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HoloWall: Interactive Digital Surfaces
Jun Rekimoto
Sony Computer Science Laboratory, Inc.
3-14-13 Higashigotanda, Shinagawa-ku
Tokyo 141-0022 Japan
rekimoto@csl.sony.co.jp
www.csl.sony.co.jp
/person/rekimoto/holowall/
HoloWall is an interactive wall system that allows
visitors to interact with digital information displayed
on the wall surface without using any special pointing
devices. It demonstrates several interactive environments,
including a world of autonomous digital insects that respond
to body movements and an interactive sound environment that
reactively creates music sequences based on the user's actions.
Swamped! Using Plush Toys to Direct Autonomous Animated Characters
Bruce M. Blumberg
Synthetic Characters Group
Media Lab
Massachusetts Institute of Technology
E15-311, 20 Ames Street
Cambridge, Massachusetts 02139 USA
bruce@media.mit.edu
characters.www.media.mit.edu
/groups/characters/
Swamped! is a multi-user interactive environment in which
instrumented plush toys are used as an iconic and tangible
interface to influence autonomous animated characters. Each
character has a distinct personality and decides in real time
what it should do based on its perception of its environment,
its motivational and emotional state, and input from its
"conscience," the guest. A guest can influence how a given
character acts and feels by manipulating a stuffed animal
corresponding to the character. For example, the guest
could direct her character's attention by moving the
stuffed animal's head, comfort it by stroking its
belly, or have it wave at another character by waving its arm.
AR2 Hockey
Toshikazu Ohshima
Mixed Reality Systems Laboratory, Inc.
6-145 Hanasaki-cho
Nishi-ku, Yokohama 220-0022 Japan
ohshima@mr-system.com
www.mr-system.com/
In AR2 Hockey (Augmented Reality AiR Hockey), players share
a physical game field, mallets, and a virtual puck to play
air hockey in simultaneously shared physical and virtual
space. They can also communicate with each other through
the mixed space. Since real-time, accurate registration
between both spaces and players is crucial to playing
the game, a video-rate registration algorithm is implemented
with commercial head-trackers and video cameras attached
to optical see-through head-mounted displays.
PingPongPlus
Craig Wisneski
Media Lab
Massachusetts Institute of Technology
E15-452, 20 Ames Street
Cambridge, Massachusetts 02139 USA
wiz@media.mit.edu
tangible.media.mit.edu
/projects/pingpongplus.html
The goal of this project is to explore systems for
collaborative play that push the physical world back
into the forefront of design, without relying on simple
GUI controllers, such as a mouse, keyboard, and joystick.
Various audio and visual augmentations have been added
to a conventional ping-pong table with a non-invasive,
sound-based ball tracking system. The "reactive table"
displays patterns of light and shadow as a game is played,
and the rhythm and style of play drives accompanying sound.
At times, the game is subtly enhanced, and sometimes it
is powerfully changed. In one mode, the table appears
to be covered with water, so that playing on it creates
patterns of subtle ripples. In another mode, images that
race around the table change the entire scoring system and method of play.
Object-Oriented Displays
Naoki Kawakami, Masahiko Inami,
Yasuyuki Yanagida, and Susumu Tachi
Tachi Laboratory
MEIP, The Faculty of Engineering
The University of Tokyo
7-3-1 Hongo Bunkyo-ku
Tokyo 113-8656 Japan
kawakami@star.t.u-tokyo.ac.jp
In Object-Oriented Displays, users perceive and operate a virtual
object as if it were real. Design and implementation of three types
of object-oriented displays were demonstrated: MEDIA-Ace, a liquid
crystal display (LCD) and position sensor; MEDIA-Cube, a position
sensor and four LCDs arranged in the shape of a cubic body; and
MEDIA-Crystal, which uses optical projection.
Mass Hallucination
Trevor Darrell
Interval Research Corporation
1801 Page Mill Road, Building C
Palo Alto, California 94304 USA
trevor@interval.com
This imaging display changes according to the number of people
watching it, their behaviors, and whether they've watched the
device before. It is reflexive: the displayed image is a
function of the people watching the display. It encourages
crowds of people to collectively manipulate the display
with their bodies or faces. Yet it is also personal, in
that it can recognize the appearance of a user for short-to-medium
periods of time and tailor the display accordingly. As in
Magic Morphin' Mirror, a SIGGRAPH 97 Electric Garden project
by the same group, this display captures video along the same
optical axis as video is displayed, so images of observers
can be directly manipulated, composited, or distorted on
the display. In contrast to the previous work, which only
considered a single user at a time and had no persistence
after they left, this display is designed to visually track
a crowd of people and provide a shared graphical experience.
