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Creative 3-D display and interaction interfaces : a trans-disciplinary approach

Author: Barry Blundell; Adam J Schwarz
Publisher: Hoboken, N.J. : Wiley-Interscience, ©2006.
Edition/Format:   Print book : EnglishView all editions and formats
Summary:
"This authoritative book provides a groundbreaking, trans-disciplinary approach to the creation of computer interface technologies that more naturally matches the complex needs of human sensory and motor systems. The conventional interface, though useful in the past, has started to inhibit human creativity in key areas such as creative 3-D design, medical diagnostics, and the visualization of complex structures.  Read more...
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Additional Physical Format: Online version:
Blundell, Barry, 1956-
Creative 3-D display and interaction interfaces.
Hoboken, N.J. : Wiley-Interscience, ©2006
(OCoLC)607650651
Online version:
Blundell, Barry, 1956-
Creative 3-D display and interaction interfaces.
Hoboken, N.J. : Wiley-Interscience, ©2006
(OCoLC)609519268
Material Type: Internet resource
Document Type: Book, Internet Resource
All Authors / Contributors: Barry Blundell; Adam J Schwarz
ISBN: 0471482714 9780471482710 047148251X 9780471482512
OCLC Number: 60373373
Description: xxiii, 371 pages : illustrations ; 25 cm
Contents: The nature of the quest --
The perception of our space: vision --
The perception of our space: haptics --
A backward glance --
Traditional interaction mechanisms --
Depiction and interaction opportunities --
The haptic channel --
The visual channel --
Adopting a creative approach --
Appendix A: Chimenti's drawings --
Appendix B: Introducing holography.
Other Titles: Creative three-D display and interaction interfaces
Creative three-dimensional display and interaction interfaces
Responsibility: Barry G. Blundell and Adam J. Schwarz.
More information:

Abstract:

A single source for key information on 3-D display and interaction This authoritative book provides a groundbreaking, trans-disciplinary approach to the creation of computer interface technologies  Read more...

Table of Contents:

by garyperlman (WorldCat user on 2006-12-06)

