DOCSLIB.ORG

Arts and Disability Interfaces New Technology, Disabled Artists and Audiences Part 2 of 4: Technology Report

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Arts and Disability Interfaces New Technology, Disabled Artists and Audiences Part 2 of 4: Technology Report Arts and disability interfaces new technology, disabled artists and audiences part 2 of 4: technology report Contents: Document meta data ......................................................................................... 3 Abstract .............................................................................................................. 3 Technical definitions and considerations ....................................................... 3 References and images in this document ....................................................... 4 Generic computer technology: current ........................................................... 5 The mouse ........................................................................................................ 5 GyroMouse ....................................................................................................... 5 Trackpads ......................................................................................................... 5 Scroll-dial .......................................................................................................... 6 Graphics tablets and whiteboards .................................................................... 6 Touch panels .................................................................................................... 6 Light pens ......................................................................................................... 7 Joysticks ........................................................................................................... 7 Game pads ....................................................................................................... 8 Smart fabric keyboard ...................................................................................... 8 Remote wireless keyboard/mouse and pointer ................................................ 8 LED element displays ....................................................................................... 8 Laser displays ................................................................................................... 9 Microphones/audio ........................................................................................... 9 Sonic art examples ........................................................................................... 9 Gregory Shakar: 'sensory whiskers' ........................................................... 10 Laetitia Sonami: 'lady's glove' ..................................................................... 10 Generic computer technology: emerging ..................................................... 10 3D Printing ...................................................................................................... 10 Virtual and augmented reality ......................................................................... 10 Projected displays (including projected VR) ................................................... 11 Mobile Devices ............................................................................................... 11 Active position/orientation sensors ................................................................. 12 Sonic flashlight ............................................................................................... 12 New forms of visual output ............................................................................. 12 Generic computer technology: experimental ............................................... 13 Nanotechnology .............................................................................................. 13 Data gloves ..................................................................................................... 14 Pocket scanner ............................................................................................... 14 Custom construction with sensor components ............................................... 14 Optical and radio sensing ............................................................................... 15 Infra-red interfaces ......................................................................................... 16 Virtual infra-red keyboard ........................................................................... 16 Artwork using infra-red sensors .................................................................. 16 Infra-red video detection ................................................................................. 17 Wearable computing ....................................................................................... 17 Bio-sensors and transhumanism .................................................................... 17 Examples of artwork using bio-sensors ...................................................... 18 Robotics .......................................................................................................... 19 Arts and disability interfaces: paper 2 of 4 2 ArtBots ........................................................................................................ 19 Survival Research Labs .............................................................................. 19 Emotion ...................................................................................................... 20 Brain activity ................................................................................................... 21 Knocking ......................................................................................................... 22 Tangible media ............................................................................................... 22 Origami paper ............................................................................................. 22 Physical manipulation scanner ................................................................... 23 Art using tangible media ............................................................................. 23 Multi-sensory user interfaces .......................................................................... 23 Haptic (touch) interfaces ................................................................................. 23 Texture ....................................................................................................... 23 Vibration ..................................................................................................... 24 Force Feedback .......................................................................................... 24 An artist using a haptic interface ................................................................ 24 Audio interfaces .............................................................................................. 24 Sound effects .............................................................................................. 25 Music .......................................................................................................... 25 Speech ....................................................................................................... 25 3D Audio ..................................................................................................... 25 Anti-sound ...................................................................................................... 26 Disability-specific technology: current ......................................................... 26 Disability-specific technology: general links ................................................... 26 Braille .............................................................................................................. 26 The assistive mouse ....................................................................................... 26 Trackballs ....................................................................................................... 27 Assistive keyboard layouts ............................................................................. 27 Dvorak keyboard layout .............................................................................. 27 One-handed keyboard layout ..................................................................... 27 Large keyboards ......................................................................................... 27 Switches ......................................................................................................... 28 Head Mouse ................................................................................................... 28 Head Mouse: links ...................................................................................... 29 Accessible virtual reality room ........................................................................ 29 Disability-specific technology: emerging ...................................................... 29 Speech recognition ......................................................................................... 29 Video-audio conversion .................................................................................. 30 Musical interfaces ........................................................................................... 30 Disability-specific technology: experimental ................................................ 30 Lip reading handsets ...................................................................................... 30 Eye movement ................................................................................................ 30 Bionic eye ......................................................................................................
