Creative 3-D Display and Interaction Interfaces: A Trans-Disciplinary Approach (Hardcover)
暫譯: 創意三維顯示與互動介面:跨學科方法 (精裝版)

Barry G. Blundell, Adam J. Schwarz

  • 出版商: Wiley
  • 出版日期: 2005-12-23
  • 定價: $1,120
  • 售價: 9.5$1,064
  • 語言: 英文
  • 頁數: 371
  • 裝訂: Hardcover
  • ISBN: 0471482714
  • ISBN-13: 9780471482710
  • 相關分類: 3D 列印人工智慧使用者介面 UI
  • 立即出貨 (庫存=1)

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Description

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 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. With the aim of effectively advancing the human-computer interaction experience, this book takes a refreshing approach by bringing together a range of important disciplines within a common framework.

The coverage includes:

  • A well-referenced review of aspects of the human sensory systems
  • Detailed discussion of the evolution and development of 3-D display technologies, haptic interfaces, and interaction tools
  • Discussion of bi-manual interaction and interaction synergy
  • Descriptions of state-of-the-art display and interaction technologies
  • A review of relevant historic milestones, including key developments in image depiction before and during the Renaissance—and linkage of these to current aspirations
  • An extensive and wide-ranging bibliography

The authors have adopted an approach that makes the material accessible, interesting, and relevant to readers in both the sciences and humanities. Creative 3-D Display and Interaction Interfaces represents an important work for those researching new ways of interacting with the digital world, as well as end-users who want to knowledgeably ascertain the possibilities for advancing their computer interaction experience.

 

Table of Contents

Preface.

Acknowledgments.

Glossary of Abbreviations.

1 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.

1.10 Investigations.

2 The Perception of Our Space: Vision.

2.1 Introduction.

2.2 Some Facets of Light.

2.2.1 Color.

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 Color.

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.

3 The Perception of Our Space: Haptics.

3.1 Introduction.

3.2 Somatosensory Receptors.

3.3 Cutaneous Sensitivity.

3.4 Proprioception.

3.5 Somatosensory and Motor Pathways.

3.6 Discussion.

4 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.

5 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.

6 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 Multifaceted Approach.

6.10 Discussion.

6.11 Investigations.

7 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 Multisensory Visualization.

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.

7.5.5 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 Multichannel Software Architectures.

7.8 Discussion 252

7.9 Investigations.

8 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 Electroholography.

8.3.1 Lenticular and Parallax Barrier Techniques.

8.3.2 Dynamic Multi-view Systems.

8.3.3 Electroholography.

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.

9 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: The Chimenti Drawings.

Appendix B: Holographic Images.

General Bibliography.

References.

Index.

商品描述(中文翻譯)

描述
這本權威性的書籍提供了一種開創性的跨學科方法,旨在創造更自然地符合人類感官和運動系統複雜需求的計算機介面技術。傳統介面雖然在過去有其用處,但已開始抑制人類在創意3D設計、醫療診斷和複雜結構可視化等關鍵領域的創造力。為了有效推進人機互動體驗,本書採取了一種新穎的方式,將一系列重要學科整合在一個共同的框架內。
內容涵蓋:
- 對人類感官系統各方面的良好參考回顧
- 3D顯示技術、觸覺介面和互動工具的演變與發展的詳細討論
- 雙手互動和互動協同的討論
- 最先進的顯示和互動技術的描述
- 相關歷史里程碑的回顧,包括文藝復興前後圖像描繪的關鍵發展,並將其與當前的期望聯繫起來
- 廣泛而多樣的參考書目

作者採取了一種使材料易於理解、有趣且與科學和人文領域的讀者相關的方法。《創意3D顯示與互動介面》對於那些研究與數位世界互動新方式的人,以及希望有知識地了解提升其計算機互動體驗可能性的最終用戶來說,都是一部重要的著作。

