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Making the MIT Museum’s Holography Collection Accessible

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thank you John but it's very nice to see
everyone and it I'd like to offer my personal welcome it's a pleasure to have you all here the the most so report of work in progress and concerns the collection of holograms that the MIT Museum holds and an effort to make it accessible and uh these early stages the but we wanted to tell you about some my angles of approach that were working on and to show you a bit of progress but now as I'm sure most of you know and the museum has the world's most historically significant and comprehensive collection of display all around no this all sits in storage or not quite all we have a gallery his you've noticed upstairs that however the majority the great majority of the holograms in boxes and you know that it's cumbersome applied takes lighting and set up and the physical infrastructure to display these we don't have a lot of physical space at the museum which is another and uh a significant limiting factor and of course with the advent of digital technologies are kind of flooding into the pyelography domain it's a natural so thought uh to they analog hologram's into digital form because of of the the accessibility the flexibility possibilities that that would open up with regard to our collection and so and if you know we have a few different angles of approach in mind as they this work began with the consent of the making a holiday plans and accessible online in real time and we we want to begin that with the selection of only a single hardware and to build a robotic arm that would allow in real time so the you look around the three-dimensional space of the hollow-gram by by the idea of a web user at some distance and that's a project that we are actively working on the end of yet we jump to another approach to that is is really coupled with the 1st and that is a digital capture how come we have to bring the analog the holographic information into digital form into a data model and then further what could we do with that obviously uh In the 1st application is online exhibition but and that we have use the readily accessible forests and software to make an approach to this and along the way we have found out about other software opportunities that a more refined for this kind of application and we will show you some of that capturing and we've done and it in that work we have worked in consultation with Noah Snavely of Cornell University was 1 of the developers of the follows and software and that's been quite helpful but again it's in early stages and and he has access to other software that is more specific to our task mentioned online exhibition this isn't an obvious and and I think for them using a powerful direction to move in because that because of the air support structure of technologies that the would uh that we further nowadays 1 can imagine slowly getting the rich collection the museum holds online and the flexibility that would be involved with being able to show these hard grams in digital form online and in being able to compose exhibitions being able to interpret and assemble hologram's in relationship but in the context of a kind of so to speak in online gallery or virtual Gallery now we all know that word were speaking of doing hologram's in the and not read this is a severe limitation but what we're trying to do here is to approach to 3 D experience through the to the medium of online viewing and so this is this is a a basic limitation to everything that we're that I'm talking about here today but however we opted that was something that is between man behind the you of real-time robot undoing of a hologram is that we're trying to put and in a distant visitors into a kind of visceral relationship of the holographic space and that even though they're looking at it and think it to the image they are getting a kind of a palpable feel for the 3 D space because they driving at and but because it is a real-time connection and we could have we could exploit that in different ways and it took for people to fill the linkage with the 3 D virtual space the hollow-gram and then last there would mentioned Of course once we would have a data model above of an analog hollow-gram then we could do other things with the holographic object for example and 1 example would be a rapid prototyping or 3 D print of an object that comes from the alien and what hologram and 1 can think of many other possibilities but in general this whole approach of the museum is an obvious 1 but I think increasingly it's at the powerful 1 with regard to the communication of holography B in the history that's cooperate in this collection the different disciplines that are represented the virtuality they can become physicality is by 3 D printing for example in anecdote in general the communication process and the visual expression and and learning process that can take place by the web this all of the makes up the the terrain and were explored so at 1 in practice shows some of what a the I would mention that there many of you will know this hologram but this is the uh Lindau man the 19 87 n-gram event by 1984 find in a peat bog this by Richmond and holographic studios in the UK a synonym of this around here so that I can see well I'd rather use the computer this the solid red by the way this is hanging upstairs in the gallery set so you you you can go take a look at our the when the signal from the back that you can hear me so tighter driving talking the microphone during its entire time and so our our work here I see where worse by keyword OK
so this is a good