Load more

Recommended publications
  • Eyetap Devices for Augmented, Deliberately Diminished, Or Otherwise Altered Visual Perception of Rigid Planar Patches of Real-Wo
    Steve Mann EyeTap Devicesfor Augmented, [email protected] Deliberately Diminished,or James Fung Otherwise AlteredVisual [email protected] University ofToronto Perceptionof Rigid Planar 10King’ s College Road Patches ofReal-World Scenes Toronto,Canada Abstract Diminished reality is as important as augmented reality, and bothare possible with adevice called the RealityMediator. Over thepast twodecades, we have designed, built, worn,and tested many different embodiments ofthis device in thecontext of wearable computing. Incorporated intothe Reality Mediator is an “EyeTap”system, which is adevice thatquanti es and resynthesizes light thatwould otherwise pass through one or bothlenses ofthe eye(s) ofa wearer. Thefunctional principles of EyeTap devices are discussed, in detail. TheEyeTap diverts intoa spatial measure- ment system at least aportionof light thatwould otherwise pass through thecen- ter ofprojection ofat least one lens ofan eye ofa wearer. TheReality Mediator has at least one mode ofoperation in which itreconstructs these rays oflight, un- der thecontrol of a wearable computer system. Thecomputer system thenuses new results in algebraic projective geometry and comparametric equations toper- form head tracking, as well as totrack motionof rigid planar patches present in the scene. We describe howour tracking algorithm allows an EyeTap toalter thelight from aparticular portionof the scene togive rise toa computer-controlled, selec- tively mediated reality. Animportant difference between mediated reality and aug- mented reality includes theability tonot just augment butalso deliberately diminish or otherwise alter thevisual perception ofreality. For example, diminished reality allows additional information tobe inserted withoutcausing theuser toexperience information overload. Our tracking algorithm also takes intoaccount the effects of automatic gain control,by performing motionestimation in bothspatial as well as tonal motioncoordinates.
    [Show full text]
  • Augmented Reality Glasses State of the Art and Perspectives
    Augmented Reality Glasses State of the art and perspectives Quentin BODINIER1, Alois WOLFF2, 1(Affiliation): Supelec SERI student 2(Affiliation): Supelec SERI student Abstract—This paper aims at delivering a comprehensive and detailled outlook on the emerging world of augmented reality glasses. Through the study of diverse technical fields involved in the conception of augmented reality glasses, it will analyze the perspectives offered by this new technology and try to answer to the question : gadget or watershed ? Index Terms—augmented reality, glasses, embedded electron- ics, optics. I. INTRODUCTION Google has recently brought the attention of consumers on a topic that has interested scientists for thirty years : wearable technology, and more precisely ”smart glasses”. Howewer, this commercial term does not fully take account of the diversity and complexity of existing technologies. Therefore, in these lines, we wil try to give a comprehensive view of the state of the art in different technological fields involved in this topic, Fig. 1. Different kinds of Mediated Reality for example optics and elbedded electronics. Moreover, by presenting some commercial products that will begin to be released in 2014, we will try to foresee the future of smart augmented reality devices and the technical challenges they glasses and their possible uses. must face, which include optics, electronics, real time image processing and integration. II. AUGMENTED REALITY : A CLARIFICATION There is a common misunderstanding about what ”Aug- III. OPTICS mented Reality” means. Let us quote a generally accepted defi- Optics are the core challenge of augmented reality glasses, nition of the concept : ”Augmented reality (AR) is a live, copy, as they need displaying information on the widest Field Of view of a physical, real-world environment whose elements are View (FOV) possible, very close to the user’s eyes and in a augmented (or supplemented) by computer-generated sensory very compact device.
