Methods to Create Systems for the Analysis and Synthesis of Communicative Information

This article presents approaches, methods, and algorithms for the intellectualization of existing systems and development of fundamentally new systems of transformation of information into forms convenient for human perception. Interfaces with computer environments are proposed for text, voice, and visual ways of communication and their interaction. Information technologies are developed to create tools for training people with hearing impairments, communication with people with disabilities, in medicine, etc.     

The student's construction of artistic truth in digital images

Images that clearly present a constructed physical truth, like digital images, remind us to question the reality factor of any image. Because many digital images appear to be photographic, or photographic-like, the medium forces artists to revisit what a photograph, and consequently a digital image, represents. In turn, this rethinking influences how students in computer art see reality and truth when they create digital imagery. Embracing this question, some digital artists have constructed visual narratives that appear photographic, yet lack the physical world referent that their images imply. Since the late 1980s and early 1990s, when this kind of construction became popular, many digital artists have grappled with how to identify the truth in their images. This study describes how some advanced digital art students resolved this conflict by defining their own artistic truths.     

虚拟现实技术在柔性上肢康复机器人中的应用

根据末端牵引式和外骨骼式上肢康复机器人的特性,研制了一种新型的柔性上肢康复机器人。机器人的康复训练系统结合了主动和被动模式的要素,将虚拟现实（VR）技术引入上肢康复机器人,通过现实环境中的光学3D位置捕获以及VR环境中的3D位置感知,设计了虚拟动态模型交互性节点和碰撞检测实验,实现虚拟现实交互,提高虚拟模型运动实时效果和上肢康复训练精度。VR和新颖的康复机器人的集成为具有特定任务的患者提供了有效的训练。     

上肢康复外骨骼机器人的模糊滑模导纳控制

为了辅助上肢运动功能障碍患者进行不同模式的康复训练,基于上肢康复外骨骼机器人系统,提出了一种模糊滑模导纳控制策略,实现训练过程的人机协调控制.首先,介绍了康复外骨骼的整体结构和实时控制平台.然后,分析了模糊滑模导纳控制算法的推导过程,并根据李亚普诺夫稳定性判据证明系统的稳定性.最后,在不同系统导纳参数条件下,分别进行被动训练模式和主动训练模式实验,并对比分析了实验过程中运动偏差、人机交互力以及肱二头肌表面肌电信号的变化特点.实验结果表明,选择合适的目标导纳模型可以优化康复训练强度与难度,提高人机交互柔顺性与患者参与度,满足不同瘫痪程度和康复进度患者的训练需求.     

浅谈互动装置艺术

随着时代的发展与科技的进步,互动装置艺术逐渐成为国际上颇具活力的新艺术形式。艺术家们运用互动装置艺术的独特语言模式去创作视觉形象和营造视觉环境,并通过与作品的互动激发人们的视觉联想,最终使人们感受到一种全新的审美体验,在理性与感性的不断变换中引发人们的思考。文章通过对互动装置艺术的发展历史、概念及特征的介绍,阐述了互动装置艺术拓宽了艺术作品的表现力与感染力,为人们的观看方式提供了新的尝试与可能,也无疑将成为艺术家去表现想象与真实交织的视觉幻境的艺术实践必不可少的创作手段。     

Towards a computerized Arabic Braille environment

People with visual disabilities face many difficulties and barriers when using computers and the Internet. Such people need the help of IT developers to create adaptive technologies that facilitate their interaction with the computers and Internet. This paper presents the design and implementation of an Arabic Braille environment (ABE). The paper also exposes to the reader the ABE's functionality and unique features. The ABE is designed to facilitate Arabic‐speaking visually impaired people interaction with computers, as well as helping sighted users to communicate with the visually impaired. Copyright © 2003 John Wiley & Sons, Ltd.     