Foot Interface: Fantastic Phantom Slipper
Yuichiro Kume
Tokyo Institute of Polytechnics
1583 Iiyama
Atsugi, Kanagawa 243-0297 Japan
kume@photo.t-kougei.ac.jp
laplace.photo.t-kougei.ac.jp/
People should be able to use their feet just as freely
in a virtual environment as they do in the real world.
Wearable interfaces should not cause psychological
and/or physical discomforts. This slipper-like multi-modal
interface is based on those two assumptions. It features
a slipper interface with cyberworlds. Each foot's movement
is measured in real time with an optical motion capture
system, and feedback signals are transmitted to the soles.
Phantom sensations elicited by multiple tactile stimuli
allow transmission of complicated feedback information
such as objects moving around the feet. Optical markers
for motion capture and vibrators for tactile stimulation
are installed in the slippers. Players interact with
virtual objects projected onto a floor screen, sense
them, and use them to play games.
inTouch
Scott Brave
Media Lab
Massachusetts Institute of Technology
E15-468C, 20 Ames Street
Cambridge, Massachusetts 02139 USA
brave@media.mit.edu
tangible.media.mit.edu
/projects/intouch.html
Touch is a fundamental aspect of interpersonal communication.
Yet while many traditional technologies allow communication
through sound or image, none is designed for expression through
touch. The goal of inTouch is to bridge this gap by creating a
physical link between users separated by distance. InTouch
consists of two separate identical objects, each consisting
of three cylindrical rollers mounted on a base. The two
objects behave as if corresponding rollers are physically
connected, but in reality, the objects are only virtually
linked. Sensors are used to monitor the states of the
rollers, and computer-controlled motors synchronize those
states, creating the illusion that distant users are
interacting through a single, shared physical object.
Virtual FishTank
Stacy Koumbis
147 Sherman Street
Cambridge, Massachusetts 02140 USA
stacy@nearlife.com
www.nearlife.com
The Virtual FishTank is a simulated aquatic environment
featuring a 400-square-foot tank populated by whimsical
and dynamic fish. Participants can:
- Create their own fish
- Design behaviors for their fish
- Observe their fish interacting with other fish.
- Manipulate behavioral rules for a group of fish.
- Discover how these behaviors can emulate schooling.
- Analyze emerging patterns.
Through real-time 3D graphics, visitors are introduced
to ideas from the sciences of complexity ideas that
explain not only ecosystems, but also economic markets,
immune systems, and traffic jams. In particular, visitors
learn how complex patterns arise from simple rules.
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Haptic Screen
Hiroo Iwata
Institute of Engineering Mechanics
University of Tsukuba
Tsukuba, 305 Japan
iwata@kz.tsukuba.ac.jp
intron.kz.tsukuba.ac.jp
Haptic Screen is a new force-feedback device that deforms
itself to present shapes of virtual objects. Typical
force-feedback devices use a grip or thimble, but users
of Haptic Screen can touch the virtual object without
wearing anything. Haptic Screen employs an elastic
surface made of rubber. A 6 X 6 array of 36 actuators
deforms the surface and controls its hardness according
to the force applied by the user. An image of the virtual
object is projected onto the elastic surface so that the
user can directly touch the image and feel its rigidity.
Natural 3D Display System Using Holographic Optical Element
Koji Yamasaki
Laboratories of Image Information
Science and Technology
1-1-8-3F, Shinsenri-Nishi, Toyonaka,
Osaka 565-0083 Japan
yamasaki@senri.image-lab.or.jp
In this natural 3D display system, a holographic optical
element (HOE) overcomes conflicts between convergence and
accommodation. Users experience clear stereoscopic vision,
without glasses, of a broad field of view. With its multiple-focus
HOE, the system offers two pairs of viewing points in
back-and-forth or horizontal locations.
Direct Watch & Touch
Takahisa Ando
Laboratories of Image Information Science
and Technology
Daiichi-Kasai Senri-Chuo Bldg. 3F, 1-1-8,
Shinsenri-Nishimachi, Toyonaka,
Osaka 565 Japan
ando@image-lab.or.jp
www.image-lab.or.jp/
This 3D display offers access to a virtual stereoscopic
world without special glasses. When users "touch" the world
with real tools (for example, a hammer, a surgical knife, a
wrench, tweezers, etc.), directly and interactively, they hear
and feel contact and transform virtual objects. This binocular
parallax display combines virtual and real environments in full,
high-resolution (XGA) color. It is a new approach to virtual
reality that handles virtual objects with "real" tactile feedback.
