A New robot for environmental monitoring on the Great Barrier Reef

A vast amount of research into autonomous underwater navigation has, and is, being conducted around the world. However, typical research and commercial platforms have limited autonomy and are generally unable to navigate efficiently within coral reef environments without tethers and significant external infrastructure. This paper outlines the development and presents experimental results into the performance evaluation of a new robotic vehicle for underwater monitoring and surveying in highly unstructured environments. The hybrid AUV design developed by the CSIRO robotic reef monitoring team realises a compromise between endurance, manoeuvrability and functionality. The vehicle represents a new era in AUV design specifically focused at providing a truly lowcost research capability that will progress environmental monitoring through unaided navigation, cooperative robotics, sensor network distribution and data harvesting.

In the Rough : In-Field evaluation of an autonomous vehicle for golf course maintenance

Maintenance is a time consuming and expensive task for any golf course or driving range manager. For a golf course the primary tasks are grass mowing and maintenance (fertilizer and herbicide spreading), while for a driving range mowing, maintenance and ball collection are required. All these tasks require an operator to drive a vehicle along paths which are generally predefined. This paper presents some preliminary in-field tsting results for an automated tractor vehicle performing golf ball collection on an actual driving range, and mowing on difficult unstructured terrain.

Low-Cost vision-based AUV guidance system for reef navigation

Ensuring the long term viability of reef environments requires essential monitoring of many aspects of these ecosystems. However, the sheer size of these unstructured environments (for example Australia’s Great Barrier Reef pose a number of challenges for current monitoring platforms which are typically remote operated and required significant resources and infrastructure. Therefore, a primary objective of the CSIRO robotic reef monitoring project is to develop and deploy a large number of AUV teams to perform broadscale reef surveying. In order to achieve this, the platforms must be cheap, even possibly disposable. This paper presents the results of a preliminary investigation into the performance of a low-cost sensor suite and associated processing techniques for vision and inertial-based navigation within a highly unstructured reef environment.

Vibration isolation for autonomous helicopter flight

The mechanisms of helicopter flight create a unique, high-vibration environment which can play havoc with the accurate operation of on-board sensors. Vibration isolation of electronic sensors from structural borne oscillations is paramount to their reliable and accurate use. Effective isolation is achieved by realising a trade-off between the properties of the suspended instrument package, and the isolation mechanism. This is made more difficult as the weight and size of the sensors and computing hardware decreases with advances in technology. This paper presents a history of the design, challenges, constraints and construction of an integrated isolated vision and sensor platform and landing gear for the CSIRO autonomous X-Cell helicopter. The results of isolation performance and in-flight tests of the platform in autonomous flight are presented.

Robust pose estimation for a car-like vehicle

In this paper, we outline the sensing system used for the visual pose control of our experimental car-like vehicle, the autonomous tractor. The sensing system consists of a magnetic compass, an omnidirectional camera and a low-resolution odometry system. In this work, information from these sensors is fused using complementary filters. Complementary filters provide a means of fusing information from sensors with different characteristics in order to produce a more reliable estimate of the desired variable. Here, the range and bearing of landmarks observed by the vision system are fused with odometry information and a vehicle model, providing a more reliable estimate of these states. We also present a method of combining a compass sensor with odometry and a vehicle model to improve the heading estimate.

Sensing for visual homing

In this paper, we outline the sensing system used for the visual pose control of our experimental car-like vehicle, the Autonomous Tractor. The sensing system consists of a magnetic compass, an omnidirectional camera and a low-resolution odometry system. In this work, information from these sensors is fused using complementary filters. Complementary filters provide a means of fusing information from sensors with different characteristics in order to produce a more reliable estimate of the desired variable. Here, the range and bearing of landmarks observed by the vision system are fused with odometry information and a vehicle model, providing a more reliable estimate of these states. We also present a method of combining a compass sensor with odometry and a vehicle model to improve the heading estimate.