Loa and behold: voice ghosts in the new technoculture

This article suggests that the use of femininity and voice in digital art practice has a powerful potential to conjure provocative spaces in the new technoculture. Using a range of theoretical writers including Margaret Morse, Nell Tenhaaf, Simon Penny, Brenda Laurel and Sue-Ellen Case, the article traces contemporary thought on femininity, technology and voice. Gilson-Ellis uses her own choreographic / poetic practice as examples in these discussions. Through an adaptation of Sue-Ellen Case's proposal of the voudou vever and the loa, the article suggests that the voice in relation to writing and new technologies has a radical potential to open up alternative kinds of spaces in digital art practice.     

Interactive Physics‐based Ink Splattering Art Creation

This paper presents an interactive system for ink splattering, a form of abstract art that artists splat ink onto the canvas. The default input device of our system is a pressure‐sensitive 2D stylus, the most common sketching tool for digital artists, and we propose two interaction mode: ink‐flicking mode and ink‐dripping mode , that are designed to be analogous to the artistic techniques of ink splattering in real world. The core of our ink splattering system is a novel three‐stage ink splattering framework that simulates the physics‐based interaction of ink with different mediums including brush heads, air and paper. We have implemented the physical engine in CUDA and the whole simulation process runs at interactive speed.     

电脑技术与当代艺术

当代艺术发展中的一个鲜明特征是艺术对高新技术成果的吸收与利用。高新技术在开阔人们视野、活跃人们思维的同时,也改变着艺术的存在方式,催助着艺术类型的增加和转换。电脑技术(硬件和软件)的迅速发展为数字艺术创作者提供了技术上的支持和保障,为数字艺术创作的快速发展提供了可能性,把艺术空间从二维拓展到三维,开拓了艺术创作的新领域,使艺术的表现形式也越来越趋向于综合。电脑技术作为艺术创作的工具,给艺术家提供了多种多样的创作和制作空间。     

Developing a limb repositioning robotic interface for persons with severe physical disabilities

Limb repositioning is necessary for individuals with severe physical disabilities to sustain muscle strength and prevent pressure sores. As robotic technologies become ubiquitous, these tools offer promise to support the repositioning process. However, research has yet to focus on ways in which individuals with severe physical disabilities can control robots for these tasks. This paper presents a study that examines the needs and attitudes of potential users with physical disabilities to control a robotic aid for limb repositioning. Subjects expressed interest in using brain–computer interface (BCI) and speech recognition technologies for purposes of executing robotic tasks. The performance of four subjects controlling arm movements on an avatar through the keyboard, mouse, BCI, and Dragon NaturallySpeaking speech recognition was evaluated. Although BCI and speech technologies may limit physical fatigue, more challenges were faced using BCI and speech conditions compared to the keyboard and mouse. This research promotes accessibility into mainstream robotic technologies and represents the first step in the development of a robotic prototype using a BCI and speech recognition technologies for limb repositioning.     

基于无模型自适应的外骨骼式上肢康复机器人主动交互训练控制方法

设计了一种基于无模型自适应的外骨骼式上肢康复机器人主动交互训练控制方法.在机器人与人体上肢接触面安装力传感器采集人机交互力矩信息作为量化的主动运动意图,设计了一种无模型自适应滤波算法使交互力矩变得平滑而连贯;以人机交互力矩为输入,综合考虑机器人末端点与参考轨迹的相对位置和补偿力的信息,设计了人机交互阻抗控制器,用于调节各关节的给定目标速度;设计了将无模型自适应与离散滑模趋近律相结合的速度控制器完成机器人各关节对目标速度的跟踪.仿真结果表明,该控制方法可以实现外骨骼式上肢康复机器人辅助患者完成主动交互训练的功能.通过调节人机交互阻抗控制器的相应参数,机器人可以按照患者的运动意图完成不同的主动交互训练任务,并在运动出现偏差时予以矫正.控制器在设计实现过程中不要求复杂准确的动力学建模和参数识别,并有一定的抗干扰性和通用性.     

