1. 1 Distributed Virtual Environments in Art and Education Glenn Bresnahan Boston University Scientific Computing and Visualization

2. Artistic Explorations in Virtual Enviroments2 Background/context Scientific Computing and Visualization 1.Application of high performance computing and networking systems to solve challenging problems in science in engineering 2.Development and use of advanced computer graphic display technologies to visualize scientific data

3. Artistic Explorations in Virtual Enviroments3 Scientific Computing High end multi-processor computers Multi-gigabit interconnects

4. Artistic Explorations in Virtual Enviroments4 Scientific Visualization

5. Artistic Explorations in Virtual Enviroments5 Visualization Technologies Large format, tiled stereoscopic display wall Distributed VR/visualization software –Shared 3D spaces –3D navigation –Multi-channel Audio

6. Artistic Explorations in Virtual Enviroments6 Computing and the Arts Long history of working with arts Launched HipArt in 1998 Mission http://scv.bu.edu/visualization/hipart Engage artists in high-performance and emerging computer and communication technologies. Explore the artistic space at the boundaries of modern computing technology.

7. Artistic Explorations in Virtual Enviroments7 HiPArt’s Program Sponsor creative projects involving advanced technology Foster collaborations between artists and technologists Provide artists with access to advanced visualization, computing and communications facilities Showcase innovative artistic work

8. Artistic Explorations in Virtual Enviroments8 Why Advanced Technology? Moore’s Law: –Computers double in power every 18 months Yesterday’s supercomputer is tomorrow’s PC –Supercomputer + 10 years = Laptop

9. Artistic Explorations in Virtual Enviroments9 Distributed Immersive Environments Multi-person, multi-site shared virtual space –Navigation –Avatar representation –Telephony

10. Artistic Explorations in Virtual Enviroments10 DAFFIE Virtual Environments Distributed Applications Framework For Immersive Environments Erik Brisson, Robert Putnam, Glenn Bresnahan DAFFIE design goals –Shared/distributed and collaborative virtual space –Easy to create environments without programming –Easy to import existing data/models –Easily extended to provide new capabilities –Network-centric

11. Artistic Explorations in Virtual Enviroments11 How It Works The virtual environment is shared across the network Virtual participants are represented by avatars –Participants interact via their avatars –Participants talk via telephony Sound is localized in 3D space using a speaker array Participants interact with the virtual environment using immersive displays (or workstations) –Wide field of view –Stereoscopic imaging (w/ glasses) –Body (head and hand) tracking (optionally) Behaviors are controlled by agents Participants may interact with real world objects

12. Artistic Explorations in Virtual Enviroments12 Creating a Virtual World Components –2D images ( Corel, Photoshop ) –2D animation ( flipbooks, video clips ) –Sounds ( Audacity, Audition ) –3D models ( Maya, Blender ) –3D animated sequences ( Maya, Studio Max ) Design/layout of the space Mapping of components Dynamic behaviors via agents

13. Artistic Explorations in Virtual Enviroments13 DAFFIE Example

14. Artistic Explorations in Virtual Enviroments14 DAFFIE Agents Independent programs that run on the network and manipulate the virtual world Create interactions between avatars (participants) and object Allow control of physical objects and sensor inputs Standard collection of agents Proximity agent Navigation, etc

15. Artistic Explorations in Virtual Enviroments15 HipArt projects Artworld (1998) – collaborative Spirited Ruins (1999 – 2002) – collaborative Soft, Fluffy and Virtual (2002) – C. Ludlum Tracer (2002) – R. and D. Cornell The Stitched Wall (2002) – C. Ludlum Terpsichord Haunt (2003) – L. Giannitrapani On The Street Where I Live (2005) – J. Schwartz Surge (2007) – R. and D. Cornell

16. Artistic Explorations in Virtual Enviroments16 Collaborative Virtual Environments Easy integration of individual elements Small & large collaborations

17. Artistic Explorations in Virtual Enviroments17 Spirited Ruins

18. Artistic Explorations in Virtual Enviroments18 Spirited Ruins Large collaboration –Approximately two dozen artists –Approximately one dozen organizations Several versions spanning several years Multiples virtual spaces (rooms) Multiple gallery showings Physical sculptures and sensors Interactions in both physical and virtual spaces

19. Artistic Explorations in Virtual Enviroments19 Spirited Ruins

20. Artistic Explorations in Virtual Enviroments20 Physical and Virtual Interactions

21. Artistic Explorations in Virtual Enviroments21 Physical and Virtual Interactions

22. Artistic Explorations in Virtual Enviroments22 Art and Technology

23. Artistic Explorations in Virtual Enviroments23 From Painting to VR

24. Artistic Explorations in Virtual Enviroments24 Painting in VR

25. Artistic Explorations in Virtual Enviroments25 Putting it Together Finding collaborators Create basic theme Design basic environment and layout Feasibility issues Creation of elements Integration

26. Artistic Explorations in Virtual Enviroments26 VR in Art Education College of Fine Arts classes ( L. Giannitrapani ) –Foundations of Visual Computing (AR230) –3D Design and Animation (AR573) –Directed studies –Undergraduate and graduate students Projects –Choco (2003) –Café (2005) –Jazz (2005) –Carni (2006) –Interactions (2007) AR573 students Chapel Hill Chauncy Hall High School (C. Ludlum)

27. Artistic Explorations in Virtual Enviroments27 Choco

28. Artistic Explorations in Virtual Enviroments28 Carni

29. Artistic Explorations in Virtual Enviroments29 VR in Computer Science Education New Voices, New Visions Broadening Participation in Computing –Collaboration between Boston U., U. of New Mexico and Pueblo of Jemez –Funded by NSF BPC program –Increase number Native American students pursuing CS and CS-related studies and careers –Create a new curriculum that integrates art, culture and technology to create a compelling educational experience

30. Artistic Explorations in Virtual Enviroments30 BPC: New Voices, New Visions Project oriented course to build virtual worlds incorporating Native American culture & aesthetics Application of powerful CS concepts to empower the creation of an engaging VR experience Cyber-classroom connecting BU, UNM and Jemez Pueblo using Access Grid video conferencing DAFFIE VR used as a core technology; 3D Stereoscopic Display Wall installed at all sites Artistic direction by Native American artists 1 st year course at UNM; 2 nd year at Walatowa High in Jemez

31. Artistic Explorations in Virtual Enviroments31 BPC Student Workflow Create media files and layouts on PCs Use PC tools to associate data with virtual space Use tools to layout 3D space View on stereoscopic display wall (DVD) Develop agents using Logo (Turtle3D)

32. Artistic Explorations in Virtual Enviroments32 BPC Student Work – Semester 1

33. Artistic Explorations in Virtual Enviroments33 BPC Final Project

34. Artistic Explorations in Virtual Enviroments34 END OF TALK Questions?