Universitätsbibliothek
Weimar Open Access

We present a system that applies a custom-built pan-tilt-zoom camera for laser-pointer tracking in arbitrary real environments. Once placed in a building environment, it carries out a fully automatic self-registration, registrations of projectors, and sampling of surface parameters, such as geometry and reflectivity. After these steps, it can be used for tracking a laser spot on the surface as well as an LED marker in 3D space, using inter-playing fisheye context and controllable detail cameras. The captured surface information can be used for masking out areas that are critical to laser-pointer tracking, and for guiding geometric and radiometric image correction techniques that enable a projector-based augmentation on arbitrary surfaces. We describe a distributed software framework that couples laser-pointer tracking for interaction, projector-based AR as well as video see-through AR for visualizations with the domain specific functionality of existing desktop tools for architectural planning, simulation and building surveying.

In this paper we present a novel adaptive imperceptible pattern projection technique that considers parameters of human visual perception. A coded image that is invisible for human observers is temporally integrated into the projected image, but can be reconstructed by a synchronized camera. The embedded code is dynamically adjusted on the fly to guarantee its non-perceivability and to adapt it to the current camera pose. Linked with real-time flash keying, for instance, this enables in-shot optical tracking using a dynamic multi-resolution marker technique. A sample prototype is realized that demonstrates the application of our method in the context of augmentations in television studios.

In this work, practice-based research is conducted to rethink the understanding of aesthetics, especially in relation to current media art. Granted, we live in times when technologies merge with living organisms, but we also live in times that provide unlimited resources of knowledge and maker tools. I raise the question: In what way does the hybridization of living organisms and non-living technologies affect art audiences in the culture that may be defined as Maker culture? My hypothesis is that active participation of an audience in an artwork is inevitable for experiencing the artwork itself, while also suggesting that the impact of the umwelt changes the perception of an artwork. I emphasize artistic projects that unfold through mutual interaction among diverse peers, including humans, non-human organisms, and machines. In my thesis, I pursue collaborative scenarios that lead to the realization of artistic ideas: (1) the development of ideas by others influenced by me and (2) the materialization of my own ideas influenced by others. By developing the scenarios of collaborative work as an artistic experience, I conclude that the role of an artist in Maker culture is to mediate different types of knowledge and different positions, whereas the role of the audience is to actively engage in the artwork itself. At the same time, aesthetics as experience is triggered by the other, including living and non-living actors. It is intended that the developed methodologies could be further adapted in artistic practices, philosophy, anthropology, and environmental studies.