Building virtual actors who can really act (summary)
Ken Perlin, New York University Media Research Laboratory
and Center for Advanced Technology, U.S.A.
The V-Man Project: towards autonomous virtual characters
E. Menou, L. Philippon, S. Sanchez, J. Duchon, O. Balet
Virtual Reality Dept., C-S, Toulouse, France
A New Automated Workflow for 3D Character Creation Based
on 3D Scanned Data
Alexander Sibiryakov, Xiangyang Ju, Jean-Christophe Nebel
Using motivation-driven continuous planning to control the
behaviour of virtual agents
Computing Science Department, University of Glasgow, U.K.
N. Avradinis, R.S. Aylett, T. Panayiotopoulos
Centre for Virtual Environments, University of Salford, U.K.
/ Knowledge Engineering Lab, University of Piraeus, Greece
Authoring Highly Generative Interactive Drama
Nicolas Szilas, Olivier Marty, Jean-Hughes Rety
www.idtension.com, Paris, France / LSS ENS-EHESS, Paris, France
/ LINC - Lab. Paragraphe, Montreuil, France
Character-focused Narrative Planning for Execution in Virtual
Mark Riedl, R. Michael Young
Liquid Narrative Group, Dept. of Computer Science, North Carolina
State University, U.S.A.
Managing Authorship in Plot Conduction
Daniel Sobral, Isabel Machado, Ana Paiva
INESC-ID, Lisboa, Portugal / IST - Technical University at
Authoring Edutainment Stories for Online Players (AESOP):
Introducing Gameplay into Interactive Dramas
Barry G. Silverman, Michael Johns, Ransom Weaver, Joshua Mosley
ACASA, University of Pennsylvania, U.S.A.
From the Necessity of Film Closure to Inherent VR Wideness
Nelson Zagalo, Vasco Branco, Anthony Barker
Dept. of Coomunication and Art, University of Aveiro, Portugal
/ Dept. of Languages and Cultures, University of Aveiro, Portugal
Virtual StoryTelling: a Methodology for Developing Believable Communication Skills in Virtual Actors
Sandrine Darcy, Julie Dugdale, Mehdi El Jed, Nico Pallamin,
IRIT-GRIC, Toulouse, France
Stories in Space: The Concept of the Story Map
Michael Nitsche, Maureen Thomas
Digital Studios for Research in Design, Visualisation and Communication, University of Cambridge, U.K.
Mediating Action and Background Music
Pietro Casella, Ana Paiva
Instituto Superior Técnico, Intelligent Agents and
Synthetic Characters Group, Lisboa, Portugal
The Effects of Mediation in a Storytelling Virtual Environment
Sarah Brown, Ilda Ladeira, Cara Winterbottom, Edwin Blake
Collaborative Visual Computing Laboratory, University of Cape
Town, Republic of South Africa
Context Design and Cinematic Mediation in Cuthbert Hall
Stanislav Roudavski, François Penz
Digital Studios for Research in Design, Visualisation and Communication, Cambridge University, U.K.
Group Interaction and VR Storytelling in Museums
Barco Simulation Products, Kuurne, Belgium
Beyond Human, Avatar as Multimedia Expression
Ron Broglio, Steve Guynup
Georgia Institute of Technology, U.S.A./Georgia State University, U.S.A.
Seizing the Power: Shaders and Storytellers (summary)
Kevin Bjorke, Nvidia Corporation, U.S.A.
Real-Time Lighting Design for Interactive Narrative
Magy Seif El-Nasr, Ian Horswill
Interactive Out-of-Core Visualisation of Very Large Landscapes on Commodity Graphics Platform
Computer Science Dept., Northwestern University, U.S.A.
P. Cignoni, F. Ganovelli, E. Gobbetti, F. Marton, F. Ponchio,
CRS4, Pula, Italy / ISTI-CNR, Pisa, Italy
A Cinematography System for Virtual Storytelling
Nicolas Courty, Fabrice Lamarche, Stéphane Donikian,
IRISA, Rennes, France
Storytelling for Recreating Our Selves: ZENetic Computer
Naoko Tosa, Koji Miyazaki, Hideki Murasato, Seigo Matsuoka
Center for Advanced Visual Studies, MIT, U.S.A./ Japan Science
Technology Corporation "Interaction & Intelligence"/ Adaptive Communications Research
Laboratories, Japan / Editorial Engineering Laboratory, Japan
A Distributed Virtual Storytelling System for Firefighters
Eric Perdigau, Patrice Torguet, Cédric Sanza, Jean-Pierre
Computer Graphics and Virtual Reality, Group, IRIT, Toulouse,
CITYCLUSTER "From the Renaissance to the Megabyte Networking
Age" - A Virtual Reality & High Speed Networking Project.
