Expressive 2016 - Posters, Artworks, and Bridging Papers

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https://diglib.eg.org/handle/10.2312/2630841

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The Aesthetics of Routine
(The Eurographics Association, 2016) Correia, Ana Beatriz; Machado, Penousal; Ergun Akleman, Lyn Bartram, Anıl Çamcı, Angus Forbes, Penousal Machado
People that collect data about themselves are not necessarily interested on the data, but in the resulting information and how it can be used in order to learn something about them [Yau09]. This project proposes an artistic approach to the use of data from self-tracking applications. By combining an artistic perspective with an information visualization approach, we expand the frontier of the visual translation of data from self-tracking, with the goal of enabling the users to seem themselves in the artworks using their own data.
Alchimia: an Inexplicable or Mysterious Transmutation, a Seemingly Magical Process of Transformation, Creation, or Combination
(The Eurographics Association, 2016) Veiga, P. A.; Ergun Akleman, Lyn Bartram, Anıl Çamcı, Angus Forbes, Penousal Machado
Alchimia V2 is an interactive installation that relies on a single spectator/interactor standing in front of a screen/webcam. It has been coded in Processing 3.0 and is calculation intensive, using the webcam to perform facial detection, while simultaneously processing pre-prepared images and sounds, thus creating a virtual space of constant audio-visual movement to deliberately interfere with real-time self-perception and self-recognition. Alchimia V2 questions and changes our relationship with our own representation through the (ever present) camera and screen by focusing on the spectator's face, altering the expression, gender, assigning masks, making the facial traits diffuse, mixed, funny or scary, always mysterious, in a search for another "self", oblivious of the "selfie" pose and attitude, while allowing for self discovery and playfulness - or intimidation. Through the interaction the spectator/interactor is absorbed in the transmutation process, unaware of the fact that they also have become part of a performance: unique, unrepeatable, transformed.
Artistic Inspired Data Visualization Design Process
(The Eurographics Association, 2016) Etemad, Katayoon; Samavati, Faramarz; Carpendale, Sheelagh; Ergun Akleman, Lyn Bartram, Anıl Çamcı, Angus Forbes, Penousal Machado
In this paper we describe our design process for creating artistically inspired data visualizations. We consider graphs as an example of interest for data visualization, and present several novel graph layouts developed using this design process. Through our exploration, we have become increasingly convinced that any intriguing pattern, mesmerizing ornament or exciting art piece may be a source of inspiration for new graph layouts. However creating a mapping between a graph and the selected pattern is hard and challenging, and can be helped by using a methodical and iterative design process.
Bodygraphe: Gestural Computing for Visual Music
(The Eurographics Association, 2016) Garcia, E.; McGraw, T.; Ergun Akleman, Lyn Bartram, Anıl Çamcı, Angus Forbes, Penousal Machado
Bodygraphe is an interactive, visual music application that unifies gestural computing with live performance art. Through motion, dancers become instruments and conductors of a visual music experience, and wholly generate graphics and sounds that correspond with their movements. This study is our initial approach to this idea, explaining our inspiration as well as the technical aspects of new work in computational aesthetics. Through this project, we seek to make a dramatic impact in the global arts community, offering new implications for research regarding the interconnectivity between body and technology. Bodygraphe incorporates real-time motion data into a multimedia performance art experience.
Building a Gold Standard for Perceptual Sketch Similarity
(The Eurographics Association, 2016) Cakmak, S.; Sezgin, T. M.; Ergun Akleman, Lyn Bartram, Anıl Çamcı, Angus Forbes, Penousal Machado
Similarity is among the most basic concepts studied in psychology. Yet, there is no unique way of assessing similarity of two objects. In the sketch recognition domain, many tasks such as classification, detection or clustering require measuring the level of similarity between sketches. In this paper, we propose a carefully designed experiment setup to construct a gold standard for measuring the similarity of sketches. Our setup is based on table scaling, and allows efficient construction of a measure of similarity for large datasets containing hundreds of sketches in reasonable time scales. We report the results of an experiment involving a total of 9 unique assessors, and 8 groups of sketches, each containing 300 drawings. The results show high interrater agreement between the assessors, which makes the constructed gold standard trustworthy.
Composition and Perception beyond Photorealism
(The Eurographics Association, 2016) Ji, Li; Wyvill, Brian; Gammon, Lynda; Gooch, Amy; Ergun Akleman, Lyn Bartram, Anıl Çamcı, Angus Forbes, Penousal Machado
Composition is an important aestheic aspect of celebrated works of art, and we examine a few common compositional techniques in the context of computer graphics rendering and perception. In computer graphics, photorealistic rendering simulates a camera, which defines an image of a scene in a single instant after the shutter is released. In contrast, a human observer looks at one part of a scene at a time and stitches a series of visual memories together to form a complete impression of the scene. This perception process is related to visual composition, in which an artist selectively articulates and suppresses details to direct the viewers' eyes. In non-photorealistic rendering research, painting is an important source of examples for stylized rendering. We discuss the importance of painting's specific presentation conditions, and how painting composition takes effect through a viewer's attentive looking. Based on these analysis, we demonstrate how to apply knowledge of composition to digital image synthesis with an interpolative material model and a staged photography art project.
Gaze-Based Biometric Authentication: Hand-Eye Coordination Patterns as a Biometric Trait
(The Eurographics Association, 2016) Çig, Çagla; Sezgin, Tevfik Metin; Ergun Akleman, Lyn Bartram, Anıl Çamcı, Angus Forbes, Penousal Machado
