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Holographic Whisper - CHI2017 oral presentation by Yoichi Ochiai

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Project page: http://digitalnature.slis.tsukuba.ac.jp/2016/08/holographic_whisper
Pixie Dust Technologies, Inc.: http://pixiedusttech.com/

Holographic Whisper: Rendering Audible Sound Spots in Three-dimensional Space by Focusing Ultrasonic Waves
CHI 2017 Paper

Abstract:
We propose a novel method of three-dimensional spatial audio rendering by expanding the ultrasonic phased array technique. We employ an ultrasonic phased array as a holographic acoustic generator to focus ultrasound at arbitrary three-dimensional positions. The sound pressure at the ultrasonic focal points is sufficiently high to radiate audible sound based on the self-demodulation effect in air. Consequently, the ultrasonic focal points act as audible sound sources. This sound-point method enables us to control aerial audio distributions more flexibly and more precisely in comparison with conventional superdirectional (sound-beam) loudspeakers. This method can generate and vanish the sound sources freely in air. These point sound sources can deliver private messages or music to individuals.

Yoichi Ochiai * ***, Takayuki Hoshi** ***, Ippei Suzuki*
*University of Tsukuba, **The University of Tokyo, ***Pixie Dust Technologies, Inc.

Published in: Engineering
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Holographic Whisper - CHI2017 oral presentation by Yoichi Ochiai

  1. 1. Holographic Whisper: Rendering audible sound spots in three-dimensional space by focusing ultrasonic waves Yoichi Ochiai*13, Takayuki Hoshi*23, Ippei Suzuki*1 *1 University of Tsukuba, Digital Nature Group *2 University of Tokyo, *3 Pixie Dust Technologies, inc. *joint first authorship, Contact: wizard@slis.tsukuba.ac.jp Assistant Professor at University of Tsukuba, Head of Digital Nature Group CEO of Pixie Dust Technologies, inc
  2. 2. Motivation and Introduction “Render the Aerial Sound Sources separated from Machines” Copyright Yoichi Ochiai, University of Tsukuba, Digital Nature Group, Pixie Dust Technologies, inc.
  3. 3. Copyright Yoichi Ochiai, University of Tsukuba, Digital Nature Group, Pixie Dust Technologies, inc. We envision the post-pixel world Release data from material existence and regenerate Material Properties by using out of range frequencies of our sensory organs. P i x e l s P i x i e s 2D to 2.5D Physical Device 3 D C o m p u t a t i o n a l W a v e D e s i g n M a g i c a l E x p e r i e n c e w i t h N o C o n t a c t D e v i c e T o w a r d s
  4. 4. Copyright Yoichi Ochiai, University of Tsukuba, Digital Nature Group, Pixie Dust Technologies, inc. Pixel Image Haptic Haptic Sound Manipulation 2.5D Voxel Human How can we update the pixel world (2.5D) towards pixie world (3D)? Scenery of 2000s to 2020 2.5D device Physical Laptops Traditional Scenery
  5. 5. Copyright Yoichi Ochiai, University of Tsukuba, Digital Nature Group, Pixie Dust Technologies, inc. Post-Pixel Alternatives By Computational Wave Synthesis Manipulation of Object Aerial HapticsAerial Image and Haptics Voxel Graphics holographic laser plasma Holographic laser plasma and ultrasonic holographic ultrasonic levitation holographic ultrasonic levitation We have studied to envision the alternatives by computational wave synthesis.
  6. 6. Copyright Yoichi Ochiai, University of Tsukuba, Digital Nature Group, Pixie Dust Technologies, inc. Post-Pixel Alternatives By Computational Wave Synthesis Manipulation of Object Aerial HapticsAerial Image and Haptics Voxel Graphics holographic laser plasma Holographic laser plasma and ultrasonic holographic ultrasonic levitation holographic ultrasonic levitation Next! Holographic Audio We have studied to envision the alternatives by computational wave synthesis.
