From Verbal to Three-dimensional Digital Visual Texts: A Construction of a Javanese Prince

2020 ◽  
Author(s):  
Harry Nuriman ◽  
◽  
Nia Kurniasih ◽  
Setiawan Sabana ◽  
Intan R. Mutiaz ◽  
...  
Keyword(s):  
Motion Capture ◽  
Electronic Devices ◽  
Three Dimensional ◽  
The Body ◽  
Motion Capture Data ◽  
Visual Texts ◽  
Theatrical Performances ◽  
Physical Features ◽  
Capture Technique

Visualizations of the body of the famous Javanese Prince Diponegoro appears in various media, ranging across sketches, paintings, sculptures, banknotes and coins, shadow puppets, stamps, theatrical performances and electronic devices. All these visualizations mostly follow previous visualizations influenced by artist imaginations. This research seeks to present Prince Diponegoro in three-dimensional animated visualization using a motion capture technique. To complete this, the project draws from authentic manuscript research from the autobiography of Babad Diponegoro. Further, the project employs intertextuality as a method with which to interpolate the data, and hence to obtain a satisfactory overall visualization. The physical features, gestures and paralinguistic elements contained in the verbal text of Babad Diponegoro have been employed using motion capture data based on events written in the Babad Diponegoro. Many existing representations of the prince exist. However, this study attempts to rethink these existing visualizations, so as to produce a much more accurate, if not completely new, icon, thus differing to existing representations.

Virtualizing Dance

2016 ◽  
pp. 262-282 ◽  
Author(s):  
Kim Vincs
Keyword(s):  
Virtual Environments ◽  
Motion Capture ◽  
Three Dimensional ◽  
The Body ◽  
Contemporary Dance ◽  
Game Engine ◽  
Dance Movement ◽  
Virtual Force ◽  
Fundamental Shift ◽  
At Will

The central project of contemporary dance has been to create a spatiotemporal poetics of the body based on its relationship to gravity. Virtual reality technologies enable a much more radical deconstruction of the conventional dancing body; in three-dimensional computer-generated space, the laws of physics can literally be coded into being, and Susanne Langer’s notion of “virtual force” becomes negotiable by dancers on an entirely new scale. Dancers can float free of gravity or change their physical morphology seemingly at will. Game-engine technology enables “virtual choreography” in digitally generated worlds; motion capture technology is central to transferring dance movement into CG interactive environments. Drawing on work by dance technology artists and research centers around the world, this chapter argues that the poetic affordances of motion capture provide a fundamental shift in conceptualizing dance movement that expands dance’s ability to critically and artistically engage with virtual environments, and therefore with an increasingly virtualized cultural imagination.

scholarly journals Descripción del movimiento humano basado en el marco de Frenet Serret y datos tipo MOCAP

2021 ◽  
Vol 17 (34) ◽  
pp. 170-180
Author(s):  
Juan Camilo Hernandez-Gomez ◽  
Alejandro Restrepo-Martínez ◽  
Juliana Valencia-Aguirre
Keyword(s):  
Motion Capture ◽  
Nearest Neighbors ◽  
Human Movement ◽  
The Body ◽  
Microsoft Kinect ◽  
Support Vector ◽  
Motion Capture Data ◽  
K Nearest Neighbors ◽  
Vector Machines ◽  
Optical Markers

Clasificar el movimiento humano se ha convertido en una necesidad tecnológica, en donde para definir la posición de un sujeto requiere identificar el recorrido de las extremidades y el tronco del cuerpo, y tener la capacidad de diferenciar esta posición respecto a otros sujetos o movimientos, generándose la necesidad tener datos y algoritmos que faciliten su clasificación. Es así, como en este trabajo, se evalúa la capacidad discriminante de datos de captura de movimiento en rehabilitación física, donde la posición de los sujetos es adquirida con el Kinect de Microsoft y marcadores ópticos, y atributos del movimiento generados con el marco de Frenet Serret, evaluando su capacidad discriminante con los algoritmos máquinas de soporte vectorial, redes neuronales y k vecinos más cercanos. Los resultados presentan porcentajes de acierto del 93.5% en la clasificación con datos obtenidos del Kinect, y un éxito del 100% para los movimientos con marcadores ópticos. Classify human movement has become a technological necessity, where defining the position of a subject requires identifying the trajectory of the limbs and trunk of the body, having the ability to differentiate this position from other subjects or movements, which generates the need to have data and algorithms that help their classification. Therefore, the discriminant capacity of motion capture data in physical rehabilitation is evaluated, where the position of the subjects is acquired with the Microsoft Kinect and optical markers. Attributes of the movement generated with the Frenet Serret framework. Evaluating their discriminant capacity by means of support vector machines, neural networks, and k nearest neighbors algorithms. The obtained results present an accuracy of 93.5% in the classification with data obtained from the Kinect, and success of 100% for movements where the position is defined with optical markers.

