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dc.rights.licenseopenen_US
hal.structure.identifierESTIA INSTITUTE OF TECHNOLOGY
dc.contributor.authorCLAY, Alexis
hal.structure.identifierESTIA INSTITUTE OF TECHNOLOGY
dc.contributor.authorCOUTURE, Nadine
ORCID: 0000-0001-7959-5227
IDREF: 111534275
dc.contributor.authorNIGAY, Laurence
dc.contributor.authorDE LA RIVIÈRE, Jean-Baptiste
dc.contributor.authorMARTIN, Jean-Claude
dc.contributor.authorCOURGEON, Matthieu
hal.structure.identifierLaboratoire Bordelais de Recherche en Informatique [LaBRI]
dc.contributor.authorDESAINTE-CATHERINE, Myriam
dc.contributor.authorORVAIN, Emmanuel
dc.contributor.authorGIRONDEL, Vincent
dc.contributor.authorDOMENGER, Gaël
dc.date.accessioned2025-01-24T07:52:04Z
dc.date.available2025-01-24T07:52:04Z
dc.date.issued2012-11-05
dc.date.conference2012-11-05
dc.identifier.isbn2-7462-2981-1en_US
dc.identifier.urihttps://oskar-bordeaux.fr/handle/20.500.12278/204543
dc.description.abstractEnThe 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.
dc.language.isoENen_US
dc.publisherIEEE Computer Societyen_US
dc.subject.enAugmented reality
dc.subject.enaugmented dance
dc.subject.enemotion recognition
dc.subject.eninteraction for performing arts
dc.title.enInteractions and systems for augmenting a live dance performance
dc.typeCommunication dans un congrèsen_US
dc.identifier.doi10.1109/ISMAR-AMH.2012.6483986en_US
dc.subject.halInformatique [cs]/Interface homme-machine [cs.HC]en_US
bordeaux.pagen/cen_US
bordeaux.hal.laboratoriesESTIA - Rechercheen_US
bordeaux.institutionUniversité de Bordeauxen_US
bordeaux.conference.titleISMAR 2012 - International Symposium on Mixes and Augmented Realityen_US
bordeaux.conference.cityAtlanta, Georgieen_US
bordeaux.import.sourcehal
hal.identifierhal-00752227
hal.version1
hal.invitednonen_US
hal.proceedingsouien_US
hal.conference.end2012-11-08
hal.popularnonen_US
hal.audienceInternationaleen_US
hal.exportfalse
workflow.import.sourcehal
dc.rights.ccPas de Licence CCen_US
bordeaux.COinSctx_ver=Z39.88-2004&rft_val_fmt=info:ofi/fmt:kev:mtx:journal&rft.date=2012-11-05&rft.spage=n/c&rft.epage=n/c&rft.au=CLAY,%20Alexis&COUTURE,%20Nadine&NIGAY,%20Laurence&DE%20LA%20RIVI%C3%88RE,%20Jean-Baptiste&MARTIN,%20Jean-Claude&rft.isbn=2-7462-2981-1&rft.genre=unknown


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