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Past News

2017

  • MAT and Computer Science professor Tobias Höllerer co-authors a new book titled "Augmented Reality: Principles and Practice".
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    Synopsis

    By overlaying computer-generated information on the real world, augmented reality (AR) amplifies human perception and cognition in remarkable ways. Working in this fast-growing field requires knowledge of multiple disciplines, including computer vision, computer graphics, and human-computer interaction. Augmented Reality: Principles and Practice integrates all this knowledge into a single-source reference, presenting today’s most significant work with scrupulous accuracy. Pioneering researchers Dieter Schmalstieg and Tobias Höllerer carefully balance principles and practice, illuminating AR from technical, methodological, and user perspectives.

  • An article titled "The Evolution of Spatial Audio in the AlloSphere" appears in the Winter 2016 edition of the Computer Music Journal, published by MIT Press.
  • Andrés Cabrera, JoAnn Kuchera-Morin, Curtis Roads. Computer Music Journal, Winter 2016, Vol. 40, No. 4, pages 47-61.

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    Abstract

    Spatial audio has been at the core of the multimodal experience at the AlloSphere, a unique instrument for data discovery and exploration through interactive immersive display, since its conception. The AlloSphere multichannel spatial audio design has direct roots in the history of electroacoustic spatial audio and is the result of previous activities in spatial audio at the University of California at Santa Barbara. A concise technical description of the AlloSphere, its architectural and acoustic features, its unique 3-D visual projection system, and the current 54.1 Meyer Sound audio infrastructure is presented, with details of the audio software architecture and the immersive sound capabilities it supports. As part of the process of realizing scientific and artistic projects for the AlloSphere, spatial audio research has been conducted, including the use of decorrelation of audio signals to supplement spatialization and tackling the thorny problem of interactive up-mixing through the Sound Element Spatializer and the Zirkonium Chords project. The latter uses the metaphor of geometric spatial chords as a high-level means of spatial up-mixing in performance. Other developments relating to spatial audio are presented, such as Ryan McGee's Spatial Modulation Synthesis, which simultaneously explores the synthesis of space and timbre.