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A Different Kind of Physics Interactive evolution of expressive dancers and choreography expressive intelligence studio UC Santa Cruz Kate Compton and Michael Mateas Goals expressive intelligence studio UC Santa Cruz Goals

  1. A Different Kind of Physics Interactive evolution of expressive dancers and choreography expressive intelligence studio UC Santa Cruz Kate Compton and Michael Mateas

  2. Goals expressive intelligence studio UC Santa Cruz

  3. Goals � Force-based movement is more expressive than position-based movement expressive intelligence studio UC Santa Cruz

  4. Goals � Force-based movement is more expressive than position-based movement � Tensegrity ragdolls enable new forms of interactivity, and new genres of games expressive intelligence studio UC Santa Cruz

  5. Goals � Force-based movement is more expressive than position-based movement � Tensegrity ragdolls enable new forms of interactivity, and new genres of games � Writing your own physics engine is an act of artistic practice expressive intelligence studio UC Santa Cruz

  6. Goals � Force-based movement is more expressive than position-based movement � Tensegrity ragdolls enable new forms of interactivity, and new genres of games � Writing your own physics engine is an act of artistic practice (never tell your undergraduates this) expressive intelligence studio UC Santa Cruz

  7. About me � 4th year PhD at UCSC � Worked for 5 years on Spore and SimCity as a particle effects artist � Practicing independent digital artist � Making tools for artists and novice users � Come learn more about Casual Creators, creativity tools for casual users, Wednesday 2pm! expressive intelligence studio UC Santa Cruz

  8. “Expressiveness” “any combination of features in a work of art which has the effect of linking it to states of feeling or emotion” Osborne, Harold. "Expressiveness in the arts.” Journal of Aesthetics and Art Criticism (1982): 19-26. expressive intelligence studio UC Santa Cruz

  9. “Expressiveness” � More practically, a professional term for artists to describe their experience of tools � Economy of effort to “expressive” results � The tool “wants” to create expressive art � and multiplies your effort expressive intelligence studio UC Santa Cruz

  10. Movement and emotion “The high degree of uniformity in the answers to this question is determined mainly by the temporal relationships of the movements. It is a case of successive movements without contact” Heider, Fritz, and Marianne Simmel. "An experimental study of apparent behavior." The American Journal of Psychology (1944): 243-259. APA expressive intelligence studio UC Santa Cruz

  11. Secondary motion � Multiplying and accenting the controlled motion with uncontrolled motion expressive intelligence studio UC Santa Cruz

  12. Secondary motion � Multiplying and accenting the controlled motion with uncontrolled motion expressive intelligence studio UC Santa Cruz

  13. Secondary motion � Multiplying and accenting the controlled motion with uncontrolled motion expressive intelligence studio UC Santa Cruz

  14. Secondary motion in dance expressive intelligence studio UC Santa Cruz

  15. Secondary motion in dance expressive intelligence studio UC Santa Cruz

  16. Secondary motion in dance expressive intelligence studio UC Santa Cruz

  17. Secondary motion in dance expressive intelligence studio UC Santa Cruz

  18. Secondary motion in dance expressive intelligence studio UC Santa Cruz

  19. Secondary motion in dance expressive intelligence studio UC Santa Cruz

  20. Designing Systems for Secondary Motion Nick Cave, Soundsuits expressive intelligence studio UC Santa Cruz

  21. Designing Systems for Secondary Motion � Scriptable motion - generates forces � Unscripted secondary motion - responds to forces Spore expressive intelligence studio UC Santa Cruz

  22. Force and dance expressive intelligence studio UC Santa Cruz

  23. Dubbin, Greg A., and Kenneth O. Stanley. "Learning to dance through interactive evolution." Applications of Evolutionary Computation. Springer Berlin Heidelberg, 2010. 331-340. expressive intelligence studio UC Santa Cruz

  24. Dubbin, Greg A., and Kenneth O. Stanley. "Learning to dance through interactive evolution." Applications of Evolutionary Computation. Springer Berlin Heidelberg, 2010. 331-340. expressive intelligence studio UC Santa Cruz

  25. Dubbin, Greg A., and Kenneth O. Stanley. "Learning to dance through interactive evolution." Applications of Evolutionary Computation. Springer Berlin Heidelberg, 2010. 331-340. expressive intelligence studio UC Santa Cruz