Simple mechanisms organise orientation of escape swimming in embryos and hatchling tadpoles of Xenopus laevis

2000 ◽  
Vol 203 (12) ◽  
pp. 1869-1885 ◽  
Author(s):  
A. Roberts ◽  
N.A. Hill ◽  
R. Hicks
Keyword(s):  
Mathematical Model ◽  
Xenopus Laevis ◽  
High Speed ◽  
Three Dimensional ◽  
Longitudinal Axis ◽  
The Body ◽  
Video Recordings ◽  
Stage Of Development ◽  
Physical Features ◽  
Neutrally Buoyant

Many amphibian tadpoles hatch and swim before their inner ears and sense of spatial orientation differentiate. We describe upward and downward swimming responses in hatchling Xenopus laevis tadpoles from stages 32 to 37/38 in which the body rotates about its longitudinal axis. Tadpoles are heavier than water and, if touched while lying on the substratum, they reliably swim upwards, often in a tight spiral. This response has been observed using stroboscopic photography and high-speed video recordings. The sense of the spiral is not fixed for individual tadpoles. In ‘more horizontal swimming’ (i.e. in directions within +/−30 degrees of the horizontal), the tadpoles usually swim belly-down, but this position is not a prerequisite for subsequent upward spiral swimming. Newly hatched tadpoles spend 99 % of their time hanging tail-down from mucus secreted by a cement gland on the head. When suspended in mid-water by a mucus strand, tadpoles from stage 31 to 37/38 tend to swim spirally down when touched on the head and up when touched on the tail. The three-dimensional swimming paths of stage 33/34 tadpoles were plotted using simultaneous video images recorded from the side and from above. Tadpoles spiralled for 70 % of the swimming time, and the probability of spiralling increased to 1 as swim path angles became more vertical. Tadpoles were neutrally buoyant in Percoll/water mixtures at 1.05 g cm(−)(3), in which anaesthetised tadpoles floated belly-down and head-up at 30 degrees. In water, their centre of mass was ventral to the muscles in the yolk mass. A simple mathematical model suggests that the orientation of tadpoles during swimming is governed by the action of two torques, one of which raises the head (i.e. increases the pitch) and the other rotates (rolls) the body. Consequently, tadpoles (i) swim belly-down when the body is approximately horizontal because the body is ballasted by dense yolk, and (ii) swim spirally at more vertical orientations when the ballasting no longer stabilises orientation. Measurements in tethered tadpoles show that dorsal body flexion, which could produce a dorsal pitch torque, is present during swimming and increases with tailbeat frequency. We discuss how much of the tadpole's behaviour can be explained by our mathematical model and suggest that, at this stage of development, oriented swimming responses may depend on simple touch reflexes, the organisation of the muscles and physical features of the body, rather than on vestibular reflexes.

Human Fall Evaluation Using Motion Capture and Human Modeling

2013 ◽  
Author(s):  
John Wiechel ◽  
Sandra Metzler ◽  
Dawn Freyder ◽  
Nick Kloppenborg
Keyword(s):  
Motion Capture ◽  
Initial Conditions ◽  
Accurate Determination ◽  
Three Dimensional ◽  
Free Fall ◽  
Initial Position ◽  
The Body ◽  
Active Movement ◽  
Injury Biomechanics ◽  
The Individual

