15 research outputs found
Chypre : quatre années de souffrances
No full textModinos Polys. Chypre : quatre années de souffrances. In: Politique étrangère, n°5 - 1978 - 43ᵉannée. pp. 549-556
Recommended from our members
Mélanges offerts à Polys Modinos ...:Problèmes des droits de l'homme et de l'unification européenne.
No full text
Manifestation d'hommage à Polys Modinos ,... : organisée à l'occasion de la remise du recueil de «Mélanges» réunis à son intention, jeudi 26 septembre 1968 / Conseil de l'Europe
No full textContient une table des matièresAvec mode text
A Generalized Web3D API for Metaverse Bookmarks
Get PDFSharing identical 3D scene states across different platforms and user sessions poses practical limitations. Existing mechanisms such as X3D anchors, glTF camera tags, and proprietary URL-based encodings typically support only static, author-defined viewpoints or are constrained to a specific viewer implementation. This paper introduces a schema and API for a Web3D Bookmarking system that enables interoperable sharing of precise, user-generated 3D scene contexts. The proposed grammar encodes the complete scene state, including camera parameters, navigation settings, scene composition, and contextual metadata, into a compact descriptor suitable for embedding in hyperlinks or other distribution methods. When accessed, the scene is re-instantiated with the same view and context as intended by the original sharer.
We define the grammar using a formal JSON Schema and justify each parameter through a design rationale. Use cases include collaborative VR/AR environments, remote design reviews, and educational applications where reproducible scene context is critical. An initial implementation using X3D and X3DOM demonstrates feasibility. We also compare our approach with existing viewpoint sharing techniques and outline a structured evaluation plan to assess the utility and performance of the proposed system.Published versio
Composing Holochoric Visual Music: Interdisciplinary Matrices
No full textWith a lineage originating in the days of silent films, visual music, in its current incarnation, is a relatively recent phenomenon when compared to an historically broad field of creative expression. Today it is a time-based audio/visual territory explored and mined by a handful of visual and musical artists. However, an extensive examination of the literature indicates that few of these composers have delved into the associable areas of merging virtual holography and holophony toward visual music composition. It is posited here that such an approach is extremely rich with novel expressive potential and simultaneously with numerous novel challenges. The goal of this study is, through praxis, to instantiate and document an initial exploration into the implementation of holochory toward the creation of visual music compositions.
Obviously, engaging holochoric visual music as a means of artistic expression requires an interdisciplinary pipeline. Certainly, this is demonstrated in merging music and visual art into a cohesive form, which is the basis of visual music composition. However, in this study is revealed another form of interdisciplinarity. A major challenge resides with the development of the means to efficiently render the high-resolution stereoscopic images intrinsic to the animation of virtual holograms. Though rendering is a challenge consistent with creating digital animations in general, here the challenge is further exacerbated by the extensive use of multiple reflections and refractions to create complexity from relatively simple geometric objects. This reveals that, with the level of computational technology currently available, the implementation of high-performance computing is the optimal approach.
Unifying such diverse areas as music, visual art, and computer science toward a common artistic medium necessitates a methodological approach in which the interdependency between each facet is recognized and engaged. Ultimately, a quadrilateral reciprocative feedback loop, involving the composer's sensibilities in addition to each of the other facets of the compositional process, must be realized in order to facilitate a cohesive methodology leading toward viability.
This dissertation provides documentation of methodologies and ideologies undertaken in an initial foray into creating holochoric visual music compositions. Interlaced matrices of contextualization are intended to disseminate the processes involved in deference to composers who will inevitably follow in the wake of this research. Accomplishing such a goal is a quintessential aspect of practice-based research, through which new knowledge is gained during the act of creating. Rather than formulating theoretical perspectives, it is through the praxis of composing holochoric visual music that the constantly arising challenges are recognized, analyzed, and subsequently addressed and resolved in order to ensure progression in the compositional process. Though measuring the success of the resultant compositions is indeed a subjective endeavor, as is the case with all art, the means by which they are achieved is not. The development of such pipelines and processes, and their implementation in practice, are the basic building blocks of further exploration, discovery, and artistic expression. This is the impetus for this document and for my constantly evolving and progressing trajectory as a scholar, artist, composer, and computer scientist.Doctor of PhilosophyIn this paper the author explores the idea that, owing to their shared three-dimensional nature, holophons and holograms are well suited as mediums for visual music composition. This union is ripe with creative opportunity and fraught with challenges in the areas of aesthetics and technical implementation. Squarely situated upon the bleeding edge of phenomenological research and creative practice, this novel medium is nonetheless within reach. Here, one methodological pipeline is delineated that employs the convergence of holography, holophony, and super-computing toward the creation of visual music compositions intended for head mounted displays or large scale 3D/360 projection screens and high-density loudspeaker arrays
Visual Informatics
No full textInteractive machine learning (ML) systems are difficult to design because of the "Two Black Boxes" problem that exists at the interface between human and machine. Many algorithms that are used in interactive ML systems are black boxes that are presented to users, while the human cognition represents a second black box that can be difficult for the algorithm to interpret. These black boxes create cognitive gaps between the user and the interactive ML model. In this paper, we identify several cognitive gaps that exist in a previously-developed interactive visual analytics (VA) system, Andromeda, but are also representative of common problems in other VA systems. Our goal with this work is to open both black boxes and bridge these cognitive gaps by making usability improvements to the original Andromeda system. These include designing new visual features to help people better understand how Andromeda processes and interacts with data, as well as improving the underlying algorithm so that the system can better implement the intent of the user during the data exploration process. We evaluate our designs through both qualitative and quantitative analysis, and the results confirm that the improved Andromeda system outperforms the original version in a series of high-dimensional data analysis tasks. (C) 2021 The Author(s). Published by Elsevier B.V. on behalf of Zhejiang University and Zhejiang University Press Co. Ltd.NSFNational Science Foundation (NSF) [CSSI-2003387]; NSF I/UCRC via the NSF Center for Space, Highperformance, and Resilient Computing (SHREC) [CNS-1822080]Published versionThis work was supported in part by NSF grant CSSI-2003387 and NSF I/UCRC CNS-1822080 via the NSF Center for Space, Highperformance, and Resilient Computing (SHREC)