  7. 7. U n i v e r s i t y o f Ts u k u b a , Yo i c h i O c h i a i L a b r a t o r y
  8. 8. Copyright Yoichi Ochiai, University of Tsukuba, Digital Nature Group, Pixie Dust Technologies, inc. Towards three dimensional audio communication 19c-20c 1990- Broad Ultrasonic Beam Mass-Communication Towards Individual Communication ABC.com, Ponpei,et,al. 2017- Holographic Points and Steerable Beams Towards Personalized Communication with Ubiquitous Environment Our Study
  9. 9. Copyright Yoichi Ochiai, University of Tsukuba, Digital Nature Group, Pixie Dust Technologies, inc. Overview Designing narrow audio distribution for individual communication Our Study Conventional
  10. 10. Copyright Yoichi Ochiai, University of Tsukuba, Digital Nature Group, Pixie Dust Technologies, inc. Contribution The method enables production of aerial sound point sources with an ultrasonic phased array for three-dimensional (3D) audio interaction which includes: Principles Theory Simulated Result Implementation User Study Evaluation Application Discussion
  11. 11. Related Works “How to design the Acoustic Environment” Copyright Yoichi Ochiai, University of Tsukuba, Digital Nature Group, Pixie Dust Technologies, inc.
  12. 12. Copyright Yoichi Ochiai, University of Tsukuba, Digital Nature Group, Pixie Dust Technologies, inc. The Audio Communication Audible Communication has been separated since Edisons Era. Individual Broad
  13. 13. Copyright Yoichi Ochiai, University of Tsukuba, Digital Nature Group, Pixie Dust Technologies, inc. Efforts towards Holographic Individual Audio [3]BOSE. F1 flexible array loudspeaker system. from http://www.bose.com/prc.jsp?url=/promotions/entry_pages/f1/index_en.jsp [4]JBL. IntelliDisc-DS90. from http://www.jblpro.com/www/products/installed-sound/intellidisc-ds90 [5]M. Yoneyama, J. Fujimoto, Y. Kawamo, and S. Sasabe. 1983. The audio spotlight: An application of nonlinear interaction of sound waves to a new type of loudspeaker design. The Journal of the Acoustical Society of America 73, 5, 1532-1536. [6]K. Aoki, T. Kamakura, and Y. Kumamoto. 1991. Parametric loudspeaker - Characteristics of acoustic field and suitable modulation of carrier ultrasound, Electronics and Communications in Japan 74, 9, 76-82. [7]F.J. Pompei. 1999. The use of airborne ultrasonics for generating audible sound beams, Journal of the Audio Engineering Society 47, 9, 726-731. [9]K. Shinagawa, Y. Amemiya, H. Takemura, S. Kagami, and H. Mizoguchi. 2007. Three dimensional simulation and measurement of sound pressure distribution generated by 120 ch plane loudspeaker array. In Proceedings of IEEE International Conference on Systems, Man and Cybernetics, 278-283. [10]T. Matsui, D. Ikefuji, M. Nakayama, and T. Nishiura. 2014. Multiple audio spots design based on separating emission of carrier and sideband waves. In Proceedings of International Congress and Exposition on Noise Control Engineering, 6313-6317. [12]C. Shi, Y. Kajikawa, and W.-S. Gan. 2014. An overview of directivity control methods of the parametric array loudspeaker. APSIPA Transactions on Signal and Information Processing 3, e20. ABC.com, Ponpei,et,al.
  14. 14. Copyright Yoichi Ochiai, University of Tsukuba, Digital Nature Group, Pixie Dust Technologies, inc. Efforts towards Holographic Individual Audio [3]BOSE. F1 flexible array loudspeaker system. from http://www.bose.com/prc.jsp?url=/promotions/entry_pages/f1/index_en.jsp [4]JBL. IntelliDisc-DS90. from http://www.jblpro.com/www/products/installed-sound/intellidisc-ds90 [5]M. Yoneyama, J. Fujimoto, Y. Kawamo, and S. Sasabe. 1983. The audio spotlight: An application of nonlinear interaction of sound waves to a new type of loudspeaker design. The Journal of the Acoustical Society of America 73, 5, 1532-1536. [6]K. Aoki, T. Kamakura, and Y. Kumamoto. 1991. Parametric loudspeaker - Characteristics of acoustic field and suitable modulation of carrier ultrasound, Electronics and Communications in Japan 74, 9, 76-82. [7]F.J. Pompei. 1999. The use of airborne ultrasonics for generating audible sound beams, Journal of the Audio Engineering Society 47, 9, 726-731. [9]K. Shinagawa, Y. Amemiya, H. Takemura, S. Kagami, and H. Mizoguchi. 2007. Three dimensional simulation and measurement of sound pressure distribution generated by 120 ch plane loudspeaker array. In Proceedings of IEEE International Conference on Systems, Man and Cybernetics, 278-283. [10]T. Matsui, D. Ikefuji, M. Nakayama, and T. Nishiura. 2014. Multiple audio spots design based on separating emission of carrier and sideband waves. In Proceedings of International Congress and Exposition on Noise Control Engineering, 6313-6317. [12]C. Shi, Y. Kajikawa, and W.-S. Gan. 2014. An overview of directivity control methods of the parametric array loudspeaker. APSIPA Transactions on Signal and Information Processing 3, e20. ABC.com, Ponpei,et,al. Pickup
  15. 15. Copyright Yoichi Ochiai, University of Tsukuba, Digital Nature Group, Pixie Dust Technologies, inc. How the ultrasonic directional audio works? Why??? How did it achieved?