  26. Force and dance � Dance can mean translating music into forces � Absolute movement � Relative movement � End positions � These are side effects of the original force � Secondary motion will emphasize and elaborate on the original force, by simulating responding forces expressive intelligence studio UC Santa Cruz

  27. Force and dance expressive intelligence studio UC Santa Cruz

  28. Force and dance � Force-based movement is more expressive than position-based movement expressive intelligence studio UC Santa Cruz

  29. Inverse Kinematics expressive intelligence studio UC Santa Cruz

  30. Inverse Kinematics expressive intelligence studio UC Santa Cruz

  31. Squash and stretch expressive intelligence studio UC Santa Cruz

  32. Squash and stretch expressive intelligence studio UC Santa Cruz

  33. Squash and stretch expressive intelligence studio UC Santa Cruz

  34. Squash and stretch � What animation method wants to multiply small controllable forces into squash and stretch secondary motion? expressive intelligence studio UC Santa Cruz

  35. Tensegrity Some rods, some tendons, some tension Responds to force with movement expressive intelligence studio UC Santa Cruz

  36. Tensegrity Some rods, some tendons, some tension Responds to force with movement expressive intelligence studio UC Santa Cruz

  37. Tensegrity Some rods, some tendons, some tension Responds to force with movement expressive intelligence studio UC Santa Cruz

  38. Tensegrity bodies Tom Flemmons expressive intelligence studio UC Santa Cruz

  39. Programming tensegrity Nodes + Edges + Forces = Tensegrity (ignore collisions) expressive intelligence studio UC Santa Cruz

  40. Programming tensegrity Nodes + Edges + Forces = Tensegrity (ignore collisions) expressive intelligence studio UC Santa Cruz

  41. Programming tensegrity Nodes + Edges + Forces = Tensegrity (ignore collisions) expressive intelligence studio UC Santa Cruz

  42. Programming tensegrity 1. Clear all the forces on the particles 2. Calculate all the forces like gravity, repulsion, attraction, etc. on each particle 3. For each edge, calculate its offset from the ideal length, and apply a force to the particles that it connects, to draw them together or push them apart 4. Sum up the forces on each particle, and add the particle’s force (divided by its mass) to its velocity, and add the velocity to the position 5. (optional) Perform some additional easing of the edges by physically moving the particles at the ends of the edges (bypassing applying force) 6. (optional) Create ‘drag’ by multiplying the velocity by (1 - drag) to make the particles feel sticky or slow (this is in the paper) expressive intelligence studio UC Santa Cruz

  43. Body tuning expressive intelligence studio UC Santa Cruz

  44. Modelling dance as force expressive intelligence studio UC Santa Cruz

  45. Modelling emotion as force expressive intelligence studio UC Santa Cruz

  46. � Tensegrity ragdolls enable new forms of interactivity, and new genres of games Demos! expressive intelligence studio UC Santa Cruz

  47. How do we describe movement? expressive intelligence studio UC Santa Cruz

  48. How do we respond to movement? expressive intelligence studio UC Santa Cruz

  49. How do we respond to movement? expressive intelligence studio UC Santa Cruz

  50. How do we respond to movement? expressive intelligence studio UC Santa Cruz

  51. How do we respond to movement? expressive intelligence studio UC Santa Cruz

  52. How do we respond to movement? expressive intelligence studio UC Santa Cruz

  53. How do we respond to movement? expressive intelligence studio UC Santa Cruz

  54. expressive intelligence studio UC Santa Cruz

  55. Code as understanding art � Writing your own physics engine is an act of artistic practice expressive intelligence studio UC Santa Cruz

  56. Questions? galaxykate@gmail.com @galaxykate www.galaxykate.com www.galaxykate.com/Apps/Prototypes/Dancer/ www.galaxykate.com/Apps/Prototypes/Scribbles/ expressive intelligence studio UC Santa Cruz

  57. Questions? galaxykate@gmail.com @galaxykate www.galaxykate.com www.galaxykate.com/Apps/Prototypes/Dancer/ www.galaxykate.com/Apps/Prototypes/Scribbles/ expressive intelligence studio UC Santa Cruz

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