Reconstructing the mechanics and determining the cause of a person falling from a height in the absence of witness observations or a statement from the victim can be quite challenging. Often there is little information available beyond the final resting position of the victim and the injuries they sustained. The mechanics of a fall must follow the physics of falling bodies and this physics provides an additional source of information about how the fall occurred. Computational, physics-based simulations can be utilized to model the free-fall portion of the fall kinematics and to analyze biomechanical injury mechanisms. However, an accurate determination of the overall fall kinematics, including the initial conditions and any specific contributions of the person(s) involved, must include the correct position and posture of the individual prior to the fall. Frequently this phase of the analysis includes voluntary movement on the part of the fall victim, which cannot be modeled with simulations using anthropomorphic test devices (ATDs). One approach that has been utilized in the past to overcome this limitation is to run the simulations utilizing a number of different initial conditions for the fall victim. While fall simulations allow the initial conditions of the fall to be varied, they are unable to include the active movement of the subject, and the resulting interaction with other objects in the environment immediately prior to or during the fall. Furthermore, accurate contact interactions between the fall victim and multiple objects in their environment can be difficult to model within the simulation, as they are dependent on the knowledge of material properties of these objects and the environment such as elasticity and damping. Motion capture technology, however, allows active subject movement and behaviors to be captured in a quantitative, three-dimensional manner. This information can then be utilized within the fall simulation to more accurately model the initial fall conditions. This paper presents a methodology for reconstructing fall mechanics using a combination of motion capture, human body simulation, and injury biomechanics. This methodology uses as an example a fall situation where interaction between the fall victim and specific objects in the environment, as well as voluntary movements by the fall victim immediately prior to the accident, provided information that could not be otherwise obtained. Motion capture was first used to record the possible motions of a person in the early stages of the fall. The initial position of the fall victim within the physics based simulation of the body in free fall was determined utilizing the individual body segment and joint angles from the motion capture analysis. The methodology is applied to a real world case example and compared with the actual outcome.

scholarly journals The Influence of X-Factor (Trunk Rotation) and Experience on the Quality of the Badminton Forehand Smash

2016 ◽  
Vol 53 (1) ◽  
pp. 9-22 ◽  
Author(s):  
Zhao Zhang ◽  
Shiming Li ◽  
Bingjun Wan ◽  
Peter Visentin ◽  
Qinxian Jiang ◽  
...  
Keyword(s):  
Motion Capture ◽  
Teaching And Learning ◽  
Three Dimensional ◽  
Biomechanical Model ◽  
Kinematic Chain ◽  
The Body ◽  
Trunk Rotation ◽  
Preparation Phase ◽  
Full Body

AbstractNo existing studies of badminton technique have used full-body biomechanical modeling based on three-dimensional (3D) motion capture to quantify the kinematics of the sport. The purposes of the current study were to: 1) quantitatively describe kinematic characteristics of the forehand smash using a 15-segment, full-body biomechanical model, 2) examine and compare kinematic differences between novice and skilled players with a focus on trunk rotation (the X-factor), and 3) through this comparison, identify principal parameters that contributed to the quality of the skill. Together, these findings have the potential to assist coaches and players in the teaching and learning of the forehand smash. Twenty-four participants were divided into two groups (novice, n = 10 and skilled, n = 14). A 10-camera VICON MX40 motion capture system (200 frames/s) was used to quantify full-body kinematics, racket movement and the flight of the shuttlecock. Results confirmed that skilled players utilized more trunk rotation than novices. In two ways, trunk rotation (the X-factor) was shown to be vital for maximizing the release speed of the shuttlecock – an important measure of the quality of the forehand smash. First, more trunk rotation invoked greater lengthening in the pectoralis major (PM) during the preparation phase of the stroke which helped generate an explosive muscle contraction. Second, larger range of motion (ROM) induced by trunk rotation facilitated a whip-like (proximal to distal) control sequence among the body segments responsible for increasing racket speed. These results suggest that training intended to increase the efficacy of this skill needs to focus on how the X-factor is incorporated into the kinematic chain of the arm and the racket.

The Analysis of Slice-Induced Factors in Golf Swing Using a 3D Motion Capture System

2006 ◽  
Vol 321-323 ◽  
pp. 1094-1097 ◽  
Author(s):  
Tae Yong Sim ◽  
Seung Eel Oh ◽  
Sang Sik Lee ◽  
Joung H. Mun
Keyword(s):  
Neural Network ◽  
Artificial Neural Network ◽  
Fuzzy Logic ◽  
Motion Capture ◽  
Three Dimensional ◽  
The Body ◽  
Motion Capture System ◽  
Classification Rate ◽  
Artificial Neural ◽  
Inducing Factors