inspiration behind were doing here i'm my uh at at 1 point I noticed that there were people visitors to the museum who were taking come to think plus the surreptitious movies of our holy grams with fear of the cell phones and posting them on you to and so when when I when I discovered this the other 2 being in this place yeah that it it can set off a light bulb and in in the light of the like all is that even though you have 2 dimensions you can you can really vote the 3rd dimension by by adding motion and time essentially and so you know if you see anyone of these frames in the two-dimensional but if you look at the frames in series you you get a bit more three-dimensional a feel for this thing so I thought well gee that's that's cool what what what if we could do this in under controlled circumstances with with with with something that's it possibly little more smoothly human are moving around which is but when I came up with the idea of doing a robotic arm and unfortunately we haven't got very far with the robotic arm yet but but we're were ready gearing up to it I and so if anybody wants to help build a robotic platform so and that we can control the Web of let me know later on and so so there's that in and and this this this survey experimentation took a little bit of a detour when the the the next slide called it
but which is the this is
technological instance with which has been developed by Microsoft or not I guess the university washington largely by Noah Snavely and there are other people working in this field and that the the basic idea is that you can take multiple photographs of an object from different angles and uh and reconstruct digitally the three-dimensionality of of of where you're taking the photographs of Newtonian have to be from the same camelina be from the same person and if you go to foder since . net and then you you you you need to do this using Windows or you can download a plug in for for for your Mac and you can see a lot of for instance of tourist attractions so you cathedrals worry on the Eiffel Tower is things like that but it turns out that if you take a bunch of photographs of a hologram you can start to get the same effect so so we we've done so for separate trials of this this new endowment hologram and I guess I should I should back up a little bit here let's see if we can the OK so that
essentially what you do is you take a bunch of photographs which which let you start
to move around in the image by
clicking on the image and each photograph where whenever year certain in its
space if it comes out of and with the way this works is
that that the that the software is constructed this digital model and and has overlay the photographs in a way that you can you can really see them but what you can also do is you can look at what's called the point cloud and it is very slow reaction it's almost like talking to the moon you're not sure it's going on so
you you can look at what's called the the the point cloud and and and these are the points that it has constructed in order to find the 3 aspects of this thing and of those points in fact let you survey examine this this thing from from or a three-dimensional perspective of so you can start doing things like moving it around in and you can actually see some of the the the details I'm having trouble driving on the surface to 7 so the details and you know some of the three-dimensionality come out now of course when the you can do with our grammars you can look behind it and this not this 1 no there there there are others that are really serve he announced that the caller ID spherical ones but the the the the the basic ideas it strikes me that there there's another 3D information coming out of his
photographs that we we could add to build a 3 D model and so having a
conversation we had no work and he indicated that he has as have gone beyond what what's available at since the user Cornell University right now but and so he's he's taken a Bachelor of photographs that overseas traveling Sweden have time to to to finish this up to try to return to us as an actual 3 D model of this hologram immediate the idea then is going to have an active 3 D model you can go to different modalities of of looking at it and in 1 thing is that if if you getting
back to the web now but it is very
simply there there there there is there is this this is a very simple 3 D model and what they've done here is where most the models have on our constructed a triangle and and what you do is you you you do what's called texture mapping where you where you put and even in this case at a solid colors but what you do is you you put the basically that the image back onto the triangle that corresponds with that view of the triangle and so and that the the hope is that we could take this this 3 D model in texture map our our photos back on top of it and actually generate a 3 D model I I I wish I could have done this with the lender Mandarin 14 we have to do with this little cartoon characters and another thing is that a self alluded to and this is a little cellulose sound 3 D printed corridor they came from the City Car didn't that used to be here before the the the connections exhibit when and and this this really comes directly from a 3 D model and so why why couldn't you take Landau man and an end to to 1st order produce some server three-dimensional view of that's a physical physical object so let's see and then there there there are other tricks that that people are developing to to to to to serve to provide of depth information as rejecting through the internet and this is the guy Chris
