6. Yoichi Ochiai
Media Artist
The University of Tokyo)
3D Acoustic Manipulation Technology
Colloidal Display: BRDF Bubble Screen Real World Texture Transformation
Pixie Dust: Graphical Levitation
Also you can see my work in this year’s SIGGRAPH Art Gallery.
Research Interest
Dynamic physicalization of Computer Graphics
“What would happen?”
“If the real world things had the characteristics like computer graphics model ”
As an independent Media Artist
SIGGRAPH 2014
SIGGRAPH 2012,2013,ACE 2013 Eurohaptics 2014
PLOS ONE
SIGGRAPH 2014
Born 1987 in Tokyo. BA(Media Arts and Sciences) from
University of Tsukuba, 2011 MA(Applied Computer
Science) from University of Tokyo 2013. Entered PhD
program, 2013. He is now under defense of his Ph.D
Thesis. He is on the committee of Information Processing
Society of Japan. He is interested in the field of real world
oriented computer graphics and new media art
composed of mixture of new media and classic
technologies. He was technical paper author of
SIGGRAPH and selected artist of SIGGRAPH Art Gallery.
He received the Super Creator Title from IPA and METI,
Grand Prix of LAVAL VIRTUAL AWARD, Best paper Award
from ACE, Springer, Student Innovation Contest Award in
UIST, Best Demo Award from EUROHAPTICS, Japan
Manifest Award and awarded in many competitions. His
research projects were selected in the best of Siggraph
2014′s technical papers(By CGCHANNEL) and the best
research video 2012 (by NewScientist). He and his work
was featured on BBC, Discovery channel, AP, Reuters,
Dairy Mail, Daily Telegraph, France 2, Russia 1 and over
100 famous web/magazine/tv media. Speeches and
Lectures in various colleges, museums, corporations and
events(e.g. TED and local TED talks).
at Microsoft Research
落合陽一
16. our approach
decompose the components
BRDF
swich these states
in time division
reflection
of surface texture
reflection
of light source
light source
surface texture in real world
reflection
of light source
x % y %
mirror
screen image
projector
image source
projector as
light source
= =
diffuse
texture + reflection
texture
θ
16
53. Indicatables
&Indicatable Media
What is happening inside
is what you see outside.
Indicatable Road
Indicatable Knockin’ Blocks Indicatable Media Blocks
Worlds Interface
Visible Electricity Device
Heart-Linking Clothes
Collaboration
Tact System
64. 自 然 を 征 服 す る
科 学 技 術 を 用 い て , 加 工 さ せ ら れ ,
変 化 さ せ ら れ る 自 然
M e c h a n i c a l A r t s / L i b e r a l A r t s
【 技 術 と 藝 術 】
フ ラ ン シ ス ・ ベ ー コ ン
74. 映 像 の 世 紀 か ら 魔 法 の 世 紀 へ
M a g i c a l l y , P h y s i c a l l y , I n t e r a c t i v e , I n t u i t i v e , P e r s o n a l i z e
ア ー ト と テ ク ノ ロ ジ ー の サ イ ク ル
78. コ ン ピ ュ ー タ 研 究 の 夜 明 け
C o m p u t e r a s m u l t i m e d i a d e v i c e
世 界 を 規 定 し た 1 0 年 間 1 9 6 3 t o 1 9 7 2
シ ャ ノ ン ∼ サ ザ ラ ン ド ∼ ケ イ ・ エ ン ゲ ル バ ー ト
87. 87
We believe that one of the most powerful uses of virtual worlds will not
be to replace the real world, but rather to augment the user's view of the
real world with additional information. This idea, introduced by Ivan
Sutherland's pioneering work on head-mounted displays, is often
referred to as augmented reality. For example, graphics and text overlaid
on the surrounding world could explain how to operate, maintain, or
repair equipment, without requiring that the user refer to a separate
paper or electronic manual.
