The development of a generic framework for the implementation of a cheap, component-based virtual video-conferencing system

We address the problem of virtual-videoconferencing. The proposed solution is effected in terms of a generic framework based on an in-house Virtual Reality system. The framework is composed of a number of distinct components: model acquisition, head tracking, expression analysis, network transmission and avatar reconstruction. The framework promises to provide a unique, cheap, and fast system for avatar construction, transmission and animation. This approach affords a conversion from the traditional video stream approach to the management of an avatar remotely and consequently makes minimal demands on network resources.

From training to artisanal practice : rethinking choreographic relationships in modern dance

In the first part of the twentieth century early modern dancers created both a new art form and the forms of group social organisation that were its condition of possibility. This paper critically examines the balletic and disciplinary ‘training’ model of dancer formation and proposes that the assumption of training in dance can obscure other ways of understanding dance-making relationships and other values in early modern dance. An ‘artisanal’ mode of production and knowledge transmission based on a non-binary relationship between ‘master’ and apprentice and occurring in a quasi-domestic and personalised space of some intimacy is proposed as a more pertinent way to think the enabling conditions of modern dance creation.

Time for tea

Contemporary dance has only recently gained the capability of mapping imagery into 3D theatre environments that appear to move towards and away from the audiences. This capability radically expands the metaphoric content possible in dance work. This dance performance simply named “3D” combines contemporary dance with stereoscopic and video imagery. It was performed live within the Melbourne Fringe Festival at the No Vacancy Gallery at Federation Square from September 30 to October 2, 2011. The dance character is a Victorian woman living in a drought-stricken land who dreams of having enough water for a cup of tea. The stereoscopic (3d) images are metaphors for her hopes and dreams. It was performed and animated by Megan Beckwith and the sound design was by the international sound designer Jacques Soddell.

The imagined body – the cyborg

During a NASA conference in the 1960s, the term cyborg was created through an amalgamation of the terms ‘cybernetics’ and ‘organism’. Coined by concert pianist Manfred Clynes and research colleague Nathan Kline to describe the internal technological modification of the body. This new term resonated within popular culture and was quickly embraced by science fiction where the cyborg became a popular character. The image of the cyborg is often hyper-physical and hyper-sexual. The super sexualised woman who can shoot bullets from her breasts is a popular comic book cyborg representation. The Replicants from Riddley Scott’s Blade Runner and Arnold Schwaznegger’s role the Terminator are other examples where the technological and physical combination produces a terrifying hyper humans. Increasingly the future of our physicality is one that is intertwined with technology. Although the image of the cyborg is often an exaggerated character it holds within it real future possibilities. Consider the portable arm wrist communicator from the scifi classic Star Trek. The watch phone communication device was once an object of the imagination but now a reality in the personal mobile phone. This paper argues that through imagined imagery of the cyborg, future possibilities can be seen.

One example of the image of the cyborg representing possible human futures is the performance work Cyborpyg. Cyborpyg is a 40-minute contemporary dance work that integrates three dimensional (3D) animation and video media within the performance. Projected 3D animated prosthetic limbs appear to extend the dancers from within. These digital limbs integrate with dancer’s bodies transforming them into cyborgs. The animations are an extreme form of aesthetic modification reflecting the possible consequences of the integration of technology within the body. Cyborpyg also explores both utopic and dystipic themes within the cyborg paradigm. The dancing hybrid bodies perform magical feats not possible with an unmodified body. Feet twist into talons and flippers, eyes extend from the head, arms transform into robotic attachments. The dancer’s bodies also appear trapped in an unrelenting environment with prosthesis that appear to torture and inflict serious harm. This paper explores the idea that the imagined image of the cyborg reflects future possibilities for the human physicality.

Capturing dance and choroetopography : analyzing and visualizing complexity

 Motion capture provides 'snapshots' of the complexity of movement patterning.  This presentation explores how this complexity can be mapped to specific variables for analysis, and what such analyses both reveal and mask in relation to the choreographic practices involved, drawing on my three-year collaboration with mathematician Vicky Mak-Hau and biomechanist Richard Smith at the Deakin Motion.Lab in Melbourne, Australia.  The paper explores how these analyses can potentially drive creative processes in dance, and, through a discussion of performance project Choreotopography, how real-time motion capture can visualize and enhance spatial pathways using 3D stereoscopic projection.