Harrison but whose come over this idea of using on the webcam and what what he's done is he's he's figured out that if you move the webcam around a little bit you could actually pick up the information that behind the person's head and then what he what he does is he's actually turned on the TV give is running a face tracking on the camera of the person is looking at him and so the the the webcam knows where overhead is and where her eyes are in relationship to the you end up and what what what he can do is you can turn that into something that gives you the idea
parallax and so I want
1 idea is that if it if we could provide this this 3 D model of the hologram we could actually build
something that tracks you for your web cam and as you move your head around it could actually let you view this thing through this 3 D
model of and then of course the young coming back falls all the way around to the robot and the the idea is if if you could be in fact rather than have it can model if you could actually put the robot with a camera on it in front of a hologram and and and deal the the the issue of the delay over the internet but you you could quite possibly start building uh user-controllable webcam so that they could actually explore this hologram on their own so that the status of the areas of research that they were working on but to to try to make this lecture will be more accessible so I bet on duty during a sustained a case I guess where open for questions of thank you can so a few minutes foot comments questions and then we'll go into the panel's Gushan 1st person I saw was that I think we probably set as the mike actions of 1 of the speakers is not binding out my which is gonna cause complications the maybe we could have the lights back back on the station on the always that that's place having said Chen this there yet but this this when in saying that like the the the the previous 1 the previous talks talking about like the work and random and light field imaging and there some interesting the demonstrations of that that you can download and and actually freely view of a rather cost but interesting of light field and then moves through it and it would seem that a 1st structure as opposed to say a robot arm but a very low of fixed structure comes y motion you could capture these things quite rightly they get to be very large datasets but the I think they as far as cataloging and capturing an image for example some of the images I have kind of Timor-Leste chemistry in them so for example of the land of a lot of the year a cylindrical multiplex holograms people were using a Mercury based bleachers believes the right to and those tend to just fade out over time so the senior some this if you capture them in this matter you could really actually uh ultimately reproduce the hologram later right yes I I I was at a very excited at the cultural camera talk with with the the field thing that you guys are working on and in and I think in terms of the the the large datasets are the III back to abide my previous work was in the geographical area and there's been a lot of work in in in your just in just google maps for instance the the way they manager Google Earth way they manage feeding you the information as you needed so it's quite possible that that you could do something like that and me of aside from the preservation aspect which I think is great is also the the interactive visualization the point so if to it on suffering the OK I think for the presentation 1 I want to expand on that on the frontier that we shouldn't underestimate the to this there's a huge research going gone and how to convert to the 2 3 D and out with the same talker from their culture camera at on the display side you would be able to if you collect your information from different perspectives which I think you need to only do it once with durable article or it doesn't need to be there all the time depending on where the lower observer wants to see from you can propagate that information to the to the that they have the it's the different a case but you can have a live that arrays on from in front of the cities and then you get an stereoscopic image right meaning that you don't need to have a goal so or any special in devices and you would see our your you basically the the 3 perspective from the your point of view of the factors that hollow-gram generate a lot of information that that whole hologram over there I can see a portion of that information from this view and the fact is that you can collect that information and selectively presented to the viewer and that this could be easily done now but the technology stopped for a 2 D 3D convertible displays just want to add and that yeah yeah I think it's true in data for amplifying the the because I I really appreciate what you're doing with this work particularly from the the point that create make about an archival protection of pieces that may fade over time but I see some other issues here too as curative pretty but cats work and I'm very concerned about this issue of getting his work on 2 public is a lot of work and his work has been seen for a long time and he had started himself on his website to document his work in stereo pairs and so on I recently have been looking in I was strange single-aligned your catalog to try and get images for I was getting on final holography and came to realize that most your collection isn't up there even into the form so I would 1st say it would be really great if you could get all of the holograms new collection