PIPP #1 - Pedestrian Interaction Patch Project

The Pedestrian Interaction Patch Project (PIPP) seeks to exert influence over and encourage abnormal pedestrian behavior. By placing an unadvertised (and non recording) interactive video manipulation system and projection source in a high traffic public area, the PIPP allows pedestrians to privately (and publically) re-engage with a previously inactive physical environment, like a commonly used walkway or corridor. This system, the results of which are projected in real time on the architectural surface, inadvertently provides pedestrians with questions around preconceived notions of self and space. In an attempt to re-activate our relationship with the physical surrounds we occupy each day the PIPP creates a new set of memories to be recalled as we re-enter known environments once PIPP has moved on and as such re-enlivens our relationship with the everyday architecture we stroll past everyday. The PIPP environment is controlled using the software program Isadora, devised by Mark Coniglio at Troika Ranch, and contains a series of video manipulation patches that are designed to not only grab the pedestrians attention but to also encourage a sense of play and interaction between the architecture, the digital environment, the initially unsuspecting participant(s) and the pedestrian audience. The PIPP was included as part of the planned walking tour for the “Playing in Urban Spaces” seminar day, and was an installation that ran for the length of the symposium in a reclaimed pedestrian space that was encountered by both the participants and general public during the course of the day long event. Ideally once discovered PIPP encouraged pedestrians to return through the course of the seminar day to see if the environmental patches had changed or altered, and changed their standard route to include the PIPP installation or to avoid it, either way, encouraging an active response to the pathways normally traveled or newly discovered each day.

About T.I.M.

A series of short performance experiments demonstrating the creative potential of motion capture technology as a tool within performance for exploring audience behaviour and interaction. Examples highlight the possibilities for future work and give basic demonstrations of what is technically possible for the stage. Please note that people attending this performance may be videoed and motion captured for research and/or publication purposes. This work has been funded by the EPSRC c4dm platform grant.

Digital scenography for "Markus the Sadist" : UK National Tour

How does a digitally mediated environment work towards the ongoing support of the Hip Hop landscape present in the work of Jonzi D productions UK National Tour of "Markus the Sadist"

Directing for the 360 degree frame : developing a directorial approach to performance capture

What happens when the traditional framing mechanisms of our performance environments are removed and we are forced as directors to work with actors in digital environments that capture performance in 360 degrees? As directors contend with the challenges of interactive performance, the emergence of the online audience and the powerful influence of the games industry, how can we approach the challenges of directing work that is performance captured and presented in real time using motion capture and associated 3D imaging software? The 360 degree real time capture of performance, while allowing for an unlimited amount of framing potential, demands a unique and uncompromisingly disciplined style of direction and performance that has thus far remained unstudied and unquantified. By a close analysis of the groundbreaking work of artists like Robert Zemeckis and the Wetta Digital studio it is possible to begin to quantify what the technical requirements and challenges of 360 degree direction might be, but little has been discovered about the challenges of communicating the unlimited potential of framing and focus to the actors who work with these directors within these systems. It cannot be argued that the potential of theatrical space has evolved beyond the physical and moved into a more accessible virtual and digitised form, so how then can we direct for this unlimited potential and where do we place the focus of our directed (and captured) performance?

"The Lost Lounge" - Split Britches (Lois Weaver, Peggy Shaw)

Digital Scenography and traditional Stage Design for the US premiere of Split Britches "The Lost Lounge" - Lois Weaver and Peggy Shaw, Dixons Place New York, December 2009 Digital Scenography and traditional Stage Design for the UK premiere of Split Britches "The Lost Lounge" - Lois Weaver and Peggy Shaw, The Great Hall, Peoples Palace, London, March 2010

Performance space to performance place

The focus of this paper questions how the performance place was transformed to a performance space. This major change in distinction holds an ongoing significance to the development of the actors, scenographers, animators, writers and film directors craft within current digitally mediated and interactive performance environments. As part of this discussion this paper traces the crucial seed of the revolution that transformed modern scenographic practice from the droll of the romantic realism of the Victorian stage to the open potential of the performance environment of today. This is achieved through close readings on the practical work of Edward Gordon Craig and Adolphe Appia as well as the scenographic discussions of Chris Baugh.

A world elsewhere : virtual reality, motion capture and early modern theatre

This paper investigates virtual reality representations of the 1599 Boar’s Head Theatre and the Rose Theatre, two renaissance places and spaces. These models become a “world elsewhere” in that they represent virtual recreations of these venues in as much detail as possible. The models are based on accurate archeological and theatre historical records and are easy to navigate particularly for current use. This paper demonstrates the ways in which these models can be instructive for reading theatre today. More importantly we introduce human figures onto the stage via motion capture which allows us to explore the potential between space, actor and environment. This facilitates a new way of thinking about early modern playwrights’ “attitudes to locality and localities large and small”. These venues are thus activated to intersect productively with early modern studies so that the paper can test the historical and contemporary limits of such research.