Closer

Contemporary dance has only recently gained the capability of mapping imagery into 3D theatre environments that appear to move towards and away from the audiences. This capability radically expands the metaphoric content possible in dance work. This work was animated by Megan Beckwith, performed and choreographed by Stephanie Hutchison with the sound designed by Jacques Soddell. The performance combines contemporary dance with stereoscopic illusions and video imagery. The work is based on the Walter Benjamin’s Ninth Thesis on the Philosophy of History, 1938. Benjamin describes the angel of history being ‘caught in a storm’ from Paradise and being ‘propelled into the future to which his back is turned’. This performance comments on how we invariably move into the future by taking our past with us.

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

Opening keynote address.

Time for tea

Contemporary dance has only recently gained the capability of mapping imagery into 3D theatre environments that appear to move towards and away from the audiences. This capability radically expands the metaphoric content possible in dance work. This dance performance simply named “3D” combines contemporary dance with stereoscopic and video imagery. The dance character is a Victorian woman living in a drought-stricken land who dreams of having enough water for a cup of tea. The stereoscopic (3d) images are metaphors for her hopes and dreams. It was performed and animated by Megan Beckwith and the sound design was by the international sound designer Jacques Soddell.

Use of digital media and dance within the classroom

Beckwith spoke on and conducted workshops on the use of digital media and dance within the classroom.

From the website http://ausdance.org.au/news/article/2011-dance-across-the-domains-2011 :
Dance Across the Domains (DADs) is an innovative program for teachers and educators to receive professional development from dance industry practitioners and leading dance teachers.

In 2011 the focus for the conference is “dance from many cultures”. A key feature of the conferences is exploring the ways dance can enhance learning in other areas of the curriculum, such as literacy, numeracy, humanities and ICT.

DADs is includes practical activities, theory-based sessions, peer observation, case studies, resource sharing and networking. The conference supports schools’ implementation of VELS domains and strand, provides curriculum advice and related support materials.Megan spoke on and conducted workshops on the use of digital media and dance within the classroom. 

Understanding fish-habitat associations using video observations and sonar imaging

This thesis was motivated by the increasing role of species distribution models in managing marine fishes and their habitats. These models provided new information about fish-habitat associations. However, models are potentially influenced by fish behaviour towards underwater video systems.

Comparing towed and baited underwater video techniques for assessing temperate marine fishes

Accurate estimates of fish species occurrence are important to any species’ assessments and distribution model. With increasing emphasis on nondestructive sampling, underwater video techniques are commonly used without a thorough understanding of their advantages and disadvantages. This study compared data collected from baited remote underwater stereo-video systems (stereo BRUVS) and towed-video systems to determine; (1) the differences between these video techniques in terms of fish assemblages, functional groups (i.e. pelagic carnivore, epibenthic carnivore/omnivore or herbivore) and observability (i.e. conspicuous or cryptic), and (2) what impact do these two techniques have on the interpretation of spatially-explicit, predictive models. We found stereo BRUVS and towedvideo techniques recorded very different assemblages, functional groups and observability categories across structurally complex benthic biological habitats (i.e. macroalgae dominated habitats). However, as the habitat complexity became less (e.g. seagrass and areas with no visible macro-biota) both techniques appeared to provide similar fish assemblage information. We also found considerable differences in the predicted extents of habitat suitability between the two video techniques.

Integrating time-series hydroacoustics and video observations for detecting changes in benthic habitats

The ability to quantify change in marine benthic habitats must be considered a key goal of marine habitat mapping activities. Changes in distribution of distinct suites of benthic biological species may occur as a result of natural or human induced processes and these processes may operate at a range of temporal and spatial scales. It is important to understand natural small scale inter-annual patterns of change in order to separate these signals from potential patterns of longer term change. Work to describe these processes of change from an acoustic remote sensing stand point has thus far been limited due to the relatively recent availability of full coverage swath acoustic datasets and cost pressures associated with multiple surveys of the same area. This paper describes the use of landscape transition analysis as a means to differentiate seemingly random patterns of habitat change from systematic signals of habitat transition at a shallow (10–50 m depth) 18 km2 study area on the temperate Australian continental shelf between the years 2006 and 2007. Supervised classifications for each year were accomplished using independently collected high resolution (3 m cell-size) multibeam echosounder (MBES) and video-derived reference data. Of the 4 representative biotic classes considered, signals of directional systematic changes were observed to occur between a shallow kelp dominated class, a deep sessile invertebrate dominated class and a mixed class of kelp and sessile invertebrates. These signals of change are interpreted as inter-annual variation in the density and depth related extent of canopy forming kelp species at the site, a phenomenon reported in smaller scale temporal studies of the same species. The methods applied in this study provide a detailed analysis of the various components of the traditional change detection cross tabulation matrix allowing identification of the strongest signals of systematic habitat transitions across broad geographical regions. Identifying clear patterns of habitat change is an important first step in linking these patterns to the processes that drive them.