online and perhaps the way to start out with the with stereo pairs because you could use there's just as easily as using a single pair but another aspect of what I'm starting to do on the practical level is I want to be able to show these work in more than 2 dimensions so there new technologies out there and officiating or there are new projectors out there for showing stereo views of video so I'm actually this month are going to be signed to shoot SymStereo HD video of his work that I can use as a tool to take around and give people more visceral experience of his work but maybe you should you could be thinking in terms of exploring some of those other lower-tech areas to get this material out there in the meantime yeah I I would say that the the Wheezy structured should preclude some of the the right away and we recover more basic curatorial overtake approaches and we should really do them all in going in some extending wavefront our as it were so so gathering information about what other people are doing is is 1 of the reasons that we're here so that I think it's great going to have my mother sorry so I mean I I take very much the point is being made by 2 observations 1 is unfortunately what is true for all holographic collection namely that much of it is not available in any meaningful images online is true for all of the museum's collections is only some of our collections that I yet online and the other point is the big constraint on that is cost that every every high-quality image capture and the uploading onto the Web as a unit cost whatever it is when you're talking about large numbers it limits I'm afraid the rate at which we do it and at least go to the point that some of some of the real answer to your question what do we do 1st will not be governed by high principle it'll be governed by what we can attract funding to do and I just have a hunch that some of these initiatives and developments even if they don't look like the 1st and most obvious thing to do maybe things that that that attract funding more easily than the more routine but ultimately in some ways very much more basic work of just uploading high-quality conventional images so I I don't say that pessimism but just to be reversed the and I think we probably going back into my role as chair we have time for 1 more question about this and then we should go into the house and I all I'm sorry we've already chosen the present I can't see them right here that they gradually was either 1 1 I know the museum many other things in their collection besides the holograms just for example catalogs you have slides or which also have conserved for conservation issues and a lot of a lot of all books and documentation videos and movies about holography that were made of early on and those basically are lost because they're not accessible by the body and that that's 1 thing to be relatively easy actually to scan and an and document and I was talking to you directly the report with Google but I'm sure all of you know a Google books and they have a a massive our program for scanning and everything in the entire world and and they're very open to nonprofit organizations and and different museums in helping them out just finishes great work by Google which I recommend everybody here about their endeavors in that area and I'm sure if you talk to them I know that there's an issue with photos and being Microsoft that are nevertheless Google really has a role and a lot of stuff and the problem of what that means only doesn't take important and obvious and but in yeah work that that the museum will do but I I would go on and go John statement a bit and to clarify that and the reason we undertook a work that can take in this work and they're not going to continue with it is because of specific and funding that we have for pushing on local with regard to the new technologies and and what hollow-gram so there's a lot of foundational work to do with your and bringing forward I money is also true at the museum and really needs to build a platform of funding and staff support the scene sampled at the chosen to do it but of course this time and there's a a stretch and with regard to the and with the staff members here and what we're approach that's right but I want to repeat that's we're not pessimistic or fatalistic about this and we we we want to be realistic and in fact 1 message that I was hoping would come out and it's sort of coming out now is that MIT is a big place and it looks very well founders there's a very well out from outside actually there's very restricted funding available for the kinds of things that we're talking about in this forum for the MIT Museum right now and uh we're very interested in and we're going to be very proactive about trying to seek funding support for the kinds of initiatives that have been discussed and I hope very much this community might lend us its support either directly or indirectly interact as as our colleague here is in suggesting ways in which we can we can do that because in the end the rate limiting uh factor for all of this is going to be funny but in in order not for Furcal to be crying into our proverbial did I think that we should now move on with thanks to set and Alan
Bit
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Quader
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Metadaten

Formale Metadaten

Titel Making the MIT Museum’s Holography Collection Accessible
Serientitel Photons, Neurons and Bits: Holography for the 21st Century (MIT Museum 2009)
Teil 06
Anzahl der Teile 13
Autor Doyle, Allan
Riskin, Seth
Lizenz CC-Namensnennung 3.0 Unported:
Sie dürfen das Werk bzw. den Inhalt zu jedem legalen Zweck nutzen, verändern und in unveränderter oder veränderter Form vervielfältigen, verbreiten und öffentlich zugänglich machen, sofern Sie den Namen des Autors/Rechteinhabers in der von ihm festgelegten Weise nennen.
DOI 10.5446/30392
Herausgeber River Valley TV
Erscheinungsjahr 2012
Sprache Englisch
Produktionsort Cambridge

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