ISMAR 2014 - Sep 10-12 - Munich, Germany
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ISMAR Papers for Session "MASHD: AR Interaction and Creativity"
MASHD: AR Interaction and Creativity
Session :
Location : HS3
Chair : Julian Stadon, FH Salzburg
Papers :
MASH'D: AR Interaction and Creativity
Date & Time : September 12 11:00 am - 12:30 pmLocation : HS3
Chair : Julian Stadon, FH Salzburg
Papers :
Effects of Mobile AR-Enabled Interactions on Retention and Transfer for Learning in Art Museum Contexts
Authors: Weiquan Lu, Linh-Chi Nguyen, Teong Leong Chuah, Ellen Yi-Luen Do
Abstract :
In this paper, we describe an experiment to study the effect of mobile Augmented Reality (AR) on learning in art museum contexts. We created six original paintings and placed them in a mini art museum. We then created an AR application on the iPad to enable the artist to visually augment each painting by introducing animation. We then measured the ability of the visitors to remember the appearance of the paintings after 24 hours, as well as their ability to objectify the paintings. Experiment results show that while AR does improve retention and transfer of such art information, the benefits of AR are mediated by other factors such as interference from other elements of the exhibition, as well as subjects' own prior art experience and training. The use of AR may also produce unexpected benefits, such as providing users with a new perspective of the artwork, as well as increasing their curiosity and encouraging them to experiment with the technology. Such benefits may potentially improve the chances for learning and analytical activities to take place.
In this paper, we describe an experiment to study the effect of mobile Augmented Reality (AR) on learning in art museum contexts. We created six original paintings and placed them in a mini art museum. We then created an AR application on the iPad to enable the artist to visually augment each painting by introducing animation. We then measured the ability of the visitors to remember the appearance of the paintings after 24 hours, as well as their ability to objectify the paintings. Experiment results show that while AR does improve retention and transfer of such art information, the benefits of AR are mediated by other factors such as interference from other elements of the exhibition, as well as subjects' own prior art experience and training. The use of AR may also produce unexpected benefits, such as providing users with a new perspective of the artwork, as well as increasing their curiosity and encouraging them to experiment with the technology. Such benefits may potentially improve the chances for learning and analytical activities to take place.
AR PETITE THEATER: Augmented Reality Storybook for Supporting Children'
Authors: Kyungwon Gil, Jimin Rhim, Taejin Ha, Young Yim Doh, Woontack Woo
Abstract :
In this paper, we present an AR Petite Theater, a story book that enables role-play using augmented reality (AR) technology. It provides an opportunity for children to learn the ability of empathy through interactive reading experience by thinking and speaking in accordance with the character’s role of the story. In general, empathy is one of most important elements for children to make friends at school and to expand their social relations. In particular, it is crucial for early school-age children who have difficulties in getting along with friends due to their egocentric perspective. Through the experiment with 24 six-year-old children, we measured children’s role-playing participation and perspective taking state. As a result, more empathic behaviors were revealed in the AR group. Children in the AR condition were more actively involved in role-playing and showed less unrelated perspectives than children in the non-AR condition. Therefore, we verified that AR Petite Theater had the potential of expanding children’s ability to empathize with others.
In this paper, we present an AR Petite Theater, a story book that enables role-play using augmented reality (AR) technology. It provides an opportunity for children to learn the ability of empathy through interactive reading experience by thinking and speaking in accordance with the character’s role of the story. In general, empathy is one of most important elements for children to make friends at school and to expand their social relations. In particular, it is crucial for early school-age children who have difficulties in getting along with friends due to their egocentric perspective. Through the experiment with 24 six-year-old children, we measured children’s role-playing participation and perspective taking state. As a result, more empathic behaviors were revealed in the AR group. Children in the AR condition were more actively involved in role-playing and showed less unrelated perspectives than children in the non-AR condition. Therefore, we verified that AR Petite Theater had the potential of expanding children’s ability to empathize with others.