目錄
前言
致謝
縮略語詞彙表
1 追尋的本質
1.1 介紹
1.2 創意顯示與互動範式
1.3 一點歷史
1.4 傳統介面:在平面上工作
1.5 抑制人機互動過程
1.5.1 增強現實:懷疑的懸置
1.5.2 增強信息內容
1.5.3 創意設計
1.6 圖形問題
1.6.1 單視圖的投影幾何
1.6.2 表面渲染
1.6.3 處理體積數據
1.7 顯示子系統
1.8 從實驗室到應用
1.8.1 開發策略
1.8.2 目的的普遍性
1.9 討論
1.10 調查
2 我們空間的感知:視覺
2.1 介紹
2.2 光的某些面向
2.2.1 顏色
2.2.2 光能
2.2.3 光學系統中的衍射
2.3 視覺系統
2.3.1 眼睛作為光學儀器
2.3.2 視網膜
2.3.3 眼球運動與掃視
2.3.4 顏色的檢測
2.4 超越眼睛
2.4.1 外側膝狀核
2.4.2 反射反饋
2.4.3 初級視覺皮層 (V1)
2.4.4 背側和腹側通路
2.4.5 M通路和P通路
2.4.6 雙眼差異的檢測
2.5 一些視覺特徵
2.5.1 視野
2.5.2 空間解析度
2.5.3 敏感度與空間頻率的影響
2.6 空間與形狀的感知
2.6.1 圖像深度線索
2.6.2 眼動與視差線索
2.6.3 絕對與相對深度感知
2.6.4 深度線索之間的一致性與衝突
2.6.5 形狀的感知
2.6.6 格式塔視覺感知理論
2.6.7 Pulfrich效應
2.7 時間解析度:融合與運動
2.8 討論
2.9 調查
3 我們空間的感知:觸覺
3.1 介紹
3.2 身體感覺受器
3.3 皮膚敏感度
3.4 本體感知
3.5 身體感覺與運動通路
3.6 討論
4 回顧
4.1 介紹
4.2 透視技術的發展
4.3 繪畫中的透視轉變
4.4 線性透視的數學方案
4.5 視覺與感知的演變思想
4.6 暗箱與明箱
4.7 討論
4.8 調查
5 傳統互動機制
5.1 介紹
5.2 對某些互動工具的早期評估
5.2.1 互動空間與工具集
5.2.2 互動工具評估
5.2.3 互動問題
5.3 Fitts模型及其應用
5.3.1 Fitts模型的應用
5.3.2 Fitts模型的進一步方面
5.4 互動範式
5.4.1 轉移互動
5.4.2 直接互動
5.4.3 基於指針的互動
5.5 討論
5.6 調查
6 描繪與互動機會
6.1 介紹
6.2 創意3D顯示的傳統分類
6.3 增強單眼顯示
6.3.1 創建立體顯示
6.3.2 創建自立體顯示
6.4 立體視覺的幾何
6.4.1 立體固定與視線平面
6.4.2 水平差異
6.4.3 調節與聚焦
6.4.4 垂直差異
6.5 一些自立體顯示的類別
6.5.1 虛擬現實系統
6.5.2 多視圖系統:透鏡片
6.5.3 AutoQ系統
6.6 3D空間中的互動範式
6.6.1 轉移互動
6.6.2 直接互動
6.6.3 基於指針的互動
6.7 在3D空間中工作
6.7.1 直接互動技術的應用
6.7.2 在3D空間中的輔助互動
6.7.3 用戶移動性問題
6.8 “自由空間”影像
6.8.1 一種戲劇性的幻覺
6.8.2 體積影像投影
6.9 重新檢視傳統分類方案
6.9.1 多面向的方法
6.10 討論
6.11 調查
7 觸覺通道
7.1 介紹
7.2 與虛擬物體的物理接觸
7.2.1 觸覺互動的一些應用示例
7.2.2 觸覺互動設備的一些示例
7.3 多感官可視化中的觸覺通道
7.3.1 觸覺互動循環
7.3.2 力反饋刷新要求
7.4 單點觸覺互動
7.4.1 碰撞檢測
7.4.2 反應力的計算
7.4.3 虛擬代理
7.5 增加力反饋的真實感
7.5.1 添加摩擦力
7.5.2 結合觸覺質感
7.5.3 通過力陰影平滑多邊形邊緣
7.5.4 中間表示
7.5.5 更複雜的模型、扭矩和可變形物體
7.6 與體積數據的觸覺互動
7.6.1 體積數據的探索
7.6.2 更平滑的力反饋
7.6.3 額外的力量
7.6.4 體積影像中表面的印象
7.6.5 體積數據的修改
7.7 多通道軟體架構
7.8 討論
7.9 調查
8 視覺通道
8.1 介紹
8.2 立體顯示技術
8.2.1 時間編碼系統
8.2.2 顏色編碼系統
8.2.3 空間編碼系統
8.2.4 立體視圖的計算
8.3 多視圖系統與電全息技術
8.3.1 透鏡與視差障礙技術
8.3.2 動態多視圖系統
8.3.3 電全息技術
8.4 虛擬現實系統
8.4.1 沉浸式虛擬現實
8.4.2 CAVE與網球體
8.4.3 混合現實技術
8.4.4 Pepper的鬼魂重訪
8.5 體積方法
8.5.1 掃描體積系統
8.5.2 靜態體積系統
8.5.3 可變焦鏡系統
8.6 討論
8.7 調查
9 採用創意方法
9.1 介紹
9.2 雙手互動
9.2.1 雙手任務執行
9.2.2 雙手互動的潛在好處
9.3 增強桌面介面
9.4 實施與應用的閱讀
9.5 討論
附錄A:Chimenti圖
附錄B:全息影像
一般參考書目
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