  16. 16. Copyright Yoichi Ochiai, University of Tsukuba, Digital Nature Group, Pixie Dust Technologies, inc. Beam Forming [5]M. Yoneyama, J. Fujimoto, Y. Kawamo, and S. Sasabe. 1983. The audio spotlight: An application of nonlinear interaction of sound waves to a new type of loudspeaker design. The Journal of the Acoustical Society of America 73, 5, 1532-1536. [6]K. Aoki, T. Kamakura, and Y. Kumamoto. 1991. Parametric loudspeaker - Characteristics of acoustic field and suitable modulation of carrier ultrasound, Electronics and Communications in Japan 74, 9, 76-82. [7]F.J. Pompei. 1999. The use of airborne ultrasonics for generating audible sound beams, Journal of the Audio Engineering Society 47, 9, 726-731.
  17. 17. Copyright Yoichi Ochiai, University of Tsukuba, Digital Nature Group, Pixie Dust Technologies, inc. Beam Forming [5]M. Yoneyama, J. Fujimoto, Y. Kawamo, and S. Sasabe. 1983. The audio spotlight: An application of nonlinear interaction of sound waves to a new type of loudspeaker design. The Journal of the Acoustical Society of America 73, 5, 1532-1536. [6]K. Aoki, T. Kamakura, and Y. Kumamoto. 1991. Parametric loudspeaker - Characteristics of acoustic field and suitable modulation of carrier ultrasound, Electronics and Communications in Japan 74, 9, 76-82. [7]F.J. Pompei. 1999. The use of airborne ultrasonics for generating audible sound beams, Journal of the Audio Engineering Society 47, 9, 726-731.
  18. 18. Copyright Yoichi Ochiai, University of Tsukuba, Digital Nature Group, Pixie Dust Technologies, inc. Beam Forming WaveFront = Plane Wave = Sound Beam [5]M. Yoneyama, J. Fujimoto, Y. Kawamo, and S. Sasabe. 1983. The audio spotlight: An application of nonlinear interaction of sound waves to a new type of loudspeaker design. The Journal of the Acoustical Society of America 73, 5, 1532-1536. [6]K. Aoki, T. Kamakura, and Y. Kumamoto. 1991. Parametric loudspeaker - Characteristics of acoustic field and suitable modulation of carrier ultrasound, Electronics and Communications in Japan 74, 9, 76-82. [7]F.J. Pompei. 1999. The use of airborne ultrasonics for generating audible sound beams, Journal of the Audio Engineering Society 47, 9, 726-731.
  19. 19. Copyright Yoichi Ochiai, University of Tsukuba, Digital Nature Group, Pixie Dust Technologies, inc. Beam Forming WaveFront = Plane Wave = Sound Beam [5]M. Yoneyama, J. Fujimoto, Y. Kawamo, and S. Sasabe. 1983. The audio spotlight: An application of nonlinear interaction of sound waves to a new type of loudspeaker design. The Journal of the Acoustical Society of America 73, 5, 1532-1536. [6]K. Aoki, T. Kamakura, and Y. Kumamoto. 1991. Parametric loudspeaker - Characteristics of acoustic field and suitable modulation of carrier ultrasound, Electronics and Communications in Japan 74, 9, 76-82. [7]F.J. Pompei. 1999. The use of airborne ultrasonics for generating audible sound beams, Journal of the Audio Engineering Society 47, 9, 726-731.
  20. 20. Copyright Yoichi Ochiai, University of Tsukuba, Digital Nature Group, Pixie Dust Technologies, inc. Beam Forming WaveFront = Plane Wave = Sound Beam ex. LASER Coherent Plane Wave [5]M. Yoneyama, J. Fujimoto, Y. Kawamo, and S. Sasabe. 1983. The audio spotlight: An application of nonlinear interaction of sound waves to a new type of loudspeaker design. The Journal of the Acoustical Society of America 73, 5, 1532-1536. [6]K. Aoki, T. Kamakura, and Y. Kumamoto. 1991. Parametric loudspeaker - Characteristics of acoustic field and suitable modulation of carrier ultrasound, Electronics and Communications in Japan 74, 9, 76-82. [7]F.J. Pompei. 1999. The use of airborne ultrasonics for generating audible sound beams, Journal of the Audio Engineering Society 47, 9, 726-731.