    [Show full text]
  • Architectural Model for an Augmented Reality Based Mobile Learning Application Oluwaranti, A
    Journal of Multidisciplinary Engineering Science and Technology (JMEST) ISSN: 3159-0040 Vol. 2 Issue 7, July - 2015 Architectural Model For An Augmented Reality Based Mobile Learning Application Oluwaranti, A. I., Obasa A. A., Olaoye A. O. and Ayeni S. Department of Computer Science and Engineering Obafemi Awolowo University Ile-Ife, Nigeria [email protected] Abstract— The work developed an augmented students. It presents a model to utilize an Android reality (AR) based mobile learning application for based smart phone camera to scan 2D templates and students. It implemented, tested and evaluated the overlay the information in real time. The model was developed AR based mobile learning application. implemented and its performance evaluated with This is with the view to providing an improved and respect to its ease of use, learnability and enhanced learning experience for students. effectiveness. The augmented reality system uses the marker- II. LITERATURE REVIEW based technique for the registration of virtual Augmented reality, commonly referred to as AR contents. The image tracking is based on has garnered significant attention in recent years. This scanning by the inbuilt camera of the mobile terminology has been used to describe the technology device; while the corresponding virtual behind the expansion or intensification of the real augmented information is displayed on its screen. world. To “augment reality” is to “intensify” or “expand” The recognition of scanned images was based on reality itself [4]. Specifically, AR is the ability to the Vuforia Cloud Target Recognition System superimpose digital media on the real world through (VCTRS). The developed mobile application was the screen of a device such as a personal computer or modeled using the Object Oriented modeling a smart phone, to create and show users a world full of techniques.
    [Show full text]
  • Interaction, Participation and Networking Art Florian Weil Student at University of Art in Linz Hauptplatz 8 4010 Linz, Austria [email protected]
    Interaction, Participation and Networking Art Florian Weil Student at University of Art in Linz Hauptplatz 8 4010 Linz, Austria [email protected] Interactions were often used as a dialogue model, for example the “Telematic Dreaming” project. In this installation the viewer is no ABSTRACT longer solely a recipient, but simultaneously an agent, too. This paper is a summary of the essay “Interaction, Participation, Networking Art and telecommunication” from Inke Arns. We At the late 1980s telematic and telepresence began to gain explore how the spectator is involved into the artwork and how importance for interactive media art. Telepresence provided a new the participation of art changed in the last 50-60 years. scope for the artist and allowed the viewer parallel experiences in Furthermore, this paper point out the evolution of art and which three different spaces at once: role participation plays in the art context • The real space in which the viewer’s body is physically located Keywords Art Network Internet mass-media participation telematic • Per tele-perception in the virtual, simulated visual space collaboration Openness NetArt satellite communication • Per tele-action at the physical location of the “data- work” 1. INTRODUCTION In this context of telematic art Kit Galloway and Sherrie Duchamp said that artwork is made entirely by those who look at Rabinowitz created a groundbreaking work, which is called “Hole it or read it. The artist, who made it, survives by their accolades or in Space”. In this installation the viewer from Los Angeles were even their condemnation. These points motivated the artist of the able to talk to the viewer from the other side in New York via a 20th Centaury to use and evolve the concepts of interaction, satellite video connection.
    [Show full text]
  • Ubiquitous Interactive Art Displays: Are They Wanted, Are They Intuitive?