Electronic Visualization Lab., University
of Illinois at Chicago, U.S.A. / F.A.B.R.I.CATORS, Milan,
A Storytelling Concept for Digital Heritage Exchange in Virtual
Stefan Conrad, Ernst Krujiff, Martin Suttrop, Frank Hasenbrink,
Fraunhofer Institute for Media Communication, Dept. of Virtual
Environments, Sankt Augustin, Germany / rmh, Köln, Germany
/ Vertigo Systems, Köln, Germany
The Art of Mixing Realities (summary)
Sally Jane Norman, Ecole Supérieure de l'Image, Angoulême/Poitiers,
"Just Talking About Art" - Creating Virtual Storytelling Experiences
in Mixed Reality
Ulrike Spierling , Ido Iurgel
FH Erfurt, University of Applied Sciences, Erfurt, Germany
/ Zentrum für Graphische Datenverarbeitung, Darmstadt,
Users Acting in Mixed Reality Interactive Storytelling
Marc Cavazza, Olivier Martin, Fred Charles, Steven J. Mead,
School of Computing and Mathematics, University of Teesside,
U.K. / Laboratoire de Télécommunications et
Télédétection, UCL, Belgium / Alterface,
Is Seeing Touching? Mixed Reality Interaction and Involvement
Alok Nandi, Xavier Marichal
Alterface, Louvain-la-Neuve, Belgium
in the Department of Computer Science, and Director of the New
York University Media Research Laboratory and Center for Advanced
Ken Perlin's research interests include graphics,
animation, and multimedia. In 2002 he received the NYC Mayor's
award for excellence in Science and Technology and the Sokol award
for outstanding Science faculty at NYU. In 1997 he won an Academy
Award for Technical Achievement from the Academy of Motion Picture
Arts and Sciences for his noise and turbulence procedural texturing
techniques, which are widely used in feature films and television.
In 1991 he received a Presidential Young Investigator Award from
the National Science Foundation.
Dr. Perlin received his Ph.D. in Computer Science from New York
University in 1986, and a B.A. in theoretical mathematics from
Harvard University in 1979. He was Head of Software Development
at R/GREENBERG Associates in New York, NY from 1984 through 1987.
Prior to that, from 1979 to 1984, he was the System Architect
for computer generated animation at Mathematical Applications
Group, Inc., Elmsford, NY. TRON was the first movie for which
his name got onto the credits. He has served on the Board of Directors
of the New York chapter of ACM/SIGGRAPH, and currently serves
on the Board of Directors of the New York Software Industry Association.
Bjorke is Shading Engineer and evangelist for developer marketing
and content development at NVIDIA Corporation. He was involved
intimately with the creation and use of the Cg shading language
and CgFX format for realtime shading. He has created numerous
shaders, sample scenes, tutorials, educational talks, lab classes,
online videos, tools. He has visited and interfaced with a wide
variety of production studios in both the film and game industries.
He worked with the software and architecture groups of NVIDIA
to bring high-end 3D rendering capabilities into realtime hardware.
He has lectured at many graphics developer events around the US
and the world including Siggraph 2002, Game Developer's Conference
2003, Developer Deep Fry Austin, Iron Developer Tokyo, Gathering
2 and Dawn to Dusk London. He contributed to the book The Cg Tutorial,
and worked directly with the providers of CAD and DCC tools (such
as Maya, SolidWorks, 3DStudio Max, and SoftImage XSI) to ensure
that high-quality realtime shading was available at every 3D artist's
desktop around the world. Previously, he supervised lighting,
camera work, shading and imaging for The Animatrix, Final Fantasy,
and similarly contributed to the films A Bug's Life and Toy Story.
Jane Norman is a performing arts theorist and practitioner, Docteur
détat (Institute of Theatre Studies, Paris III),
author of numerous papers including new media studies commissioned
by UNESCO and the French Ministry of Culture, involved since 1996
in EU R&D programmes (esprit and IST), director of experimental
platforms testing creative use of digital tools in live performance
(International Institute of Puppetry, Charleville-Mézières
; Studio for Electro-Instrumental Music, Amsterdam ; Zentrum für
Kunst und Medientechnologie, Karlsruhe ; European Festival of
Young Digital Creation, Valenciennes ; Ecole supérieure
de limage, Angoulême). Director General of the Ecole
supérieure de l'image, Angoulême/ Poitiers, she directs
the " Digital Arts " doctoral programme linking ESI
with the Universities of Poitiers and La Rochelle in the Poitou-Charentes
Holografika's holographic display.