  21. 21. Copyright Yoichi Ochiai, University of Tsukuba, Digital Nature Group, Pixie Dust Technologies, inc. Ultrasonic Self-demodulation generates audible sound temporal change of ultrasonic (primary) waves the radiation of audible sound (secondary) waves where c [m/s] is the speed of sound in air, β is the nonlinear parameter, and ρ [kg/m3] is the mass density of air Audible Ultrasonic →In the beam you can hear the audible sound
  22. 22. Copyright Yoichi Ochiai, University of Tsukuba, Digital Nature Group, Pixie Dust Technologies, inc. Ultrasonic Self-demodulation generates audible sound temporal change of ultrasonic (primary) waves the radiation of audible sound (secondary) waves where c [m/s] is the speed of sound in air, β is the nonlinear parameter, and ρ [kg/m3] is the mass density of air Audible Ultrasonic →In the beam you can hear the audible sound
  23. 23. Copyright Yoichi Ochiai, University of Tsukuba, Digital Nature Group, Pixie Dust Technologies, inc. Beam Forming to the point audio [10]T. Matsui, D. Ikefuji, M. Nakayama, and T. Nishiura. 2014. Multiple audio spots design based on separating emission of carrier and sideband waves. In Proceedings of International Congress and Exposition on Noise Control Engineering, 6313-6317.
  24. 24. Copyright Yoichi Ochiai, University of Tsukuba, Digital Nature Group, Pixie Dust Technologies, inc. Beam Forming to the point audio [10]T. Matsui, D. Ikefuji, M. Nakayama, and T. Nishiura. 2014. Multiple audio spots design based on separating emission of carrier and sideband waves. In Proceedings of International Congress and Exposition on Noise Control Engineering, 6313-6317.
  25. 25. Copyright Yoichi Ochiai, University of Tsukuba, Digital Nature Group, Pixie Dust Technologies, inc. Beam Forming to the point audio Audible Area [10]T. Matsui, D. Ikefuji, M. Nakayama, and T. Nishiura. 2014. Multiple audio spots design based on separating emission of carrier and sideband waves. In Proceedings of International Congress and Exposition on Noise Control Engineering, 6313-6317.
  26. 26. Copyright Yoichi Ochiai, University of Tsukuba, Digital Nature Group, Pixie Dust Technologies, inc. Steering Beam [12]C. Shi, Y. Kajikawa, and W.-S. Gan. 2014. An overview of directivity control methods of the parametric array loudspeaker. APSIPA Transactions on Signal and Information Processing 3, e20. θ [rad]: When the spacing between the transducers is d [m] in the case of a 1D transducer array, the phase delay of the i-th transducer, ∆φi [rad] where k [rad/m] is the wavenumber of the ultrasound.
  27. 27. Copyright Yoichi Ochiai, University of Tsukuba, Digital Nature Group, Pixie Dust Technologies, inc. Steering Beam [12]C. Shi, Y. Kajikawa, and W.-S. Gan. 2014. An overview of directivity control methods of the parametric array loudspeaker. APSIPA Transactions on Signal and Information Processing 3, e20. θ [rad]: When the spacing between the transducers is d [m] in the case of a 1D transducer array, the phase delay of the i-th transducer, ∆φi [rad] where k [rad/m] is the wavenumber of the ultrasound.
  28. 28. Copyright Yoichi Ochiai, University of Tsukuba, Digital Nature Group, Pixie Dust Technologies, inc. Steering Beam WaveFront = Plane wave = Beam [12]C. Shi, Y. Kajikawa, and W.-S. Gan. 2014. An overview of directivity control methods of the parametric array loudspeaker. APSIPA Transactions on Signal and Information Processing 3, e20. θ [rad]: When the spacing between the transducers is d [m] in the case of a 1D transducer array, the phase delay of the i-th transducer, ∆φi [rad] where k [rad/m] is the wavenumber of the ultrasound.
  29. 29. Copyright Yoichi Ochiai, University of Tsukuba, Digital Nature Group, Pixie Dust Technologies, inc. Steering Beam WaveFront = Plane wave = Beam [12]C. Shi, Y. Kajikawa, and W.-S. Gan. 2014. An overview of directivity control methods of the parametric array loudspeaker. APSIPA Transactions on Signal and Information Processing 3, e20. θ [rad]: When the spacing between the transducers is d [m] in the case of a 1D transducer array, the phase delay of the i-th transducer, ∆φi [rad] where k [rad/m] is the wavenumber of the ultrasound.
