Diese Arbeit untersucht die Funktionsweise, Herausforderungen und Lösungsansätze des 2D- und 3D Projection Mappings. Insbesondere wird darauf eingegangen, wie dreidimensionale Abbildungen der Realität (3D Scans) genutzt werden und wie sie erstellt werden können, wobei der Fokus auf 3D Scans liegt, die durch photogrammetrische Rekonstruktion mit der Software Meshroom entstanden sind. Ein Ziel dieser Arbeit besteht darin, die beschriebenen Themen so darzustellen, dass sie auch für semiprofessionelle Endanwender verständlich sind. Die Arbeit soll als umfassende und gebündelte Informationssammlung dienen, die als Grundlage für eigene Projekte und vertiefte Forschungen genutzt werden kann.:I. Einleitung II. Begriffe und Definitionen III. Augmented Reality 1. Direct Augmentation 1.1. Projektionsinhalte 1.2. Einrichtung der Projektoren 1.3. Previsualisierung IV. 3D Rekonstruktionen 2. Analog-Digital-Wandlung 3. Rekonstruktionsmethoden 3.1. Aktive Rekonstruktionen 3.2. Passive Rekonstruktionen 3.3. Stereo- und Multiple-Kamera-Setups 3.4. Tiefenberechnung 3.5. Photogrammetrische Pipeline V. Praxisteil 4. Methodik 5. Vorgehensweise Experimentreihe 1 5.1. Referenzmodelle 5.2. Wahl der Referenzobjekte 5.3. Scanning der Referenzobjekte 5.4. Photogrammetrische Rekonstruktion 5.4.1. Aufzeichnung der Fotodatenbanken 5.4.2. Aufbereitung der Aufnahmen 5.4.3. Meshroom-Pipeline 5.4.4. Aufbereitung der Meshes 5.5. Vergleich der Meshes 6. Ergebnisse 7. Auswertung 8. Vorgehensweise Experimentreihe 2 8.1. Aufbau des Experiments 8.2. Aufzeichung der initialen Rekonstruktionsdatenbank 8.3. Rekonstruktion des Gebäudes 8.4. Aufbereitung des Meshes 8.5. Anfertigung von Vorlagen für die Projektionseinrichtung 8.6. Kreation von Projektionsinhalten 8.7. Virtuelle Visualisierung 9. Ergebnisse 10.Auswertung 11.Diskussion 12.Fazit und Ausblick A. Literaturverzeichnis B. Abbildungsverzeichnis C. Messergebnisse D. Datenbanken E. Abbildungen

abstract: Human-Robot collaboration can be a challenging exercise especially when both the human and the robot want to work simultaneously on a given task. It becomes difficult for the human to understand the intentions of the robot and vice-versa. To overcome this problem, a novel approach using the concept of Mixed-Reality has been proposed, which uses the surrounding space as the canvas to augment projected information on and around 3D objects. A vision based tracking algorithm precisely detects the pose and state of the 3D objects, and human-skeleton tracking is performed to create a system that is both human-aware as well as context-aware. Additionally, the system can warn humans about the intentions of the robot, thereby creating a safer environment to work in. An easy-to-use and universal visual language has been created which could form the basis for interaction in various human-robot collaborations in manufacturing industries. An objective and subjective user study was conducted to test the hypothesis, that using this system to execute a human-robot collaborative task would result in higher performance as compared to using other traditional methods like printed instructions and through mobile devices. Multiple measuring tools were devised to analyze the data which finally led to the conclusion that the proposed mixed-reality projection system does improve the human-robot team's efficiency and effectiveness and hence, will be a better alternative in the future. / Dissertation/Thesis / Masters Thesis Computer Science 2017

京都大学 / 0048 / 新制・課程博士 / 博士(医学) / 甲第21625号 / 医博第4431号 / 新制||医||1033(附属図書館) / 京都大学大学院医学研究科医学専攻 / (主査)教授 坂井 義治, 教授 黒田 知宏, 教授 溝脇 尚志 / 学位規則第4条第1項該当 / Doctor of Medical Science / Kyoto University / DFAM

