21.3.2;Feature Extraction and Tracking;150
21.3.3;Spatio-temporal Fade-in and Contour Rendering;150
21.3.4;Results;150
21.4;Image-Based Approach;152
21.4.1;Edge Detection;153
21.4.2;Toon-Shading;153
21.4.3;Color Blending and Enhancement;154
21.4.4;Interactive Composition;154
21.4.5;Results;154
21.5;Discussion;155
21.6;Conclusions and Future Work;156
21.7;References;157
22;Augmenting a Ballet Dance Show Using the Dancer’s Emotion: Conducting Joint Research in Dance and Computer Science;159
22.1;Introduction and Related Works;159
22.2;Gesture-Based Emotion Recognition;160
22.3;Augmenting a Ballet Dance Show: Use Case;161
22.3.1;eMotion Application;162
22.3.2;Moven Studio Application;162
22.3.3;ShadoZ Application;162
22.3.4;Augmented Technologies, a Support for Research in Dance;163
22.4;Experience and Events: Bases of Joint Research;164
22.4.1;Affective Dance Collection;164
22.4.2;Ethiopiques: An Improvised Augmented Show Combining Dance, Music, Text Reading and a Virtual World;164
22.4.3;An Open Danced Talk;165
22.5;Conclusion;165
22.6;References;166
23;Automatic Skin Color Beautification;168
23.1;Introduction;168
23.2;Backgrounds;168
23.2.1;Skin Color Detection;168
23.2.2;Face Detection;169
23.2.3;Bilateral Filter;170
23.2.4;Seamless Cloning;170
23.3;Our Proposed Method;171
23.4;Experimental Result;172
23.5;Conclusion;175
23.6;References;175
24;Tracking Small Artists;176
24.1;Introduction;176
24.2;TheArtists;178
24.2.1;Rats;178
24.2.2;Skinks;179
24.2.3;Geckos;181
24.3;Discussion;182
24.4;References;183
25;RealSurf – A Tool for the Interactive Visualization of Mathematical Models;184
25.1;Introduction;184
25.2;AnExample;185
25.3;Real Time and Singularities;186
25.3.1;Ray Tracing;186
25.4;RealSurf;187
25.5;Some Recipes for Creating Interesting Figures;188
25.6;Concluding Remarks;190
25.7;References;191
26;Creating Wheel-Thrown Potteries in Digital Space;192
26.1;Introduction;192
26.2;ProposedMethod;193
26.2.1;Algorithm for Digital Wheel-Throwing;196
26.2.2;Creating Textured/Painted Potteries;197
26.3;Experiments and Results;199
26.4;Conclusion and Future Possibilities;199
26.5;References;199
27;Low-Level Image Processing for Lane Detection and Tracking;201
27.1;Introduction;201
27.2;Bird’s-Eye View Mapping;202
27.2.1;Warp Perspective Mapping;202
27.2.2;Inverse Perspective Mapping;203
27.3;Edge Detection and Denoising;204
27.4;Distance Transform;205
27.5;Experiments;207
27.6;References;208
28;Lane Detection on the iPhone;209
28.1;Introduction;209
28.2;iPhone;210
28.3;Lane Detection;211
28.3.1;Preprocessing;212
28.3.2;Lane Detection Using a Hough Transform;212
28.3.3;Hypotheses Testing Using Multiple Cues;214
28.4;Experiment;214
28.5;Conclusions;215
28.6;References;216
29;Traditional Culture into Interactive Arts: The Cases of Lion Dance in Temple Lecture;217
29.1;Introduction;217
29.1.1;Motivation for the Research;217
29.1.2;The Objectives of the Research;217
29.2;Literature Review;218
29.2.1;The Interaction Design and Interface;218
29.2.2;Lion Dance’s History;218
29.2.3;Interactive Media and Traditional Culture;220
29.3;Interactive Interface Design;220
29.3.1;Principles of Design;220
29.3.2;Image Acquisition;221
29.3.3;Reference Creative Technology;221
29.3.4;Work Design Characteristics;221
29.4;The Experimental Results;222
29.4.1;Design Concepts;222
29.4.2;Experiments;222
29.4.3;Preliminary Results of the Experiment;223
29.4.4;Display of Results;224
29.5;Conclusion and Concluding Remarks;224
29.6;References;225
30;Improving Optical Flow Using Residual and Sobel Edge Images;226
30.1;Introduction;226
