Improved kinematics based motion compression for human figure animation

2005 ◽  
Author(s):  
Ship Li ◽  
M. Okada ◽  
S.-i. Takohashi
Keyword(s):  
Human Figure ◽  
Figure Animation

scholarly journals Task-Level Object Grasping for Simulated Agents

1996 ◽  
Vol 5 (4) ◽  
pp. 416-430 ◽  
Author(s):  
Brett Douville ◽  
Libby Levison ◽  
Norman I. Badler
Keyword(s):  
General Purpose ◽  
University Of Pennsylvania ◽  
Manual Task ◽  
Human Agent ◽  
Human Figure ◽  
Figure Animation ◽  
High Level ◽  
The University ◽  
Programming Interfaces ◽  
Task Level

Simulating a human figure performing a manual task requires that the agent interact with objects in the environment in a realistic manner. Graphic or programming interfaces to control human figure animation, however, do not allow the animator to instruct the system with concise “high-level” commands. Instructions coming from a high-level planner cannot be directly given to a synthetic agent because they do not specify such details as which end-effector to use or where on the object to grasp. Because current animation systems require joint angle displacement descriptions of motion—even for motions that incorporate upwards of 15 joints—an efficient connection between high-level specifications and low-level hand joint motion is required. In this paper we describe a system that directs task-level, general-purpose, object grasping for a simulated human agent. The Object-Specific Reasoner (OSR) is a reasoning module that uses knowledge of the object of the underspecified action to generate values for missing parameters. The Grasp Behavior manages simultaneous motions of the joints in the hand, wrist, and arm, and provides a programmer with a high-level description of the desired action. When composed hierarchically, the OSR and the Grasp behavior interpret task-level commands and direct specific motions to the animation system. These modules are implemented as part of the Jock system at the University of Pennsylvania.

Muybridge / Technology

2010 ◽  
Vol 1 (1) ◽  
pp. 51-62
Author(s):  
Marta Braun
Keyword(s):  
Single Camera ◽  
Art And Science ◽  
Animal Locomotion ◽  
Human Figure ◽  
Final Work

Eadweard Muybridge's 1887 photographic atlas Animal Locomotion is a curious mixture of art and science, a polysemic text that has been subject to a number of readings. This paper focuses on Muybridge's technology. It seeks to understand his commitment to making photographs with a battery of cameras rather than a single camera. It suggests reasons for his choice of apparatus and shows how his final work, The Human Figure in Motion (1901), justifies the choices he made.

Acting Between the Spheres: Charlotte Cushman as Androgyne

1996 ◽  
Vol 37 (2) ◽  
pp. 23-66
Author(s):  
Elizabeth Reitz Mullenix
Keyword(s):  
Nineteenth Century ◽  
Recent Article ◽  
Private Life ◽  
Audience Member ◽  
Gender Ideologies ◽  
Men And Women ◽  
Contemporary Theatre ◽  
Separate Spheres ◽  
Theatrical Performances ◽  
Human Figure

On 29 December 1845, Charlotte Cushman did an extraordinary thing at the Haymarket theatre: she convincingly transformed herself into a man. Audience members who witnessed this performance were captivated by “the transmuting power” of Cushman's “genius” as she became Romeo. This production (and Cushman's Romeo in general) continues to fascinate both contemporary theatre historians and feminist scholars, who are equally impressed with Cushman's seeming ability to create an unsettling paradox. In a recent article, Anne Russell discusses the positive reception that Cushman's Romeo received and questions how the cross-dressed actress could have been so successful “in a period when dominant gender ideologies assumed clearly delineated separate spheres for men and women, when stage reviewers as a manner of routine assessed the ‘womanliness’ or ‘manliness’ of characters and performers.” As Russell explains, the nineteenth-century audience member, critic, and/or commentator read the human figure on stage as either male or female; indeed, such antithetic thinking was pervasive throughout nineteenth-century culture. Cushman was unique, however, in that she repeatedly defied such categorization, both in her theatrical performances and in her “private” life.

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