Gestures and Tools for Kinect - Eternal Coding - HTML5 / Windows / Kinect / 3D development You have certainly not missed (as a regular reader of this blog ) that the Kinect for Windows SDK is out! For now, however, no gestures recognition services are available. So throughout this paper we will create our own library that will automatically detect simple movements such as swipe but also movements more complex such as drawing a circle with your hand. The detection of such gestures enable Powerpoint control the Jedi way ! If you are not familiar with the Kinect for Windows SDK, you should read a previous post that addressed the topic: There is an infinite number of solutions for detecting a gesture. Algorithmic search Template based search Note that these two techniques have many variants and refinements. You can find the code used in this article just here: GestureDetector class In the end, all the work is done in the Add method: Recording Replay
HEATHER HANSEN INTERVIEW - Ochi Gallery News Ochi Gallery: When people ask you to describe your work how do you answer? Heather Hansen: Currently I am exploring kinetic drawing. I make large scale pieces in charcoal or pastels using my body as a drawing tool. photo by Spencer Hansen at OCHI GALLERY Where do you see the intersection between dance and fine art in your work? For me personally there is no differentiation between the two. What first compelled you to create the emptied gestures? It’s the sort of thing that once it found its way into my consciousness it was already so familiar that I wondered what took me so long. Playing in the sand on the beach a few years back, I had a moment when I looked back at my footprints and marks that I’d left from doing a few ballet movements and thought, wow I really want to sculpt that. Do you have an idea of the pattern you’re going to create before you pick up the charcoal, or does it happen moment to moment? What’s going through your mind as you create them? Not a lot. You’re kind of a nomad.
Cinematics case study: Mass Effect 3 Earlier this year, Budapest studio Digic Pictures produced a stunning three minute trailer for the Bioware game Mass Effect 3. The trailer, dubbed 'Take Earth Back', tells the story of an alien invasion as Earth is attacked by the game's Reapers. We go in-depth with Digic to show how the cinematic was made - in stereo - featuring behind the scenes video breakdowns, images and commentary from several of the artists involved. Above: watch 'Take the Earth Back' Motion capture Artists: Csaba Kovari (Mocap TD), Istvan Gindele (Mocap TD), Gyorgy Toth (animator) We used Vicon’s T160 camera system to record all motion for this piece. In general we capture 2-3 or sometimes even 4 actors’ movements at once together with their props (swords, shields etc). Usually the mocap shooting days are preceded by rehearsal days, for example if we have a two day mocap shooting session then the actors need at least two-three days rehearsal with the director. Character animation Earth shot Blood effects 1.
Artist Uses Entire Body to Create Larger than Life Charcoal Drawings Jan 23, 2014 Artist Heather Hansen Heather Hansen is a performance artist and painter who uses her entire body to create larger than life kinetic drawings with charcoal. Heather’s primary pursuits are painting, sculpture and dance/theatre (where she has been an artistic director, teacher, costume and stage designer). While the still images below capture some breathtaking moments, be sure to watch the Emptied Gestures video embedded below. [via Colossal] Emptied Gestures – Heather Hansen Live Performance at Ochi Gallery
IIC_kinesthetic_cognition IIC. Kinesthetic Spatial Cognition “Kinesthetic spatial cognition” can be defined as referring to the perception, memory, and recall of spatial information via the kinesthetic perceptual-motor system. IIC.10 Spatial Cognition versus Verbal Cognition A great deal of research has demonstrated that spatial cognitive processes and verbal cognitive processes use separate cognitive resources. Other evidence for multi-channel models comes from studies of patients with neurological disease or injury. The right-brain spatial, left-brain verbal specialisation is not a fixed relationship but appears to be based on more fundamental differences in processing styles of the two cerebral hemispheres such as sequential processes of the left hemisphere versus holistic processes of the right hemisphere (Bradshaw and Nettleton, 1981; Luria, 1970; Trevarthen, 1978). However, in some cases when verbal labels are attached to stimuli the memory for those stimuli does not necessarily improve.
Photography. Else Ernestine Neulander-Simon (A.k.a. YVA) Else Ernestine Neulander-Simon (Aka YVA) was a german photographer. Yva came from a Jewish middle-class family. She worked for many of the illustrated magazines and periodicals of the time. Towards the end of the 1920s, Yva began focusing on the commercial aspect of photography, specializing in advertising and photography. Yva’s innovative, and experimental work with multiple exposures became a hallmark of her work. Yva died at Sobibor extermination camp in 1944. More images>>>
The Geek Movement » UIST 2009 SIC: Laban Gestures for Expressive Keyboarding On October 5th, we participated in the Student Innovation Contest at the 2009 User Interface Software and Technology conference (UIST) in Victoria, BC. Student teams were given about a month to develop a novel use for a pressure sensitive keyboard developed by Microsoft Research, and all the entries were demonstrated and voted upon at the conference. Our submission is detailed below and in this demo video. Laban Gestures for Expressive Keyboarding Karen Tanenbaum, Josh Tanenbaum & Johnny Rodgers Simon Fraser University-School of Interactive Arts + Technology Keyboards tend to be discrete input devices, capable of multiple isolated interactions. Theatre and dance use movement frameworks to understand gesture. To situate our gestures in a mood space, we adopted Russell’s classic “circumplex” model of affect. By combining these two models, we have arrived at a framework for expressive gestures. We believe that this framework has applications wherever computation and emotion intersect.
Within the Kinesphere In the last set of articles I discussed and summarized Ed Hooks’ indispensable book Acting for Animators. A particular chapter of the book deals with a system of describing human movement called Laban Movement Analysis or LMA. LMA is a notation tool that dancers, physical therapists and athletes often use to describe the motion of the human body over time. Mr. Rudolf Laban was a Hungarian dancer and theorist who studied movement patterns and applied his findings not only to dance but to workplace energy and effort. Rudolf Laban showing off some Labanotation symbols LMA has five key categories: Space, Body, Effort, Phrasing, and Shape. Space defines the movement of a body within its environment. The "Kinesphere" is the LMA term for the zone of possible movement of a human subject Body refers to the individual biomechanical movements of the kinematics (joints) of the body — which parts are moving, which parts are held. Effort is possibly the most crucial aspect of LMA for animators to grasp.
Laban 1926 Choreographie Analysis of Movement Laban Analysis Reviews The concept of a direction requires an origin from which the direction is judged, this origin is often conceived to be a center of the kinesphere (movement space). Rudolf Laban's choreutics frequently uses a full-body sized kinesphere surrounding the person, with directions judged from an an egocentric reference system with center conceived to be the center of the body. This creates a global system where the directional orientation of the entire body is considered as a whole. Sometimes Rudolf Laban explicitly specified that "the direction c [center] is always in the body center" (Laban, 1963, p. 93) and others reaffirm that "Laban placed ‘centre’ at the body’s centre, which is approximately at the navel. Medium level directions were thence, on level with the navel or waist and this applied to all limbs” (Preston-Dunlop (1978, p. 70). However, it is a common misperception that choreutics always or only places the center of the kinesphere at the body center.