    Ubiquitous Interactive Art Displays: Are they Wanted, are they Intuitive? Gary Burrows The Information Science Discussion Paper Series Number 2006/02 January 2006 ISSN 1172-6024 University of Otago Department of Information Science The Department of Information Science is one of six departments that make up the School of Business at the University of Otago. The department offers courses of study leading to a major in Information Science within the BCom, BA and BSc degrees. In addition to undergraduate teaching, the department is also strongly involved in post- graduate research programmes leading to MCom, MA, MSc and PhD degrees. Re- search projects in spatial information processing, connectionist-based information sys- tems, software engineering and software development, information engineering and database, software metrics, distributed information systems, multimedia information systems and information systems security are particularly well supported. The views expressed in this paper are not necessarily those of the department as a whole. The accuracy of the information presented in this paper is the sole responsibil- ity of the authors. Copyright Copyright remains with the authors. Permission to copy for research or teaching pur- poses is granted on the condition that the authors and the Series are given due ac- knowledgment. Reproduction in any form for purposes other than research or teach- ing is forbidden unless prior written permission has been obtained from the authors. Correspondence This paper represents work to date and may not necessarily form the basis for the au- thors’ final conclusions relating to this topic. It is likely, however, that the paper will ap- pear in some form in a journal or in conference proceedings in the near future.
    [Show full text]
  • Yonghao Yu. Research on Augmented Reality Technology and Build AR Application on Google Glass
    View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by Carolina Digital Repository Yonghao Yu. Research on Augmented Reality Technology and Build AR Application on Google Glass. A Master’s Paper for the M.S. in I.S degree. April, 2015. 42 pages. Advisor: Brad Hemminger This article introduces augmented reality technology, some current applications, and augmented reality technology for wearable devices. Then it introduces how to use NyARToolKit as a software library to build AR applications. The article also introduces how to design an AR application in Google Glass. The application can recognize two different images through NyARToolKit build-in function. After find match pattern files, the application will draw different 3D graphics according to different input images. Headings: Augmented Reality Google Glass Application - Design Google Glass Application - Development RESEARCH ON AUGMENT REALITY TECHNOLOGY AND BUILD AR APPLICATION ON GOOGLE GLASS by Yonghao Yu A Master’s paper submitted to the faculty of the School of Information and Library Science of the University of North Carolina at Chapel Hill in partial fulfillment of the requirements for the degree of Master of Science in Information Science. Chapel Hill, North Carolina April 2015 Approved by ____________________________________ Brad Hemminger 1 Table of Contents Table of Contents ................................................................................................................ 1 1. Introduction ....................................................................................................................
    [Show full text]
  • "How Does Gamified Interaction Allow Participants to Co-Create Digital Artworks?"
    Erasmus Mundus Joint Master Degree European Master of Excellence Media Arts Cultures "HOW DOES GAMIFIED INTERACTION ALLOW PARTICIPANTS TO CO-CREATE DIGITAL ARTWORKS?" Qualitative analysis: comparative method, within-case method of analysis and embedded multiple-case study Master Thesis Handed in to Department of Communication and Psychology Aalborg University Head of Department Univ.-Prof. Dr. Mikael Vetner and the Media Arts Cultures Consortium Supervisor: Palle Dahlstedt (Ph.D., MFA, MA) By: Dominique Vinckenbosch (BA, MA) August 12, 2019 ! ii! ABSTRACT Topic: Game design elements (gamification affordances) applied to interaction for co-creation in art. Author: Dominique Vinckenbosch Course/Year: Media Arts Cultures, 2017-2019 4th Semester Placement: Aalborg University, Denmark Pages: 130 Content: So far gamification and interaction in art have been studied separately. However, the research question of this study "How does Gamified Interaction allow participants to co-create digital artworks?" covers three disciplines, respectively games, human computer interaction and interactive art and demonstrate connections premises between the three. Therefore, this study aims to bridge these three disciplines by filling the gap in the current research about the application of game design elements (gamification affordances) to interaction for co-creation in art. In order to do so, the study conducts an in-depth cross-case and within-case qualitative analysis of four digital artworks, respectively The Beast, Cow Clicker, Tweetris and BURP in regards to two previously elaborated hypotheses, which goals are to provide evidence of a causal relationship (H1) and to eliminate a causal factor as a necessary condition (H2). The results demonstrate that Gamified Interaction enables co-creation in the form of authorial and social collaboration, and that it does not necessary have to be designed according to the participants.