CHAPTER ONE: THE NATURE OF THE QUEST 1.1 Introduction 1.2 Creative Display and Interaction Paradigms 1.3 A Little History 1.4 The Conventional Interface: Working in Flatlands 1.5 Inhibiting the Human-Computer Interaction Process 1.5.1 Augmented Realism: Suspension of Disbelief 1.5.2 Augmented Information Content 1.5.3 Creative Design 1.6 Graphics Issues 1.6.1 Projection Geometry for a Single View 1.6.2 Surface Rendering 1.6.3 Working with Volumetric Data 1.7 Display Sub-systems 1.8 From the Laboratory to the Application 1.8.1 Development Strategies 1.8.2 Generality of Purpose 1.9 Discussion 1.9 Investigations CHAPTER TWO: THE PERCEPTION OF OUR SPACE: VISION 2.1 Introduction 2.2 Some Facets of Light 2.2.1 Colour 2.2.2 Light Energy 2.2.3 Diffraction in Optical Systems 2.3 The Visual System 2.3.1 The Eye as an Optical instrument 2.3.2 The Retina 2.3.3 Eye Movements and Saccades 2.3.4 The Detection of Colour 2.4 Beyond the Eye 2.4.1 The Lateral Geniculate Nucleus 2.4.2 Reflex Feedback 2.4.3 The Primary Visual Cortex (V1) 2.4.4 The Dorsal and Ventral Pathways 2.4.5 The M and P Pathways 2.4.6 Detection of Binocular Disparity 2.5 Some Visual Characteristics 2.5.1 The Visual Field 2.5.2 Spatial Resolution 2.5.3 Sensitivity and the Impact of Spatial Frequency 2.6 Perception of Space and Form 2.6.1 Pictorial Depth Cues 2.6.2 Oculomotor and Parallax Cues 2.6.3 Absolute and Relative Depth Perception 2.6.4 Consistency and Conflict Between Depth Cues 2.6.5 The Perception of Form 2.6.6 The Gestalt Theory of Visual Perception 2.6.7 The Pulfrich Effect 2.7 Temporal Resolution: Fusion and Motion 2.8 Discussion 2.9 Investigations CHAPTER THREE: THE PERCEPTION OF OUR SPACE: HAPTICS 3.1 Introduction 3.2 Somatosensory Receptors 3.3 Cutaneous Sensitivity 3.4 Propreoception 3.5 Somatosensory and Motor Pathways 3.6 Discussion CHAPTER FOUR: A BACKWARD GLANCE 4.1 Introduction 4.2 The Development of Perspective Techniques 4.3 The Transition to Perspective in Painting 4.4 Mathematical Schemes for Linear Perspective 4.5 Evolving Ideas of Vision and Perception 4.6 The Cameras Obscura and Lucida 4.7 Discussion 4.8 Investigations CHAPTER FIVE: TRADITIONAL INTERACTION MECHANISMS 5.1 Introduction 5.2 An Early Evaluation of some Interaction Tools 5.2.1 Interaction Space and a Tool Set 5.2.2 Interaction Tool Evaluation 5.2.3 Interaction Issues 5.3 Fitts' Model and its Application 5.3.1 An Application of Fitts' Model 5.3.2 Further Aspects of Fitts' Model 5.4 Interaction Paradigms 5.4.1 Transferred Interaction 5.4.2 Direct Interaction 5.4.3 Pointer-based interaction 5.5 Discussion 5.6 Investigations CHAPTER SIX: DEPICTION AND INTERACTION OPPORTUNITIES 6.1 Introduction 6.2 A Traditional Classification of Creative 3-D displays 6.3 Enhancing the Monocular Display 6.3.1 Creating a Stereoscopic Display 6.3.2 Creating an Autostereoscopic Display 6.4 The Geometry of Stereopsis 6.4.1 Stereoscopic Fixation and the Horopter 6.4.2 Horizontal Disparity 6.4.3 Accommodation and Convergence 6.4.4 Vertical Disparity 6.5 Some Classes of Autostereoscopic Display 6.5.1 Virtual Reality Systems 6.5.2 Multi-View Systems: The Lenticular Sheet 6.5.3 AutoQ Systems 6.6 Interaction Paradigms in 3-D Space 6.6.1 Transferred Interaction 6.6.2 Direct Interaction 6.6.3 Pointer Based Interaction 6.7 Working in a 3-D Space 6.7.1 The Application of the Direct Interaction Technique 6.7.2 Assisted Interaction within a 3-D Space 6.7.3 User Mobility Issues 6.8 The 'Free-Space' Image 6.8.1 A Theatrical Illusion 6.8.2 Volumetric Image Projection 6.9 Revisiting the Traditional Classification Scheme 6.9.1 A Multi-Faceted Approach 6.10 Discussion 6.11 Investigations CHAPTER SEVEN: THE HAPTIC CHANNEL 7.1 Introduction 7.2 Physical Contact with Virtual Objects 7.2.1 Some Example Applications of Haptic Interaction 7.2.2 Some Examples of Haptic Interaction Devices 7.3 The Haptic Channel in Multi-Sensory Visualisation 7.3.1 The Haptic Interaction Loop 7.3.2 Force Feedback Refresh Requirements 7.4 Single-Point Haptic Interaction 7.4.1 Collision Detection 7.4.2 The Computation of Reaction Forces 7.4.3 The Virtual Proxy 7.5 Increasing the Realism of Force Feedback 7.5.1 Adding Frictional Forces 7.5.2 Incorporating Haptic Texture 7.5.3 Smoothing Polygon Edges by Force Shading 7.5.4 Intermediate Representations 7.5.4 More Complex Models, Torque and Deformable Objects 7.6 Haptic Interaction with Volumetric Data 7.6.1 Exploration of Volumetric Data 7.6.2 Smoother Force Feedback 7.6.3 Additional Forces 7.6.4 The Impression of Surfaces within Volumetric Images 7.6.5 Modification of Volumetric Data 7.7 Multi-Channel Software Architectures 7.8 Discussion 7.9 Investigations CHAPTER EIGHT: THE VISUAL CHANNEL 8.1 Introduction 8.2 Stereoscopic Display Techniques 8.2.1 Temporally Coded Systems 8.2.2 Chromatically Coded Systems 8.2.3 Spatially Coded Systems 8.2.4 Computation for Stereoscopic Views 8.3 Multi-view Systems and Electro-Holography 8.3.1 Lenticular and Parallax Barrier Techniques 8.3.2 Dynamic Multi-view Systems 8.3.3 Electro-holography 8.4 Virtual Reality Systems 8.4.1 Immersive Virtual Reality 8.4.2 The CAVE and Cybersphere 8.4.3 Mixed Reality Techniques 8.4.4 Pepper's Ghost Revisited 8.5 The Volumetric Approach 8.5.1 Swept Volume Systems 8.5.2 Static Volume Systems 8.5.3 Varifocal Mirror Systems 8.6 Discussion 8.7 Investigations CHAPTER NINE: ADOPTING A CREATIVE APPROACH 9.1 Introduction 9.2 Two-Handed Interaction 9.2.1 Bi-manual Task Performance 9.2.2 The Potential Benefits of Bi-manual Interaction 9.3 Augmenting the Desktop Interface 9.4 Readings on Implementations and Applications 9.5 Discussion APPENDIX A: CHIMENTI'S DRAWINGS APPENDIX B: INTRODUCING HOLOGRAPHY

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"...provides a groundbreaking, transdisciplinary approach to the creation of computer interface technology...an important work..." (IEEE Computer Magazine, July 2006) "This text is interesting and Read more...

 
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