Abstract
The authors present an art installation entitled "Intersection of Seeing" in which volumetric images were created using nine cameras, one of which moved autonomously throughout the exhibition space. The objective of the installation was to provide a unique visual experience of a volumetrically captured space reconstructed based on mixed reality. A robot module designed to navigate autonomously among visitors in the space is also described, and five different visualization methods are proposed as a new artistic expression. Visitors experienced mixed reality by appreciating layered mechanisms projecting a representation of the real world onto an immersive virtual world in real-time.
- Seonghoon Ban and Kyung Hoon Hyun. "Pixel of matter: New ways of seeing with an active volumetric filmmaking system," Leonardo 53, No.4, 434--437 (2020).Google ScholarCross Ref
- Seonghoon Ban. Virtual Mob, Interactive Installation, Daejeon Museum of Art, 2019.Google Scholar
- David Birchfield, Kelly Phillips, Assegid Kidané and David Lorig, "Interactive public sound art: a case study," Proceedings of the conference on New interfaces for musical expression. 2006.Google Scholar
- Raffy Bushman and Nubiya Brandon, "All Kinds of Limbo," VR performance, National Theatre (2019).Google Scholar
- John Desnovers-Stewart, Ekaterina Stepanova, Bernhard Riecke and Patrick Pennefather, "Body RemiXer: extending bodies to stimulate social connection in an immersive installation." ACM SIGGRAPH 2020 Art Gallery. 2020. 394-400.Google Scholar
- Mingsong Dou, Philip Davidson and Sean Ryan Fanello, "Motion2Fusion: Real-time volumetric performance capture," in ACM Transactions on Graphics 36, No.6, 246:1--16 (2017).Google ScholarDigital Library
- Harun Farocki, the Series of "Parellel (I-VI)," 2012-14, <www.harunfarocki.de/installations/2010s/2012/parallel.html>, accessed 27 September 2021.Google Scholar
- Or Fleisher and Shirin Anlen, "Volume: 3D reconstruction of history for immersive platforms," in ACM SIGGRAPH 2018 Posters (2018).Google Scholar
- Kaiwen Guo, Peter Lincoln, Philip Davidson, Jay Busch, Xueming Yu, Matt Whalen and Geoff Harvey, "The relightables: Volumetric performance capture of humans with realistic relighting." ACM Transactions on Graphics (TOG) 38, no. 6, 1--19 (2019).Google ScholarDigital Library
- Marc Habermann, Weipeng Xu, Michael Zollhöfer, Gerard Pons-Moll, and Christian Theobalt, "LiveCap: Real-time human performance capture from monocular video," ACM Transactions on Graphics 38, No.2, 14:1--17 (2019).Google ScholarDigital Library
- Ryoji Ikeda, "Test Pattern (100m Verision)," 2013, < https://artsandculture.google.com/asset/ryoji-ikeda-test-pattern-100m-version-at-ruhrtriennale-2013-vernissagetv/-AFxhge8RCjrAg?hl=en&avm=4>>, accessed 20 January 2023.Google Scholar
- Susan R. Koff, "Toward a Definition of Dance Education," Childhood Education 77, No.1, 27--32 (2000).Google ScholarCross Ref
- Rosalind Krauss, "A Voyage on the North Sea: Art in the Age of the Post-Medium Condition" (London: Thames and Hudson, 1999), pp. 42--47.Google Scholar
- William Latham, Stephen Todd, Peter Todd, and Lance Putnam, "Exhibiting mutator VR: Procedural art evolves to virtual reality," Leonardo 54, No.3, 274--281 (2021).Google ScholarCross Ref
- John Law, "Notes on the theory of the actor-network: Ordering, strategy, and heterogeneity." Systems practice 5, No.4, 379--393 (1992).Google ScholarCross Ref
- Yuehua Liu, Tharam Dillon, Wenjin Yu, Wenny Rahayu, and Fahed Mostafa, "Noise Removal in the Presence of Significant Anomalies for Industrial IoT Sensor Data in Manufacturing," IEEE Internet of Things Journal 7, No.8, 7084--7096 (2020).Google ScholarCross Ref