I detta kandidatarbete har vi undersökt kring tekniken projection mapping och projicering och hur dessa skulle kunna användas i framtiden med hjälp av forskningskällor från science fiction, cyberpunk och futurism. I undersökningen kollar vi närmare på hur dessa genre under historien spekulerat kring olika tekniker och dess tankesätt med mestadels inspiration från cyberpunk, där vi satt oss in i det urbana och dess teknik. Vi har sedan, med hjälp av på ett spekulativt designperspektiv som grund och förhållningssätt, fått fram en prototyp av en stad som är baserad i en möjlig framtid där projection mapping har utvecklats och är en väldigt allmän teknik för samhället. Under arbetets gång har vi använt oss utav metoder som mindmap, brainstorming, prototypskapande och spekulativ design för att jobba oss framåt. Dessa metoder har vi arbetat med tidigare och kände att de var mest effektiva för vårt projekt. Vi kom tillslut fram med en gestaltning som visar på en möjlig framtida stad där projection mapping används överallt för att visa reklam och liknande på massa byggnader. Detta har gjort med hjälp av program som Adobe programmen för att skapa det som projicerats och mappningen har gjort i programmet HeavyM, som är ett program enbart gjort för projection mapping. / In this bachelor thesis we have examined technology such as projection mapping and projection, and how these could be used in the future with support from research sources such as science fiction, cyberpunk and futurism. In the thesis, we take a closer look at how these genres throughout history have speculated about different technologies and their ways of thinking, mainly with inspiration from cyberpunk, where we focus on the urban and its technology. We have with the help of a speculative design perspective as a basis and approach, created a prototype of a city based on a possible future where projection mapping has been developed and become a very common technology for society. During the course of the project, we have used methods such as mindmap, brainstorming, prototyping and speculative design to work our way forward. We have worked with these methods before and felt that they were the most effective for our project. We finally came up with a design that shows a possible future city where projection mapping is used everywhere to show advertising and the like on lots of buildings. This has been done using programs such as the Adobe programs to create what is projected and the mapping done in the HeavyM program, which is a program solely for projection mapping.

I detta kandidatarbete undersöker vi hur projection mapping (projicering på en yta) kan användas för att skapa en rumslig berättelse eller upplevelse. Utifrån vår egna tolkning av calm technologys (lugn teknologi) principer har vi skapat ett designperspektiv som syftar till att göra designen lugn, genom att teknologin inte ska bli störande för åskådaren. Till vår hjälp har vi använt oss utav Keri Smiths metoder till att utforska och experimentera med omgivningen och material. För att sedan kunna utöka kreativiteten och hitta nya idéer inom projection mapping har vi använt oss av metoder såsom brainstorming, moodboards och skisser. Vi har även utgått från Stolterman och Löwgrens syn på en designprocess. Detta resulterade till tre gestaltningar där alla utgår från naturens lugna atmosfär. Under detta arbete har vi kommit fram till att det finns många olika sätt att berätta med ytor, det behöver inte bara vara ett fysiskt rum med väggar och tak. Ytor kan bli rum genom att manipulera fysiska föremål med projektorer. Genom att lägga på ett extra lager på objekten som till exempel en animation så kan det förstärka objektet i sig eller få en helt ny karaktär. Med enkla medel som olika mönster, färger och ljus. / In this bachelor thesis we will examine how projection mapping (projection on a surface) can be used as a spatial experience. From our own interpretation of calm technology’s principles, will we create a design perspective that could keep the design calm with respect to the technology, and not be a disturbing moment for the viewer. To guide us through this we have taken Keri Smith’s methods to explore and experiment the environment and different materials. To expand the creativity to find new possibilities in projection mapping, we have used methods like brainstorming, moodboards and sketches. To help our process we based our project on Stolterman and Löwgren’s view of the design process. This led to a result of three figurations where all of them are inspired by the atmosphere of our nature. Through this project we have reached that there’s a lot of ways you can narrate with spaces, it doesn't need to be a physical room where you can stand in. Spaces can transform by manipulating physical artifacts. By adding an extra layer onto these artifacts like an animation it can amplify it’s meaning or give it a new character. Only with simple means like different patterns, colors and light.