Digital eco-art: transformative possibilities

Abstract

Cave paintings bear witness that, early in human cultural development, art and the means to create it (technology) became a method of expression and translation of human interconnectedness with nature defined as the non-human-made world. Contemporary new media artists interacting with nature through the medium of digital technologies in situ continue this exploration within the genre referred to as “digital eco-art”. LocoMotoArt, an independently powered creative field system, was used as a vehicle for conducting media arts practice in natural settings during a three-year qualitative field research project. Findings indicate that human–technology–nature interconnectedness is a possible conduit for establishing a role for digital technology beyond social networking, computing, information gathering and gaming to engage with nature. We argue that digital eco-artists are at the vanguard of creating a new sense of aesthetic and environmental engagement, proportions of which emerge as transformative possibilities. The art experience of digital eco-art can change from being a contemplative one to a living experience.     

Real-time 3D fluid simulation digital art using BCI

We present a methodology about real-time 3D fluid simulation system using BCI (brain–computer interface). Spectators appreciate our work with their emotion. The advance of technology has exerted huge impacts on arts and as result a new genre called digital art has emerged. In digital art, interaction is an important element. Various types of interaction are being implemented in digital art using touch, hand gesture, sound, movement, etc., even brain wave. Usually, digital artists pursue interactions in their art work; the reason is that they want spectators’ deep appreciation and involvement. However, many of interactive digital art works fail to induce interaction as much as the artists expected. If visible interaction is weak, or interaction result is weak, spectators are not immersed much in the work. Nowadays, there are many interactive digital arts. In digital art, new type of interaction is needed to captivate spectators. So, we tried to implement BCI interaction digital art prototype (tentative title: Soul flow). Electroencephalography (EEG) is the recording of brain electrical activity along the scalp. We measured user’s EEG signal using MindSet (the MindSet senses EEG brainwave data to power the innovation of laboratory researchers and application developers like no other EEG device in the world. It delivers RAW signal, power frequency bands and NeuroSky eSense meters:attention, meditation. http://www.neurosky.com/products/mindset.aspx) to take user’s emotional state on appreciating digital art. We can get user’s emotional state in four categories (attention/inattention, meditation/uneasiness) and these emotional states interact with 3D fluid simulation system in real-time. In this art work prototype, each spectator experiences each different fluid (scale, speed and visual) because each spectator has different emotional state. Our art work prototype expressed the flow through water flow simulation. Flow means the mental state of operation in which a person performing an activity is fully immersed in a feeling of energized focus, full involvement, and enjoyment in the process of the activity. In essence, flow is characterized by complete absorption in what one does (The psychology of optimal experience 1990). In addition, it means stream in water flow. We pursued these concepts and expressed to 3D fluid simulation digital art using BCI. We used Unity3D and MindSet to implement our art work prototype. This study will expand the participation of the spectator in digital art. In addition, it will expand the possibilities of BCI in digital art interaction.     

Axonometry: a matter of perspective

Since the 1920s axonometry, or parallel perspective, has provided an important graphic technique for artists, architects, and engineers. Like linear perspective, axonometry helps depict 3D space on the 2D picture plane. It usually comes as a standard feature of CAD systems and other visual computing tools. However, axonometry originated in China. Its function in Chinese art was similar to linear perspective in European art. Axonometry, and the pictorial grammar that goes with it, has taken on a new significance with the advent of visual computing. Although research on axonometry's origin is far from complete, I summarize its main features. Axonometry is part of a coherent pictorial language and a valuable alternative to photorealistic imagery based on European linear perspective. Axonometry is an essential feature of CAD systems and multimedia authoring programs. Most visual computing tools use a combination of axonometry and isometry with linear perspective to create anything from computer games to virtual reality worlds     

数字化时代艺术审美思想的演变及反思

在数字时代,艺术家们利用数字技术塑造了亘古未有的视听奇观,给人们带来强烈的感官震撼。然而,数字科技特有的功利性、无限复制等特征也渗入了艺术之中,造成当代艺术审美思想的深刻变化,主要体现在主客体间审美距离的消失,数字艺术对于功利性、生理性感官刺激的追求、以及数字艺术的审美泛化中。而这些变化的反思对于艺术的健康发展显得尤为重要。     