Integrating Augmented Reality to Enhance Expression, Interaction &
Authors: Alexis Clay, Gaël Domenger, Julien Conan, Axel Domenger, Nadine Couture
Abstract :
The democratization of high-end, affordable and off-the-shelf sensors and displays triggered an explosion in the exploration of interaction and projection in arts. Although mostly witnessed in interactive artistic installations (e.g. museums and exhibitions), performing arts also explore such technologies, using interaction and augmented reality as part of the performance. Such works often emerge from collaborations between artists and scientists. Despite being antonymic in appearance, we advocate that both fields can greatly benefit from this type of collaboration. Since 2006 the authors of this paper (from a research laboratory and a national ballet company) have collaborated on augmenting a ballet performance using a dancer’s movements for interaction. We focus on large productions using high-end motion capture and projection systems to allow dancers to interact with virtual elements on an augmented stage in front of several hundred people. To achieve this, we introduce an ‘augmented reality engineer’, whose role is to design the augmented reality systems and interactions according to a show’s aesthetic and choreographic message, and to control them during the performance alongside light and sound technicians. Our last production: Debussy3.0 is an augmented ballet based on La Mer by Claude Debussy, featuring body interactions by one of the dancers and backstage interactions by the augmented reality engineer. For the first time, we explored 3D stereoscopy as a display technique for augmented reality and interaction in real-time on stage. The show was presented at Biarritz Casino in December 2013 in front of around 700 people. In this paper, we present the Debussy3.0 augmented ballet both as a result of the use of augmented reality in performing arts and as a guiding thread to provide feedback on arts-science collaboration. First, we will describe how the ballet was constructed aesthetically, technically and in its choreography. We will discuss and provide feedback on the use of motion capture and stereoscopy techniques in a live show and will then broaden the scope of discussion, providing feedback on art-science collaboration, the traps and benefits for both parties, and the positive repercussions it can bring to a laboratory when working on industrial projects.
The democratization of high-end, affordable and off-the-shelf sensors and displays triggered an explosion in the exploration of interaction and projection in arts. Although mostly witnessed in interactive artistic installations (e.g. museums and exhibitions), performing arts also explore such technologies, using interaction and augmented reality as part of the performance. Such works often emerge from collaborations between artists and scientists. Despite being antonymic in appearance, we advocate that both fields can greatly benefit from this type of collaboration. Since 2006 the authors of this paper (from a research laboratory and a national ballet company) have collaborated on augmenting a ballet performance using a dancer’s movements for interaction. We focus on large productions using high-end motion capture and projection systems to allow dancers to interact with virtual elements on an augmented stage in front of several hundred people. To achieve this, we introduce an ‘augmented reality engineer’, whose role is to design the augmented reality systems and interactions according to a show’s aesthetic and choreographic message, and to control them during the performance alongside light and sound technicians. Our last production: Debussy3.0 is an augmented ballet based on La Mer by Claude Debussy, featuring body interactions by one of the dancers and backstage interactions by the augmented reality engineer. For the first time, we explored 3D stereoscopy as a display technique for augmented reality and interaction in real-time on stage. The show was presented at Biarritz Casino in December 2013 in front of around 700 people. In this paper, we present the Debussy3.0 augmented ballet both as a result of the use of augmented reality in performing arts and as a guiding thread to provide feedback on arts-science collaboration. First, we will describe how the ballet was constructed aesthetically, technically and in its choreography. We will discuss and provide feedback on the use of motion capture and stereoscopy techniques in a live show and will then broaden the scope of discussion, providing feedback on art-science collaboration, the traps and benefits for both parties, and the positive repercussions it can bring to a laboratory when working on industrial projects.
VAL: Visually Augmented Laser cutting to enhance and support creativity
Authors: Kristoffer Winge, Rune Haugaard, Timothy Merritt
Abstract :
Laser cutters are increasingly relevant within many user contextsand have become an essential tool for model building and prototyping. While providing precision and flexibility, these tools are typically suited for expert staff in industrial settings. VAL (Visually Augmented Laser cutting) proposes a novel system utilizing spatial augmented reality techniques to provide visual augmentation directly on the work surface. VAL involves projection of the user’s model prior to and during laser cutting providing key benefits including minimizing idle time, reduction of errors, and support for new creative practices. We interview and observe laser cutter users to identify issues and concerns in the shared work context of a design school and describe the design process for our prototype, which aims to address these problems and unmet needs. Initial evaluation suggests VAL reduces complexity and raises user confidence. Our findings extend research on adapting new use contexts and creative practices with industrial fabrication tools.
Laser cutters are increasingly relevant within many user contextsand have become an essential tool for model building and prototyping. While providing precision and flexibility, these tools are typically suited for expert staff in industrial settings. VAL (Visually Augmented Laser cutting) proposes a novel system utilizing spatial augmented reality techniques to provide visual augmentation directly on the work surface. VAL involves projection of the user’s model prior to and during laser cutting providing key benefits including minimizing idle time, reduction of errors, and support for new creative practices. We interview and observe laser cutter users to identify issues and concerns in the shared work context of a design school and describe the design process for our prototype, which aims to address these problems and unmet needs. Initial evaluation suggests VAL reduces complexity and raises user confidence. Our findings extend research on adapting new use contexts and creative practices with industrial fabrication tools.