- Lev Manovich, " Post-media Aesthetics Medium in Crisis," 2001, <www.alice.id.tue.nl/references/manovich-2005.pdf>, accessed 27 September 2021.Google Scholar
- Hiroshi Matoba and Seonghoon Bahn, "Kinetic Media Lab / Node 5:5 [prototype]," 2016, <artsandculture.google.com/asset/kinetic-media-lab-node-5-5-prototype-hiroshi-matoba-seonghoon-bahn/-wHudDCXHFyECA?hl=en>, accessed 27 September 2021.Google Scholar
- Paul Milgram and Fumio Kishino, "Taxonomy of mixed reality visual displays," IEICE Transactions on Information and Systems 77, No.12, 1321--1329 (1994).Google Scholar
- Robert Overweg, Series of "Flying and floating" and "The end of the virtual world," 2015, <www.robertoverweg.com/Art>, accessed 27 September 2021.Google Scholar
- Maja Petric, We Are All Made of Light, immersive art installation, 2018. See www.majapetric.com/waamol1 (accessed 18 April 2023)Google Scholar
- Eldritch Priest, "Boring formless nonsense: Experimental music and the aesthetics of failure" (New York: Bloomsbury, 2013), pp.136--137.Google Scholar
- Jeffrey Shaw, "Legible City," 1989, <www.jeffreyshawcompendium.com/portfolio/legible-city>, accessed 27 September 2021.Google Scholar
- teamLab, "Story of the forest," 2016, <www.teamlab.art/w/story-of-the-forest>, accessed 27 September 2021.Google Scholar
- Fanbo Xiang, Yuzhe Qin, Kaichun Mo, Yikuan Xia, Hao Zhu, Fangchen Liu, Minghua Liu, Hanxiao Jiang, Yifu Yuan, He Wang, Li Yi, Angel Chang, Leonidas Guibas, Hao Su, "SAPIEN: A simulated part-based interactive environment," Proceedings of the IEEE/CVF Conference on Computer Vision and Pattern Recognition. 2020.Google Scholar
- Tao Yu, Jianhui Zhao and Zerong Zheng, "DoubleFusion: Real-Time Capture of Human Performances with Inner Body Shapes from a Single Depth Sensor," Proceedings of the IEEE conference on computer vision and pattern recognition. 2020.Google Scholar
- Emin Zerman, Néill O'Dwyer, Gareth W. Young, and Aljosa Smolic. "A case study on the use of volumetric video in augmented reality for cultural heritage." In Proceedings of the 11th Nordic Conference on Human-Computer Interaction: Shaping Experiences, Shaping Society, 1--5 (2020).Google Scholar
Index Terms
- Intersection of Seeing: New Ways of Experiencing Reality using Autonomous Volumetric Capture System
Recommendations
Dill Pickle: Interactive Theatre Play in Virtual Reality
VRST '22: Proceedings of the 28th ACM Symposium on Virtual Reality Software and Technology“Dill Pickle”, is the first interactive immersive theatre experience in virtual reality that uses volumetric capture. In the play, a volumetrically captured actor plays the character of Robert. The user interacts with Robert through utterances that are ...
Space Ocean Library: Interactive Narrative Experience in VR
ISS '22: Companion Proceedings of the 2022 Conference on Interactive Surfaces and Spaces“Space Ocean Library” is an interactive narrative VR experience that transports you to a study-turned mystical purgatory. In this room, you explore the connectivity of humans through the objects we keep around to remember our lives. “Space Ocean Library”...
Exploring Effect of Level of Storytelling Richness on Science Learning in Interactive and Immersive Virtual Reality
IMX '22: Proceedings of the 2022 ACM International Conference on Interactive Media ExperiencesImmersive and interactive storytelling in virtual reality (VR) is an emerging creative practice that has been thriving in recent years. Educational applications using immersive VR storytelling to explain complex science concepts have very promising ...
Comments