1 Distributed Virtual Environments in Art and Education Glenn Bresnahan Boston University Scientific Computing and Visualization

1

Distributed Virtual Environments in Distributed Virtual Environments in Art and EducationArt and Education

Glenn Bresnahan

Boston University

Scientific Computing and Visualization

Artistic Explorations in Virtual Enviroments 2

Background/contextBackground/context

Scientific Computing and VisualizationScientific Computing and Visualization1. Application of high performance

computing and networking systems to solve challenging problems in science in engineering

2. Development and use of advanced computer graphic display technologies to visualize scientific data


Scientific ComputingScientific Computing

High end multi-processor computers

Multi-gigabit interconnects


Scientific VisualizationScientific Visualization


Visualization TechnologiesVisualization Technologies Large format, tiled

stereoscopic display wall Distributed VR/visualization

software– Shared 3D spaces– 3D navigation– Multi-channel Audio


Computing and the ArtsComputing and the Arts

Long history of working with artsLaunched HipArt in 1998Mission http://scv.bu.edu/visualization/hiparthttp://scv.bu.edu/visualization/hipart

Engage artists in high-performance and Engage artists in high-performance and emerging computer and communication emerging computer and communication technologies.technologies.

Explore the artistic space at the boundaries Explore the artistic space at the boundaries of modern computing technology.of modern computing technology.


HiPArt’s ProgramHiPArt’s Program

Sponsor creative projects involving advanced technology

Foster collaborations between artists and technologists

Provide artists with access to advanced visualization, computing and communications facilities

Showcase innovative artistic work


Why Advanced Technology?Why Advanced Technology?

Moore’s Law:– Computers double in power every 18

monthsYesterday’s supercomputer is

tomorrow’s PC– Supercomputer + 10 years = Laptop


Distributed Immersive EnvironmentsDistributed Immersive Environments

Multi-person, multi-site shared virtual space– Navigation– Avatar representation– Telephony


DAFFIE Virtual EnvironmentsDAFFIE Virtual Environments

Distributed Applications Framework For Immersive Environments

Erik Brisson, Robert Putnam, Glenn Bresnahan

DAFFIE design goals– Shared/distributed and collaborative virtual space– Easy to create environments without programming– Easy to import existing data/models– Easily extended to provide new capabilities– Network-centric


How It WorksHow It Works

The virtual environment is shared across the network Virtual participants are represented by avatars

– Participants interact via their avatars– Participants talk via telephony

Sound is localized in 3D space using a speaker array Participants interact with the virtual environment

using immersive displays (or workstations)– Wide field of view– Stereoscopic imaging (w/ glasses)– Body (head and hand) tracking (optionally)

Behaviors are controlled by agents Participants may interact with real world objects


Creating a Virtual WorldCreating a Virtual World

Components– 2D images (Corel, Photoshop)– 2D animation (flipbooks, video clips)– Sounds (Audacity, Audition)– 3D models (Maya, Blender)– 3D animated sequences (Maya, Studio Max)

Design/layout of the spaceMapping of componentsDynamic behaviors via agents


DAFFIE ExampleDAFFIE Example


DAFFIE AgentsDAFFIE Agents

• Independent programs that run on the network and manipulate the virtual world

• Create interactions between avatars (participants) and object

• Allow control of physical objects and sensor inputs

• Standard collection of agents• Proximity agent• Navigation, etc


HipArt projectsHipArt projects

Artworld (1998) – collaborative Spirited Ruins (1999 – 2002) – collaborative Soft, Fluffy and Virtual (2002) – C. Ludlum Tracer (2002) – R. and D. Cornell The Stitched Wall (2002) – C. Ludlum Terpsichord Haunt (2003) – L. Giannitrapani On The Street Where I Live (2005) – J. Schwartz Surge (2007) – R. and D. Cornell


Collaborative Virtual EnvironmentsCollaborative Virtual Environments

Easy integration of individual elements

Small & large collaborations


Spirited RuinsSpirited Ruins



Large collaboration– Approximately two dozen artists– Approximately one dozen organizations

Several versions spanning several years Multiples virtual spaces (rooms) Multiple gallery showings Physical sculptures and sensors Interactions in both physical and virtual

spaces




Physical and Virtual InteractionsPhysical and Virtual Interactions


Physical and Virtual InteractionsPhysical and Virtual Interactions


Art and TechnologyArt and Technology


From Painting to VRFrom Painting to VR


Painting in VRPainting in VR


Putting it TogetherPutting it Together

Finding collaboratorsCreate basic themeDesign basic environment and layoutFeasibility issuesCreation of elementsIntegration


VR in Art EducationVR in Art Education

College of Fine Arts classes (L. Giannitrapani)– Foundations of Visual Computing (AR230)– 3D Design and Animation (AR573)– Directed studies– Undergraduate and graduate students

Projects– Choco (2003)– Café (2005)– Jazz (2005)– Carni (2006)– Interactions (2007)

• AR573 students• Chapel Hill Chauncy Hall High School (C. Ludlum)


ChocoChoco


CarniCarni


VR in Computer Science EducationVR in Computer Science Education

New Voices, New VisionsNew Voices, New Visions

Broadening Participation in ComputingBroadening Participation in Computing– Collaboration between Boston U., U. of New

Mexico and Pueblo of Jemez– Funded by NSF BPC program– Increase number Native American students Increase number Native American students

pursuing CS and CS-related studies and pursuing CS and CS-related studies and careerscareers

– Create a new curriculum that integrates art, Create a new curriculum that integrates art, culture and technology to create a compelling culture and technology to create a compelling educational experienceeducational experience


BPC: New Voices, New VisionsBPC: New Voices, New Visions

Project oriented course to build virtual worlds incorporating Native American culture & aesthetics

Application of powerful CS concepts to empower the creation of an engaging VR experience

Cyber-classroom connecting BU, UNM and Jemez Pueblo using Access Grid video conferencing

DAFFIE VR used as a core technology; 3D Stereoscopic Display Wall installed at all sites

Artistic direction by Native American artists 1st year course at UNM; 2nd year at Walatowa High

in Jemez


BPC Student WorkflowBPC Student Workflow

Create media files and layouts on PCsUse PC tools to associate data with

virtual spaceUse tools to layout 3D space View on stereoscopic

display wall (DVD) Develop agents using

Logo (Turtle3D)


BPC Student Work – Semester 1BPC Student Work – Semester 1


BPC Final ProjectBPC Final Project


END OF TALKEND OF TALK

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1 Distributed Virtual Environments in Art and Education Glenn Bresnahan Boston University Scientific Computing and Visualization