    [Show full text]
  • Theorising the Practice of Expressing a Fictional World Across Distinct Media and Environments
    Transmedia Practice: Theorising the Practice of Expressing a Fictional World across Distinct Media and Environments by Christy Dena A thesis submitted in fulfilment of the requirements for the Degree of Doctor of Philosophy (PhD) School of Letters, Art and Media Department of Media and Communications Digital Cultures Program University of Sydney Australia Supervisor: Professor Gerard Goggin Associate Supervisor: Dr. Chris Chesher Associate Supervisor: Dr. Anne Dunn 2009 Let’s study, with objectivity and curiosity, the mutation phenomenon of forms and values in the current world. Let’s be conscious of the fact that although tomorrow’s world does not have any chance to become more fair than any other, it owns a chance that is linked to the destiny of the current art [...] that of embodying, in their works some forms of new beauty, which will be able to arise only from the meet of all the techniques. (Francastel 1956, 274) Translation by Regina Célia Pinto, emailed to the empyre mailing list, Jan 2, 2004. Reprinted with permission. To the memory of my dear, dear, mum, Hilary. Thank you, for never denying yourself the right to Be. ~ Transmedia Practice ~ Abstract In the past few years there have been a number of theories emerge in media, film, television, narrative and game studies that detail the rise of what has been variously described as transmedia, cross-media and distributed phenomena. Fundamentally, the phenomenon involves the employment of multiple media platforms for expressing a fictional world. To date, theorists have focused on this phenomenon in mass entertainment, independent arts or gaming; and so, consequently the global, transartistic and transhistorical nature of the phenomenon has remained somewhat unrecognised.
    [Show full text]
  • University of Southampton Research Repository
    University of Southampton Research Repository Copyright © and Moral Rights for this thesis and, where applicable, any accompanying data are retained by the author and/or other copyright owners. A copy can be downloaded for personal non-commercial research or study, without prior permission or charge. This thesis and the accompanying data cannot be reproduced or quoted extensively from without first obtaining permission in writing from the copyright holder/s. The content of the thesis and accompanying research data (where applicable) must not be changed in any way or sold commercially in any format or medium without the formal permission of the copyright holder/s. When referring to this thesis and any accompanying data, full bibliographic details must be given, e.g. Thesis: M Zinopoulou (2019) " A Framework for improving Engagement and the Learning Experience through Emerging Technologies ", University of Southampton, The Faculty of Engineering and Physical Sciences. School of Electronics and Computer Science (ECS), PhD Thesis, 119. Data: M Zinopoulou (2019) "A Framework for improving Engagement and the Learning Experience through Emerging Technologies" The Faculty of Engineering and Physical Sciences School of Electronics and Computer Science (ECS) A Framework for improving Engagement and the Learning Experience through Emerging Technologies by Maria Zinopoulou Supervisors: Dr. Gary Wills and Dr. Ashok Ranchhod Thesis submitted for the degree of Doctor of Philosophy November 2019 University of Southampton Abstract Advancements in Information Technology and Communication have brought about a new connectivity between the digital world and the real world. Emerging Technologies such as Virtual Reality (VR), Augmented Reality (AR), and Mixed Reality (MR) and their combination as Extended Reality (XR), Artificial Intelligence (AI), the Internet of Things (IoT) and Blockchain Technology are changing the way we view our world and have already begun to impact many aspects of daily life.
    [Show full text]
  • Immersive Interactive Virtual Reality in the Museum
    Immersive Interactive Virtual Reality in the Museum Maria Roussou Foundation of the Hellenic World 254 Pireos St. Athens 17778 Greece +30-1-4835300, +30-1-4834634, [email protected], http://www.fhw.gr/ Abstract. The use of immersive Virtual Reality (VR) technology is a relatively recent trend enjoyed almost exclusively by the academic, military, and industrial research and development communities. However, as VR technologies mature, research is expanding from the military and scientific visualisation realm into more multidisciplinary areas, such as education, art, culture, and the humanities. As representative institutions involved in the research and presentation of these fields, museums, cultural centres, and entertainment venues may be in a better position to make use of advanced virtual reality technologies in order to investigate their educational potential while effectively shaping how they deliver public education and recreation. This paper will discuss the issues involved in using state-of-the-art interactive virtual environments in cultural public spaces by presenting the virtual environments developed for learners of all ages at the Foundation of the Hellenic World (FHW), a cultural heritage institution of informal education located in Athens. Virtual Reality in the Museum The development of new interactive important drawbacks for the use of VR in technologies has inevitably impacted the more public spaces, making it difficult to incorporate traditional sciences and arts. This is more in dwindling museum or school budgets. In evident in the case of novel interactive spite of these concerns and objections technologies that fascinate the broad public, as regarding the appropriateness and educational has always been the case with virtual reality.