虚拟服装展示系统的比较研究

虚拟服装展示是借助立体全息技术、互联网或数字互动大屏幕来展示人体或数字角色“穿上”虚拟服装后的动态视觉效果。随着数字媒体艺术、交互技术和立体显示技术的发展,虚拟服装展示系统被广泛用于立体时装设计、服装表演、娱乐秀、商场试衣以及电视广告等领域。本文分析比较了近年来国内外虚拟服装展示领域的技术发展,并归纳总结出当前虚拟服装展示的5种人机交互模式。作者认为：随着全息技术、体感交互、立体视觉和增强现实等智能环境技术的发展,以“私人订制”为代表的个性化、时尚化和智能化的虚拟试衣体验将成为未来人们服装购买体验中不可或缺的重要环节之一。     

State of the Art on Stylized Fabrication

Digital fabrication devices are powerful tools for creating tangible reproductions of 3D digital models. Most available printing technologies aim at producing an accurate copy of a tridimensional shape. However, fabrication technologies can also be used to create a stylistic representation of a digital shape. We refer to this class of methods as ‘stylized fabrication methods’. These methods abstract geometric and physical features of a given shape to create an unconventional representation, to produce an optical illusion or to devise a particular interaction with the fabricated model. In this state‐of‐the‐art report, we classify and overview this broad and emerging class of approaches and also propose possible directions for future research.     

Modeling and Verification of a Bimanual-Coordinated Training System

Recently, much attention has been paid to the development of robots that support bilateral arm training in various patterns. However, traditional bimanual rehabilitation robots usually realized different training modes with the robot providing a corresponding force for the impaired limb or else achieved an active-assisted mode with the healthy limb providing an assisted force for the impaired one. This paper proposes a robot to support bimanual-coordinated training. Different training modes are realized with one limb providing a corresponding force for the other limb. Two upper limbs accomplish symmetric movements in each training mode. Motion tracking training in active-resisted and active-assisted modes was performed on 11 healthy subjects. After bimanual-coordinated training, position tracking precision was significantly improved. The preliminarily results confirmed the feasibility of the system for supporting healthy subjects in performing bimanual-coordinated training tasks and demonstrated the effectiveness of the system in improving bimanual-coordinated performance of healthy subjects. Such a system could be potentially useful for patients who are in need of motor function rehabilitation after incidents such as stroke.     

艺术语言的游戏——从情态到语态的语言法则

艺术创作是在一定的社会环境中,在特定的意识形态支配下,艺术家用其独特的表现手法对社会的写照,情感的宣泄.意志的传递.本文通过对艺术创作中三种写作模式,既情态文本模式,意态文本模式、语态文本模式的探讨。提供了对艺术品的鉴赏与创作表现上多角度认识。     

Surface Capture for Performance-Based Animation

Creating realistic animated models of people is a central task in digital content production. Traditionally, highly skilled artists and animators construct shape and appearance models for digital character. They then define the character's motion at each time frame or specific key-frames in a motion sequence to create a digital performance. Increasingly, producers are using motion capture technology to record animations from an actor's performance. This technology reduces animation production time and captures natural movements to create a more believable production. However, motion capture requires the use of specialist suits and markers and only records skeletal motion. It lacks the detailed secondary surface dynamics of cloth and hair that provide the visual realism of a live performance. Over the last decade, we have investigated studio capture technology with the objective of creating models of real people that accurately reflect the time-varying shape and appearance of the whole body with clothing. Surface capture is a fully automated system for capturing a human's shape and appearance as well as motion from multiple video cameras to create highly realistic animated content from an actor's performance in full wardrobe. Our system solves two key problems in performance capture: scene capture from a limited number of camera views and efficient scene representation for visualization