Artificial three dimensional visualisation is existing for
long time. It is holography. This invention set the minimum requirements for 3D
visualisation. Viewers should see a 3D image on the screen, as they would see in
reality. Systems that cause any discomfort or restrain the viewer will not be
broadly accepted. Several announcements were made about the invention of the
ultimate 3D display but none of these are "true" 3D display solutions, since
none of them comply with all the following criteria:
- No glasses needed, the 3D image can be seen with unassisted
- Viewers can walk around the screen in a wide field of view
seeing the objects and shadows moving continuously as in the normal perspective.
It is even possible to look behind the objects, hidden details appear, while
others disappear (motion parallax)
- Unlimited number of viewers can see simultaneously the same 3D scene on the screen, with the possibility of seeing
- Objects appear behind or even in front of the screen like on holograms
- No positioning or head tracking applied
- Spatial points are addressed individually
- Objects can be animated
HoloVizio is the first and only operating 3D display that meets all the above requirements simultaneously.
Immersion will present the first laser device projecting information onto the retina
The Nomad™ Personal Display System provides users with the ability to achieve an
entirely new level of man-machine interface. Worn in front of the eye, the
Nomad System displays images and data that appear to the users to be floating
directly in front of them. It is as if the very air before you becomes a 17-inch
The Nomad™ System uses a laser based light source to display images directly
onto the user's retina. It superimposes data or images on what is
viewed without hampering the user's vision. This is extremely advantageous to
users who require access to information directly at their point of task. The
Nomad™ System eliminates the viewing and performance display limitations of
large and bulky stationary computer monitors or small and unreadable portable
Immersion will demonstrate a 6x2 meters POWERwall powered by several genlocked GeForce Quadro FX 3000G boards
Immersion will present the latest version of the THE NVIDIA QUADRO FX 3000G SERIES WITH POWERWALL CAPABILITIES.
Designed For Full-Scale Models, the NVIDIA Quadro FX 3000 By PNY delivers advanced features for very high-resolution
visualization on wide screens.
F.A.B.R.I.CATORS's CityCluster."From the Renaissance to the Gigabits Networking Age"
CITYCLUSTER is a Virtual-reality high networking matrix with original
technological features, navigation, interactivity and graphic style. The
framework, was developed according to a creative method of tracing diverse
concepts and systems of collection of cities, urban ambiences and virtual
spaces interconnected by a high-speed network which enables participants in
remote locations to interact in shared environments. The framework can be
expanded, modified and enriched, in accordance with the nature and typology
of the environment to be incorporated.
Visitors, with their virtual
bodies become active protagonists in City Cluster's virtual terrain. Free to
communicate, intervene, share viewpoints, exchange knowledge, ideas,
buildings, objects, build a new share virtual ambience, recreate a new city
or design their own urban environment. Meta-Net-Page, a virtual-reality
networking interface display, was designed and implemented ad hoc for City
Cluster. Assists the visitor in finding, seeing, becoming informed
instantaneously of the point at which he is located, detect information,
images, details that are invisible zones or intangible realities for the
naked eye, and permit the user to "teleport" to the location shown on the
view panel.. In addition, MNP allow the user to "grab" onto a building shown
within the panel and move it to another location or even to another city in
real time over the net.
The first CITYCLUSTER virtual-reality networked
application," From the Renaissance to the Megabyte Networking Age, offers an
actively creative experience in the language of interactive design through
the use of multiple layers of interactive narrative. The visitors can
experience an interactive journey departing from the time of the Renaissance
until arriving to the super broadband Networking and Electronic Age, for
this application two virtual reality environments were created: Florence
metaphorically represents the "Renaissance Age", the other related to
Chicago representing the "Gigabits Age". Each virtual city is inhabited by a
group of avatars: David, Venus, and Machiavelli in Florence, and Mega, Giga,
and Picasso in Chicago.
France Telecom's conversational agents.
The design of a 3D Embodied Conversational Agent with which one can interact in a natural way requires at least the following modules to run in
real time: speech recognition, dialogue, text-to-speech (TTS) and animation engines.
We propose this kind of system where all the modules are embedded in a
generic network- based architecture. Speech recognition, dialogue and TTS are
on a server while the avatar animation engine and the audio rendering modules
are on the client. The avatar animation is driven by speech phonemes provided
by the TTS and by behavior tags provided by the dialogue engine. The modules
running on the client have been designed to be able to run on both PDAs and mobile
We will present a demonstration with an interactive 3D Embodied
Conversational Agent, Nestor, to help find a restaurant in Paris