Interactions and systems for augmenting a live dance performance
Interactions and systems for augmenting a live dance performance
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用于增强现场舞蹈表演的交互和系统
DOI：
10.1109/ismar-amh.2012.6483986
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发表时间：
2012
期刊：
影响因子：
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通讯作者：
Gael Domengero
中科院分区：
文献类型：
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作者：
Alexis Clay;N. Couture;L. Nigay;Jean;Jean;M. Courgeon;M. Desainte;E. Orvain;Vincent Girondel;Gael Domengero
这项工作的背景是开发、调整和整合增强现实相关工具，以增强文化表演中涉及的情感。部分工作致力于在现场表演中增加舞台，并以舞蹈为应用案例。在这篇文章中，我们展示了这项工作的一个里程碑，一个增强的舞蹈表演，它汇集了在项目生命周期中开发的几个工具和技术。这是艺术过程与科学研究和开发相结合的结果。这场增强秀带来了来自人机交互(HMI)和增强现实(AR)研究领域的问题。虚拟元素被添加到舞台上(视频和音频)，舞者能够使用不同的交互技术实时与它们交互。这部作品的原创性有三个方面。首先，我们提出了一套基于运动的交互技术，可以在舞台上独立使用，也可以在其他环境中使用。在这个集合中，一些技术是直接的，而另一些则经历了高级别的抽象。也就是说，我们对舞者进行了基于动作的情感识别，并利用识别出的情感为仿人机器人生成了情感乐曲和情感姿势。其次，这些交互技术依赖于各种可以重组的互连系统。因此，我们提出了一种集成的、交互的系统，用于增强现场性能，在这种情况下，系统故障是不能容忍的。最终的系统可以根据艺术家的喜好进行调整。最后，我们通过现场实验--表演本身--对这些系统进行了验证，之后我们收集并分析了观众和编舞的反馈。
The context of this work is to develop, adapt and integrate augmented reality related tools to enhance the emotion involved in cultural performances. Part of the work was dedicated to augmenting a stage in a live performance, with dance as an application case. In this paper, we present a milestone of this work, an augmented dance show that brings together several tools and technologies that were developed over the project's lifetime. This is the result of mixing an artistic process with scientific research and development. This augmented show brings to stage issues from the research fields of Human-Machine Interaction (HMI) and Augmented Reality (AR). Virtual elements are added on stage (visual and audio) and the dancer is able to interact with them in real-time, using different interaction techniques. The originality of this work is threefold. Firstly, we propose a set of movement-based interaction techniques that can be used independently on stage or in another context. In this set, some techniques are direct, while others go through a high level of abstraction. Namely, we performed movement-based emotion recognition on the dancer, and used the recognized emotions to generate emotional music pieces and emotional poses for a humanoid robot. Secondly, those interaction techniques rely on various interconnected systems that can be reassembled. We hence propose an integrated, interactive system for augmenting a live performance, a context where system failure is not tolerated. The final system can be adapted following the artist's preferences. Finally, those systems were validated through an on field experiment - the show itself - after which we gathered and analyzed the feedback from both the audience and the choreographer.