We propose a biometric authentication system for pointer-based systems including, but not limited to, increasingly prominent pen-based mobile devices. To unlock a mobile device equipped with our biometric authentication system, all the user needs to do is manipulate a virtual object presented on the device display. The user can select among a range of familiar manipulation tasks, namely drag, connect, maximize, minimize, and scroll. These simple tasks take around 2 seconds each and do not require any prior education or training [ÇS15]. More importantly, we have discovered that each user has a characteristic way of performing these tasks. Features that express these characteristics are hidden in the user's accompanying hand-eye coordination, gaze, and pointer behaviors. For this reason, as the user performs any selected task, we collect his/her eye gaze and pointer movement data using an eye gaze tracker and a pointer-based input device (e.g. a pen, stylus, finger, mouse, joystick etc.), respectively. Then, we extract meaningful and distinguishing features from this multimodal data to summarize the user's characteristic way of performing the selected task. Finally, we authenticate the user through three layers of security: (1) user must have performed the manipulation task correctly (e.g. by drawing the correct pattern), (2) user's hand-eye coordination and gaze behaviors while performing this task should confirm with his/her hand-eye coordination and gaze behavior model in the database, and (3) user's pointer behavior while performing this task should confirm with his/her pointer behavior model in the database.
Interactive Oil Paint Filtering On Mobile Devices
(The Eurographics Association, 2016) Semmo, Amir; Trapp, Matthias; Pasewaldt, Sebastian; Döllner, Jürgen; Ergun Akleman, Lyn Bartram, Anıl Çamcı, Angus Forbes, Penousal Machado
Image stylization enjoys a growing popularity on mobile devices to foster casual creativity. However, the implementation and provision of high-quality image filters for artistic rendering is still faced by the inherent limitations of mobile graphics hardware such as computing power and memory resources. This work presents a mobile implementation of a filter that transforms images into an oil paint look, thereby highlighting concepts and techniques on how to perform multi-stage nonlinear image filtering on mobile devices. The proposed implementation is based on OpenGL ES and the OpenGL ES shading language, and supports on-screen painting to interactively adjust the appearance in local image regions, e.g., to vary the level of abstraction, brush, and stroke direction. Evaluations of the implementation indicate interactive performance and results that are of similar aesthetic quality than its original desktop variant.
Relational Interactive Art: A Framework for Interaction in a Social Context
(The Eurographics Association, 2016) Cabrita, Nuno; Bernardes, Gilberto; Ergun Akleman, Lyn Bartram, Anıl Çamcı, Angus Forbes, Penousal Machado
Interactive art implies an active dialogue between the participant and the surrounding space, mediated by a computational system. Reciprocity and recursiveness are key principles to the bidirectional flux of information in this setting, guaranteeing a continuous interaction loop between the participant and the digital system. Viewing the human body as a natural interface, we focus on non-invasive tracking methods for embodiment sensing, such as infra-red depth cameras. Current limitations in participant engagement of interactive artworks in public spaces are introduced and analyzed from the perspective of group dynamics. In this paper we approach Bourriaud's concept of relational aesthetics, relate it to the inherent social context of interactive artwork exhibition, and propose a framework for the development of relational interactive artworks. Interactive art implies an active dialogue between the participant and the surrounding space, mediated by a computational system. Reciprocity and recursiveness are key principles to the bidirectional flux of information in this setting, guaranteeing a continuous interaction loop between the participant and the digital system. Viewing the human body as a natural interface, we focus on non-invasive tracking methods for embodiment sensing, such as infra-red depth cameras. Current limitations in participant engagement of interactive artworks in public spaces are introduced and analyzed from the perspective of group dynamics. In this paper we approach Bourriaud's concept of relational aesthetics and relate it to the inherent social context of interactive artwork exhibition, and propose a framework for the development of relational interactive artworks.
The Rhythm of Consumption
(The Eurographics Association, 2016) Maçãs, Catarina; Machado, Penousal; Ergun Akleman, Lyn Bartram, Anıl Çamcı, Angus Forbes, Penousal Machado
In this project, we create a set of visualizations that represent the variation of consumption in different departments of the SONAE's hypermarket chain, the biggest hypermarket's chain in Portugal. With this project, we aim to visualise the shopping preferences, and represent how the costumers change their shopping lists over time. We focus on highlighting the rhythm/pulse of consumptions and times of the year that disrupt the normal consumption patterns.
What Auto Completion Tells Us About Sketch Recognition
(The Eurographics Association, 2016) Altiok, Ozan Can; Yesilbek, Kemal Tugrul; Sezgin, Tevfik Metin; Ergun Akleman, Lyn Bartram, Anıl Çamcı, Angus Forbes, Penousal Machado
Auto completion is generally considered to be a difficult problem in sketch recognition as it requires a decision to be made with fewer strokes. Therefore, it is generally assumed that the classification of fully completed object sketches should yield higher accuracy rates. In this paper, we report results from a comprehensive study demonstrating that the first few strokes of an object are more important than the lastly drawn ones. Once the first few critical strokes of a symbol are observed, recognition accuracies reach a plateau and may even decline. This indicates that less is more in sketch recognition. Our results are supported by carefully designed computational experiments using Tirkaz et. al.'s sketch auto completion framework on the dataset of everyday object sketches collected by Eitz et. al..

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