    [Show full text]
  • Touching the Interface.Pdf
    From Television to Drone Vision: Telepresence and Touch in Contemporary Art Kris Paulsen Introduction: “Touching the Interface – Interfacing Touch” Figure 1. Douglas Engelbart at the controls of the oNLine System during "The Mother of All Demos," San Francisco, December 9, 1968. On December 9, 1968, Douglas EngelBart famously changed the future of computing. His presentation at the Fall Joint Computer Conference in San Francisco introduced the world to the oNLine System (NLS), which he developed with his team from the Augmented Research Center at the Stanford Research Institute. In the brisk 100-minute lecture, later known as “The Mother of All Demos,” Engelbart demonstrated, among other things, live teXt editing on a cathode ray tuBe monitor, hyperlinked documents, the computer mouse, networked interaction, video conferencing, and the idea of a personal computer with a display screen.1 The Introduction: Touching the Interface—Interfacing Touch 1 importance of the demonstration was not just in what EngelBart showed the audience, but how he did so. Though he sat on a stage facing a packed 1000-seat auditorium, he addressed the crowd through a 22-by-18-foot screen displaying a live video image of him at the computer workstation. An Eidaphor video projector, Borrowed from NASA and networked by the Advanced Research Projects Agency (ARPA), Beamed the high-resolution image across the lecture hall while a team of assistants, including Stewart Brand, the producer of the psychedelic 1966 Trips Festival, were at the lab in Menlo Park remotely controlling and choreographing the images on the screen.2 Despite Being in the same room with his viewers, EngelBart indicated that he would address them “primarily through this medium” By pointing into the television camera, and thereBy to the center of the video projection (fig.
    [Show full text]
  • The Commercial Viability of Alternate Reality Games
    THE COMMERCIAL VIABILITY OF ALTERNATE REALITY GAMES: A PROPOSED FRAMEWORK FOR PROFITABILITY AND SCALABILITY by Lee-Stahr G. Robertson B.Comm, Ryerson University, 2014 A Major Research Paper Presented to Ryerson University In partial fulfillment of the Requirements for the degree of Master of Digital Media In the Yeates School of Graduate Studies Toronto, Ontario, Canada, 2015 © Lee-Stahr G Robertson, 2015 Author Declaration AUTHOR'S DECLARATION FOR ELECTRONIC SUBMISSION OF A MRP I hereby declare that I am the sole author of this MRP. This is a true copy of the MRP, including any required final revisions. I authorize Ryerson University to lend this MRP to other institutions or individuals for the purpose of scholarly research. I further authorize Ryerson University to reproduce this MRP by photocopying or by other means, in total or in part, at the request of other institutions or individuals for the purpose of scholarly research. I understand that my MRP may be made electronically available to the public. Signed Lee-Stahr Robertson !ii Abstract Alternate reality games (ARGs) utilize the real world as a platform for storytelling. These experiences deliver real world stories that may be altered by a player’s decisions and actions. However, these experiences were largely developed to function as one- time use marketing tools for particular products or services (Szulborski, 2005a). Consequently, ARGs evolved very little insofar as developing sustainable and profitable revenue models or any degree of scalability. As such, this paper will seek to coalesce existent research in the fields of ARG scalability and revenue modelling in order to generate a novel and theoretically sound framework for creating profitable and reusable ARGs.
    [Show full text]