The work I create is informed by questioning reality/identity, the fractalizing planes of existence our essence occupies, and the artifacts of memory experience navigating through space time. While existing in this realm of oversaturated media and neon glow, I question the effects of pervasive data systems overloading or programming the mental software we possess. My work includes humor as a means of exploring these conventions while also displaying psychedelic surrealist imagery to help break away from the conscious prison this existence births our concept apparatuses within.

<i>Double Vision: A practice- led investigation of art and differential perception</i> is a series of five interrelated practice-led research studies into artistic expression controlling perceptual experiences between audiences of varying visual acuities. Significant refinements  occurred between the first and second, and second and third studies. The last four studies were conducted with the aim of understanding vision’s influence on perception. <i>Double Vision’s</i> lead methodological approach was artistic practice. Other methods were employed according to the needs of that practice. They included iteration, collaboration, exhibition and testing. The research questions of <i>Double Vision</i> were refined in response to the results of artistic practice. That evolution resulted in two interrelated questions: <i>Can artwork be intentionally created to be experienced differently dependent on one’s visual abilities? </i>and<i> If so, can those experiences be shared?</i> A further question, <i>‘Can an analogy to colour deficient vision be created that engages both those with colour vision deficiency and the typically sighted?’, </i>concludes the investigations. Artwork was realized through printmaking, animation and multimedia formats. Its context and content derived from many forms, notably the Ishihara <i>Test for Colour Deficiency</i>, writings of William Blake, contemporary music and philosophy. Augmented reality was employed to facilitate the translation of visual perceptions between targeted audiences. A number of exhibitions were held exploring these themes.

Pulse63 is a live streaming and projection mapping installation at architectural scale developed for Moogfest 2018, in Durham, NC. The project explores the relationship between telepresence and "superarchitecture". This paper will consider the artistic aspects of these terms through the work of Eduardo Kac, Pipilotti Rist, Doug Aitken, and others. The intent is to create a visual installation at Moogfest that works as a monolithic visual signifier by applying artistically mediated telepresence and "superarchitecture." / Master of Fine Arts

This report covers the methodology, research, and design process of my Thesis Project I: The Mixed Reality Book. The project is a proof-of-concept system that adds contextual periphery effects to regular paper books, using Spatial Augmented Reality. The intention is to enhance reading experiences within public libraries – amongst children and students. In this brief study we investigate how Projected Periphery can create, improve, and augment reading by manipulating the physical book, and the area around it, using projections. Throughout the study, I conduct design engagements, rapid prototyping, and workshops with the intention of identifying meaningful interactions. Two primary contexts of use are identified and analysed with an emphasis on developing usable design conventions and laying the foundation for a Mixed Reality Book system. The result is a working prototype, analysis of the research and challenges, and an exploration of how this technology could be shaped further and deployed.

Down Stream [Appalachia] is an immersive, interactive art installation that addresses themes of ecological preservation, conservation, and connectedness—illuminating the precarity of imperiled freshwater species in the Appalachian region. The exhibition is composed of reflective, refractive sculptures and underwater video footage, surrounded by fully-immersive spatial audio. Both the audio and visual elements react to audience presence and proximity. Species highlighted are the Candy Darter (Etheostoma osburni); the Cumberlandian Combshell (Epioblasma brevidens) and other freshwater mussels; and the Eastern Hellbender Salamander (Cryptobranchus alleganiensis alleganiensis). This paper examines the context and content of this installation, its progression and influences, and themes of ecology and the environment in the Southeast United States. / Master of Fine Arts / There are endangered species right here in the mountains of Virginia, and hardly anyone knows about them. Down Stream [Appalachia] is an immersive, interactive art installation that attempts to raise awareness and allow people to connect to these animals that otherwise go unseen. This paper examines the context, content, and themes of the installation.