Karma,
Steven Feiner
1991,92
90. 魔 法 の 世 紀
C o m p u t e r a s U b i q u i t o u s E n v i r o n m e n t
91. in 1967, at MIT
初めてコンピュータに描く
in 2013, at 東大
コンピュータに描くと実物体
がそのとおりに飛んで動く91
92. 92
“The ultimate display would, of course, be a room within
which the computer can control the existence of matter. A
chair displayed in such a room would be good enough to
sit in. Handcuffs displayed in such a room would be
confining, and a bullet displayed in such a room would be
fatal. With appropriate programming such a display could
literally be the Wonderland into which Alice walked.”
!
“The Ultimate Display”, Ivan E. Sutherland 1965
100. D e s i g n < - > P r o d u c t
粗 悪 な 大 量 生 産 品 を 超 え て , 理 論 的 な 枠 組 み を .
バ ウ ハ ウ ス
101. J e a n - P a u l G A U L T I E R 1 2 A W
オ ー ト ク チ ュ ー ル
102. プ レ タ ポ ル テ ( p r ê t - à - p o r t e r )
ブ ラ ン ド デ ザ イ ン
103. レ デ ィ メ イ ド
R e a d y - m a d e
ア ー ト ( 批 判 )
104. 近 代 産 業 革 命 現 代 ポ ス ト モ ダ ン
1 9 c1 8 c 2 0 c 2 1 c
P e r s o n a l i z eM a s s
D e s i g n T e c h n o l o g y
P e r s o n a l i z e
C r a f t
魔 法映 像絵 画
1 t o N N t o N1 t o 1
105. 家 電 製 品 の 論 理 か ら 離 れ て
1 t o N パ ー ソ ナ ラ イ ズ
115. T e c h n e
C r a f t
A r t K n u s t
A r s
T e c h n i k
M e c h a n i c a l A r t s
T e c h n o l o g i e
A r t e s M e c h a n i c a e
A r t e s L i b e r a l e s L i b e r a l A r t s
126. Methods: Principle of the Diffusion (BRDF model)
BRDF model
on the surface
incoming light
ωi outgoing light
normal
vector
n
θi
irradiance Li
illuminance Ei
irradiance Lr
surface(colloidal membrane)
ωo
Activated Colloidal Film(200x 500fps)
λ : wavelength
σ : the surface tension
ρ : the density of the colloidal solution
f : the excitation frequency.
with 40kHz ultrasounds,
the wavelength λ is 2π/k=83μm.
126
127. Models: Capillary Waves
surface tension
Ultrasounds
λ : wavelength
σ : the surface tension
ρ : the density of the colloidal solution
f : the excitation frequency.
λ
σ
f
activated
127
153. Animation
1.Movement of
Potential field
2. Objects move
along the potential field
Distribution
Objects are arrayed in
Potential Field
2D display texture display 2.5D display 3D display
Object
Potential Field
Suspension
O
P
179. 3.2images mixed in stereo kaleidoscopes
As shown in figure3, the kaleidoscopic image has a repetitive
structure of the same triangle image. Since a repetitive nature of
the images is alike, binocular rivalry[1] starts partially even if the
images are different from one to the other.
Because of these structures, the images are mixed in some places
of the view, or are not mixed at all. The significant point of the
kaleidoscopes is not only structure of images but also their endless
image repetition by the mirrors. It causes a vision effects from
large field of views including a peripheral vision. With this work,
viewer can experience the special effect on the kaleidoscopes. It is
essentially different from ordinary stereo vision.
3.2images mixed in stereo kaleidoscopes
As shown in figure3, the kaleidoscopic image has a repetitive
structure of the same triangle image. Since a repetitive nature of
the images is alike, binocular rivalry[1] starts partially even if the
images are different from one to the other.
Because of these structures, the images are mixed in some places
of the view, or are not mixed at all. The significant point of the
kaleidoscopes is not only structure of images but also their endless
image repetition by the mirrors. It causes a vision effects from
large field of views including a peripheral vision. With this work,
viewer can experience the special effect on the kaleidoscopes. It is
essentially different from ordinary stereo vision.
Netherlands: Royal VanGorcum), 1965.
over 300ppi high resolution display
195. 近 代 産 業 革 命 現 代 ポ ス ト モ ダ ン
1 9 c1 8 c 2 0 c 2 1 c
P e r s o n a l i z eM a s s
D e s i g n T e c h n o l o g y
P e r s o n a l i z e
C r a f t
魔 法映 像絵 画