Assessing the viability of studying motion indicators of autism spectrum disorders in infants at high and low risk for ASD using a passive motion capture system

Gemstone Team AMIRA

Laughter Induction Techniques Suitable for Generating Motion Capture Data of Laughter Associated Body Movements

Laughter is a frequently occurring social signal and an important part of human non-verbal communication. However it is often overlooked as a serious topic of scientific study. While the lack of research in this area is mostly due to laughter’s non-serious nature, it is also a particularly difficult social signal to produce on demand in a convincing manner; thus making it a difficult topic for study in laboratory settings. In this paper we provide some techniques and guidance for inducing both hilarious laughter and conversational laughter. These techniques were devised with the goal of capturing mo- tion information related to laughter while the person laughing was either standing or seated. Comments on the value of each of the techniques and general guidance as to the importance of atmosphere, environment and social setting are provided.

A Practical Approach to Using Motion Capture in Performance Dance

Markerless systems are becoming more ubiquitous due to their increased use in video games consoles. Cheap cameras and software suites are making motion capture technologies more freely available to the digitally inclined choreographer. In this workshop we will demonstrate the opportunities and limitations provided by easily accessible and relatively inexpensive markerless motion capture systems. In particular we will explore the capacity of these systems to provide useful data in a live performance scenario where the latency, size and format of the captured data is crucial in allowing real-time processing and visualisation of the captured scene

Aura, real-time motion capture dance and 3D stereoscopic dance

Aura explored the potential of motion capture and 3D stereo projection to visualize 1950's dance philosopher, Susanne K. Langer's notion of 'virtual force'.

Choreographer-mathematician collaboration: developing machine segmentation techniques for motion capture analysis of dance

This paper/presentation focuses on the science of human movement, motion capture and cognition in action, and examines the necessity of choreographer-mathematician collaboration in developing appropriate analysis techniques.

Touching space : using motion capture and stereo projection to create a virtual haptics of dance

This paper describes the work of a group of artists in Australia who used real-time motion capture and 3D stereo projection to create a large-scale performance environment in which dancers seemed to "touch" the volume. This project re-versions Suzanne Langer's 1950s philosophy of dance as "virtual force" to realize the idea of a "virtual haptics" of dance that extends the dancer's physical agency literally across and through the surrounding spatial volume. The project presents a vision of interactive dance performance that "touches" space by visualizing kinematics as intentionality and agency. In doing so, we suggest the possibility of new kinds of human-computer interfaces that emphasize touch as embodied, nuanced agency that is mediated by the subtle qualities of whole-body movement, in addition to more goal-oriented, task-based gestures such as pointing or clicking.

Capturing dance : using motion capture analysis to enhance dance creation and performance

Opening keynote address.

Recognition and response to human movement contained in motion capture data using the Self Organising Map

Neural Networks have been used successfully for recognition of human gestures in many applications including analysis of motion capture data. This paper investigates the potential for using the same methods for both recognition and synthesising responses in relation to movement contained in motion capture sequences.

Real-time motion capture interactive, 3D stereoscopic visualization

Vincs, McCormick and dancers Steph Hutchinson & Megan Beckwith present live motion capture interactive pipelines that visualise the kinematics of a performer’s movement in stereoscopic environments created using the Unity game engine, and discuss their use in Choreotopography (2010) and Choreotopography (2011). This work forms part of Vincs’ ARC Discovery Project Capturing Dance: using motion capture to enhance the creation of innovative Australian dance (DP0987101).

Snapshots of complexity: using motion capture and principal component analysis to reconceptualise dance

This article brings together the disparate worlds of dance practice, motion capture and statistical analysis. Digital technologies such as motion capture offer dance artists new processes for recording and studying dance movement. Statistical analysis of these data can reveal hidden patterns in movement in ways that are semantically ‘blind’, and are hence able to challenge accepted culturo-physical ‘grammars’ of dance creation. The potential benefit to dance artists is to open up new ways of understanding choreographic movement. However, quantitative analysis does not allow for the uncertainty inherent in emergent, artistic practices such as dance. This article uses motion capture and principal component analysis (PCA), a common statistical technique in human movement recognition studies, to examine contemporary dance movement, and explores how this analysis might be interpreted in an artistic context to generate a new way of looking at the nature and role of movement patterning in dance creation.

Dancing in suits: a performer's perspective on the collaborative exchange between self, body, motion capture, animation and audience

The motion capture process places unique demands on performers. The impact of this process on the simultaneously artistic/somatic nature of dance practice is profound. This paper explores, from a performer’s perspective, how the process of performing in an optical motion capture system can impact and limit, but also expand and reconfigure a dancer’s somatic practice. This paper argues that working within motion capture processes affects not only the immediate contexts of capture and interactive performance, but also sets up a dialogue between dance practices within and beyond the motion capture studio.

Touching space: Using motion capture and stereo projection to create a "virtual haptics" of dance

This paper describes the work of a group of artists in Australia who used real-time motion capture and 3D stereo projection to create a large-scale performance environment in which dancers seemed to "touch" the volume. This project re-versions Suzanne Langer's 1950s philosophy of dance as "virtual force" to realize the idea of a "virtual haptics" of dance that extends the dancer's physical agency literally across and through the surrounding spatial volume. The project presents a vision of interactive dance performance that "touches" space by visualizing kinematics as intentionality and agency. In doing so, we suggest the possibility of new kinds of human-computer interfaces that emphasize touch as embodied, nuanced agency that is mediated by the subtle qualities of whole-body movement, in addition to more goal-oriented, task-based gestures such as pointing or clicking. © 2010.

Capture, hold, release: an ontology of motion capture

In proposing an ontology of motion capture, this paper identifies three modalities — capture, hold, release — to conceptualise the peculiar affordances of motion capture technology in its relationship to a performer's movement. Motion capture is unique among contemporary moving image media in its capacity to re-perform a performer'srecorded movement a potentially limitless number of times, e.g. as applied to innumerable different CG characters. Unlike live-action film or even rotoscoping (motion capture's closest equivalent), the movement extracted from the captured performance lives on, but only by way of the inimagable (non-visible) domain of motion data.Motion data 'holds' movement itself in inimagable form, and 'releases' it in the domain of the digital moving image. This tri-fold conception relates an important dimension of (Heideggerian) Being to the idea of movement as fundamental to an ontology or 'being' of motion capture. At the same time, the proposed ontology challenges the 'illusion of life' metaphor as the accepted definition of (motion capture) animation.The Oscar's Special Rules for the Animated Feature Film Award asserts that 'by itself' motion capture does not qualify as an animation method. The notion that a technology could do or be anything 'by itself' affords a conceptual leap toward Heideggerian thinking on the nature of Being as embodied in temporality, in which past, present and future are unified.In its capacity to operate outside the domain of the digital moving image, the concept of 'movement itself' not only articulates an ontology of motion capture: motion capture itself can be understood to be brought into being by movement, thus also challenging the notion that capture technology has a parasitic relationship to a performer's originary performance.