This work constitutes a contribution to the emergence of a common writing for French Sign Language in a graphical or even a typographical framework. In this article we present ThirdEye, an interactive visualisation tool designed for movement analysis. As a research tool, ThirdEye’s main objective is to help study the importance of movement in the production of meaning within the context of sign language. In this paper, we will show why and how this device was conceived and how it can help to shed light on the relationships between sign language and writing.

Conventionally, a 2D image can be captured by a camera, composed and painted by a 2-button mechanical mouse (a digital brush) with a digital palette. A 3D object can be modeled by 3D (translate, rotate, scale, transform) software or formulated by equation-based method. Be it 2D images or 3D objects, the result can be displayed on a 2D image on screen or print it on a given surface. The color and lighting conditions can be embedded in the software in a single or multistep process. While stereopsis is as old as the built-in capability of the human or animal (cats and apes), the desire for enabling stereopsis was first noted by Leonardo da Vinci, 15th Century. Subsequently, various stereoscopic 3D displays was manifested in 3D imaging by David Brewster, 1807, lenticular display in 1915, 3D television by John Logie Baird, 1928, the latest being the US235 million 3D movies Avatar premiered in December 2009.

This research is focused on using a variety of forms of visualization combined with computer vision within mixed reality environments to understand more about architectural patterns and processes.

This paper investigates the links between game design and drawing skills, examining concepts of creativity and education. A longitudinal case study is reported which has identified the problems reported by students and the impact of these on students’ attitude and motivation.

Maps, diagrams, illustrations, and other visual materials have long been part of cultural institutions, as well as the academic disciplines of the arts, sciences, and humanities. In the past several years, these visual materials have been increasingly centred on quantitative data, with sensors, geotags, social networks, and “big data” now occupying the forefronts of research and public engagement. With this use of quantitative data comes the need for more sophisticated and adequate visual representations, particularly through the field of information visualization (i.e., infovis). In this paper, I explore five ways in which infovis can enrich the visual culture of libraries, museums, and the academy

The present paper aims to focus on the informational and methodological behaviour of art historians, so as to identify possible requirements for providing them with functional digital infrastructure. Hence, their research profile, their needs in terms of resources and the methodologies they employ should be examined. The emphasis, in particular, should be given in research activities with great value for art historical research, such as the information seeking and the collection of the required information objects.

Monitoring communities has become increasingly easy on the web as the number of visualisation tools and amount of data available about communities increase. It is possible to visualise connections on social and professional networks such as Facebook in the form of mathematical graphs. It is also possible to visualise connections between authors of papers. In particular, Microsoft Academic Search now has a large corpus of information on publications, together with author and citation information, that can be visualised in a number of ways. In mathematical circles, the concept of the “Erdős number” has been introduced, in honour of the Hungarian mathematician Paul Erdős, measuring the “collaborative distance” of a person away from Erdős through links by co-author. Similar metrics have been proposed in other fields, including acting. The possibility of exploring and visualising such links in arts fields is proposed in this paper.

Music is now almost omnipresent in sport and exercise environments. It is recognised by researchers and practitioners alike as having the potential to produce significant benefits for physical performance as well as the psychological state of performers if used judiciously. At the 2012 London Olympiad, many of the world’s finest athletes will tap the power of music as part-and-parcel of their pre-event preparation. This interactive presentation will provide a review and synthesis of the theory, research findings and applications of music in the domain of sport and exercise. The presenter will draw upon his published and applied work from the last 20 years to illustrate novel music applications and provide suggestions for future advances in this domain.

The art of conducting has a long and well-established history, using physical gesture to convey musical intent and expressions. Conducting relies on visual communications to direct the ensemble as a coherent unit. The aim of this project is to capture and analyse the hand gestures of conducting in order to provide real-time, interactive multimodal feedback in a number of application contexts including visualisation.

It is more than forty years since the first wireframe images of the Boeing Man revealed a stylized human pilot in a simulated pilot's cabin. Since then, it has almost become standard to include scenes in Hollywood movies which incorporate virtual human actors. A trait particularly recognizable in the games industry world-wide is the eagerness to render athletic muscular young men, and young women with hour-glass body-shapes, to traverse dangerous cyberworlds as invincible heroic figures. Tremendous efforts in algorithmic modeling, animation and rendering are spent to produce a realistic and believable appearance of these algorithmic humans. The author traces the development of these realistic human figures worldwide from the very beginning in 1964, when Boeing Man, the first and one of the most significant and iconic images in history of computer graphics was produced.