In golf, it is crucial that unintended shots, such as slices, be minimized. However, it has proven rather difficult to improve golf performance via investigations of the causes of slicing, as this particular phenomenon is induced by a cooperative effect by each segment of the body, rather than by a single postural anomaly. Thus, the objective of this study was to isolate and characterize the factors causing slicing, and to present possibilities for the improvement of golf performance via the minimization of the number of slices executed, using a three dimensional motion capture system, combined with multiple regression analysis, artificial neural network, and fuzzy logic techniques. This study obtained some interesting results, such as the following: (1) We isolated 9 slice-inducing factors, using a stepwise method. (2) Our artificial neural network (ANN) accurately separated 'slice' from 'normal' shots (classification rate: 100%). (3)We could present the possibility of reducing the number of slice using the fuzzy logic. We expect that our data might be eventually used to improve golf performance.

scholarly journals Method of cutting phases of motion while rowing on the ergometer based on three-dimensional motion

2017 ◽  
Vol 5 ◽  
pp. 155-158
Author(s):  
Kacper Kowalczyk ◽  
Maria Skublewska-Paszkowska
Keyword(s):  
Motion Capture ◽  
Minimum Distance ◽  
Three Dimensional ◽  
Motion Capture Data ◽  
File Format ◽  
Motion Study

The article presents both the methods of data modification of motion capture data in C3D file format, and the analysis of the modification of motion capture data using implemented application. The application is used to load C3D files with recorded motion and to automatic cut of the repeating, similar sequences of recorded motion. The analysis was conducted in terms of comparing received cut phases of motion. Study include cases such as length of particular phases, maximum and minimum distance between examined markers and comparison of start and final motion frames.

scholarly journals Gestures as image schemas and force gestalts: A dynamic systems approach augmented with motion-capture data analyses

2018 ◽  
Vol 11 (1) ◽  
Author(s):  
Irene Mittelberg
Keyword(s):  
Material Culture ◽  
Motion Capture ◽  
Dynamic Systems ◽  
Systems Approach ◽  
Meaning Making ◽  
Self Regulation ◽  
Spatial Relation ◽  
The Body ◽  
Motion Capture Data ◽  
Image Schemas

AbstractEmbodied image schemas are central to experientialist accounts of meaning-making. Research from several disciplines has evidenced their pervasiveness in motivating form and meaning in both literal and figurative expressions across diverse semiotic systems and art forms (e.g., Gibbs and Colston; Hampe; Johnson; Lakoff; and Mandler). This paper aims to highlight structural similarities between, on the one hand, dynamic image schemas and force schemas and, on the other, hand shapes and gestural movements. Such flexible correspondences between conceptual and gestural schematicity are assumed to partly stem from experiential bases shared by incrementally internalized conceptual structures and the repeated gestural (re-) enacting of bodily actions as well as more abstractsemantic primitives(Lakoff). Gestures typically consist of evanescent, metonymically reduced hand configurations, motion onsets, or movement traces that minimally suggest, for instance, a PATH, the idea of CONTAINMENT, an IN-OUT spatial relation, or the momentary loss of emotional BALANCE. So, while physical in nature, gestures often emerge as rather schematic gestalts that, as such, have the capacity to vividly convey essential semantic and pragmatic aspects of high relevance to the speaker. It is further argued that gesturally instantiated image schemas and force dynamics are inherently meaningful structures that typically underlie more complex semantic and pragmatic processes involving, for instance, metonymy, metaphor, and frames. First, I discuss previous work on how image schemas, force gestalts, and mimetic schemas may underpin hand gestures and body postures. Drawing on Gibbs’ dynamic systems account of image schemas, I then introduce an array of tendencies in gestural image schema enactments:body-inherent/self-oriented(body as image-schematic structure; forces acting upon the body);environment-oriented(material culture including spatial structures), andinterlocutor-oriented(intersubjective understanding). Adopting a dynamic systems perspective (e.g.,Thompson and Varela) thus puts the focus on how image schemas and force gestalts that operate in gesture may function as cognitive-semiotic organizing principles that underpin a) the physical and cognitive self-regulation of speakers; b) how they interact with the (virtual) environment while talking; and c) intersubjective instances of resonance and understanding between interlocutors or between an artwork and its beholder. Examples of these patterns are enriched by video and motion-capture data, showing how numeric kinetic data allow one to measure the temporal and spatial dimensions of gestural articulations and to visualize movement traces.

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