30.2;Smoothing Operators and Residuals;228
30.3;Optical Flow on EISATS Dataset;230
30.4;Conclusions and Future Research;232
30.5;References;233
31;3 Case Studies: A Hybrid Educational Strategy for ART/SCI Collaborations;234
31.1;Introduction;234
31.1.1;Instructional Strategies;234
31.1.2;Developing a Transdisciplinary Syllabus;235
31.1.3;Project Development;235
31.2;The Projects;236
31.2.1;Project 01: The Miro Avatar;236
31.2.2;Project 02: “Hairogram”;237
31.2.3;Project 03: The Reflexive Campus;239
31.3;Future Work;240
31.4;References;241
32;A Multimedia, Augmented Reality Interactive System for the Application of a Guided School Tour;242
32.1;Introduction;242
32.2;Background;243
32.3;System Design and Implementation;243
32.3.1;System Design;243
32.3.2;System Setup;244
32.3.3;Camera Adjustment;245
32.3.4;Image Acquisition;246
32.3.5;Fingertip Detection;246
32.3.6;Coordinate Extraction;247
32.3.7;Presentation of Selected Information;248
32.4;Discussion;248
32.5;Conclusion;248
32.6;References;249
33;Reconstruction of Cultural Artifact Using Structured Lighting with Densified Stereo Correspondence;250
33.1;Introduction;250
33.2;System Setup;251
33.2.1;Physical Setup;251
33.2.2;Lens Calibration;252
33.3;Stereo Correspondence;253
33.3.1;Establishing Correspondence;253
33.3.2;Quantitative Confidence;255
33.3.3;Correspondence Adjustment;255
33.4;Experiment;256
33.5;Conclusion and Future Work;256
33.6;References;257
34;Motion Generation for Glove Puppet Show with Procedural Animation;258
34.1;Introduction;258
34.2;Related Work;259
34.3;Animation System Design;260
34.3.1;Animation Platform;260
34.3.2;Kinematics Model;261
34.3.3;Motion Model;261
34.4;Experimental Results;263
34.5;Conclusion and Future Work;265
34.6;References;265
35;Can’t See the Forest: Using an Evolutionary Algorithm to Produce an Animated Artwork;266
35.1;Introduction;266
35.2;Related Work;267
35.3;Artistic Inspiration;268
35.4;Shroud Program;269
35.4.1;The Evolutionary Algorithm;269
35.5;Producing the Work with ‘Shroud’;270
35.5.1;Selection and Preparation of Suitable Target Images;270
35.5.2;Choices for the Artist;271
35.6;Reflection on Challenges and Opportunities;272
35.7;Conclusions and Future Work;272
35.8;References;273
36;Automatic Generation of Caricatures with Multiple Expressions Using Transformative Approach;274
36.1;Introduction;274
36.2;Caricature Generation;276
36.3;Synthesis of Multiple Expressions;280
36.4;Conclusions;281
36.5;References;281
37;The Autonomous Duck: Exploring the Possibilities of a Markov Chain Model in Animation;283
37.1;Introduction;283
37.2;Technical Background;284
37.2.1;Markov Random Processes;284
37.3;Description;284
37.3.1;General Scheme;284
37.3.2;Set of States;285
37.3.3;Continuous Parameters;286
37.4;Autonomous Mode;287
37.5;Interpolation;287
37.5.1;Interpolation of States;287
37.5.2;Interpolation of Continuous Parameters;287
37.6;Results and Future Development;289
37.7;References;289
38;MixPlore: A Cocktail-Based Media Performance Using Tangible User Interfaces;290
38.1;Introduction;290
38.2;Scenario and Approach;292
38.2.1;Recipe Observation;292
38.2.2;Possible Scenarios;293
38.2.3;Design Approach;293
38.3;MixPlore System;294
38.3.1;Interfaces and System Design;294
38.4;Sound Engine and Performance Design;296
38.4.1;Sound Engines Based on 2 Scenarios;296
38.4.2;Composition;297
38.4.3;Performance Repertoires;297
38.5;Discussion and Future Works;299
38.5.1;System and Interfaces Aspects;300
38.5.2;Performance Aspects;300
38.6;Conclusion;301
38.7;References;301
39;Author Index;302