Media & Mythology
Kimberly Abel Parsons
Visual Systems Laboratory
Institute for Simulation & Training
3280 Progress Drive
Orlando, Florida 32826 USA
kparsons@ist.ucf.edu
In ancient times, mythology was the high-tech method for
storing data on a society's history, rituals, and ethical
systems. The paradigm in use for these early information
systems was storytelling. Media & Mythology explores the
link between traditional mythologies from several cultures
and new technology/new media. Man and Minotaur allows visitors
a chance to portray the two ancient combatants and the gods
that taunt them within a fully immersive, synthetic version
of Dedalus' Labyrinth in ancient Crete. In Video Totem,
expressionistic visitors create and view their own
mythologies on a large digital totem pole. Dear
Oracle integrates contemporary media into traditional
soothsaying. The result is a new form of
oracle: digital divination.
Natural Pointing Techniques Using a Finger-Mounted Direct Pointing Device
John Sibert
Department of Electrical Engineering and Computer Science
The George Washington University
Washington, D.C. 20052 USA
sibert@seas.gwu.edu
Pointing with the index finger is a natural way to select
an object, and if it can be incorporated into human-computer
interaction technology, a significant benefit will be obtained
for certain applications. This demonstration presents a
prototype solution. Based on an infrared signal power
density weighing principle, a small infrared emitter on
the user's finger and multiple receivers placed around
the laptop screen generate data for a low-cost microprocessor
system. The microprocessor sends its output to a laptop
computer, where it is used to determine coordinates for
the cursor location. The prototype is not only a proof
of concept. It is also a tool for further research on
human performance in pointing and further development
of interactive techniques.
Virtual Head
Thom Brenner
Echtzeit GmbH
Kanstrasse 165
10623 Berlin, Germany
tbrenner@echtzeit.de
Virtual Head is a new approach that enhances communication
in virtual environments and telepresence. It tackles one of
the key problems in the field of innovative telecommunication
technology: how to represent oneself in virtual environments
in such a way that an emotional and natural way of
communicating with others is possible.
The Virtual Head conferencing prototype renders
three-dimensional images of every communication
partner in real time. It establishes eye-to-eye
contact among the communication partners by
projecting live-video textures onto 3D geometry
of a head. The application translates the head
movement so that video images show the original
movements. Compressed video and audio information
is exchanged via a high-bandwidth network to
establish a remote conferencing scenario.
Video and audio are decompressed on both
sides, and the images are projected onto a screen.
Stretchable Music with Laser Range Finder
Pete Rice and Joshua Strickon
Massachusetts Institute of Technology
E15-495, 20 Ames Street
Cambridge, Massachusetts 02139 USA
strickon@media.mit.edu
brainop.media.mit.edu/
~strickon/siggraph.html
Stretchable Music with Laser Range Finder combines an
innovative, graphical, interactive music system with
a state-of-the-art laser tracking device. An abstract
graphical representation of a musical piece is projected
onto a large vertical display surface. Users are invited
to shape musical layers by pulling and stretching animated
objects with natural, unencumbered hand movements. Each of
the graphical objects is specifically designed to represent
and control a particular bit of musical content. Objects
incorporate simple behaviors and simulated physical
properties to generate unique sonic personalities
that contribute to their overall musical aesthetic.
Shall We Dance?
Kazuyuki Ebihara
ATR Media Integration & Communication
Research Lab
2-2 Hikaridai Seika-cho
Soraku-gun
Kyoto 631 Japan
ebihara@mic.atr.co.jp
Real-time 3D computer vision gives users control
over both the movement and facial expression of a
virtual puppet and the music to which the puppet
"dances." Multiple cameras observe a person,
and human silhouette analysis achieves real-time
3D estimation of human postures. Facial expressions
are estimated from images acquired by a viewing-direction
controllable camera, so that the face can be tracked. From
the facial images, deformations of each facial component are
estimated. The estimated body postures and facial expressions
are reproduced in the puppet model by deforming the model
according to the estimated data. All the estimation and
rendering processes run in real time on PC-based systems.
Attendees can see themselves dancing in a virtual
scene as virtual puppets.
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