  30. 30. Copyright Yoichi Ochiai, University of Tsukuba, Digital Nature Group, Pixie Dust Technologies, inc. Sound Focus
  31. 31. Copyright Yoichi Ochiai, University of Tsukuba, Digital Nature Group, Pixie Dust Technologies, inc. Sound Focus
  32. 32. WaveFront = Spherical Wave Copyright Yoichi Ochiai, University of Tsukuba, Digital Nature Group, Pixie Dust Technologies, inc. Sound Focus
  33. 33. WaveFront = Spherical Wave Copyright Yoichi Ochiai, University of Tsukuba, Digital Nature Group, Pixie Dust Technologies, inc. Sound Focus
  34. 34. WaveFront = Spherical Wave Copyright Yoichi Ochiai, University of Tsukuba, Digital Nature Group, Pixie Dust Technologies, inc. Sound Focus Focal Point
  35. 35. WaveFront = Spherical Wave Copyright Yoichi Ochiai, University of Tsukuba, Digital Nature Group, Pixie Dust Technologies, inc. Sound Focus Focal Point Objective Lens Plasma ex. LASER Coherent Spherical Wave Focal Point Hoshi et al, 2008
  36. 36. PTH: Audible-sound radiation threshold, self-demodulation effect becomes obvious when Pu is effectively high and its square value is not negligible. Copyright Yoichi Ochiai, University of Tsukuba, Digital Nature Group, Pixie Dust Technologies, inc. Make it narrow area: Threshold of self-demodulation temporal change of ultrasonic (primary) waves the radiation of audible sound (secondary) waves where c [m/s] is the speed of sound in air, β is the nonlinear parameter, and ρ [kg/m3] is the mass density of air Audible Area Pu > PTH
  37. 37. *notice: recording mic is more sensitive than human auditory & reflection of mic itself recorded Copyright Yoichi Ochiai, University of Tsukuba, Digital Nature Group, Pixie Dust Technologies, inc. Recorded Sound
  38. 38. *notice: recording mic is more sensitive than human auditory & reflection of mic itself recorded Copyright Yoichi Ochiai, University of Tsukuba, Digital Nature Group, Pixie Dust Technologies, inc. Recorded Sound
  39. 39. Implementation “Designing Holographic Loudspeaker” Copyright Yoichi Ochiai, University of Tsukuba, Digital Nature Group, Pixie Dust Technologies, inc.
  40. 40. Copyright Yoichi Ochiai, University of Tsukuba, Digital Nature Group, Pixie Dust Technologies, inc. Electrical Circuit Design
  41. 41. Copyright Yoichi Ochiai, University of Tsukuba, Digital Nature Group, Pixie Dust Technologies, inc. Phase Modulation
  42. 42. Evaluation “How to design the Acoustic Environment” Copyright Yoichi Ochiai, University of Tsukuba, Digital Nature Group, Pixie Dust Technologies, inc.
  43. 43. Copyright Yoichi Ochiai, University of Tsukuba, Digital Nature Group, Pixie Dust Technologies, inc. Audio Distribution targetnoise by interference Ex, Ultrasonic Super-directional Speaker
  44. 44. Copyright Yoichi Ochiai, University of Tsukuba, Digital Nature Group, Pixie Dust Technologies, inc. Audio Distribution targetnoise by interference Ex, Ultrasonic Super-directional Speaker Minimum Focal Area: 20mm x 20mm Focal Area: 1600mm x 1600mm
  45. 45. Copyright Yoichi Ochiai, University of Tsukuba, Digital Nature Group, Pixie Dust Technologies, inc. Simulated Results of the Shape of Sound Source The size of speaker decides fundamental limitation of beam forming.
  46. 46. Copyright Yoichi Ochiai, University of Tsukuba, Digital Nature Group, Pixie Dust Technologies, inc. User Study1 Direction and Location for x-y plane is understandable for users. x y Z
  47. 47. Copyright Yoichi Ochiai, University of Tsukuba, Digital Nature Group, Pixie Dust Technologies, inc. User Study2 User can distinguish these three points (Z axis) x y Z
  48. 48. Copyright Yoichi Ochiai, University of Tsukuba, Digital Nature Group, Pixie Dust Technologies, inc. User Study3 Precise audible height perception is not easy for users (for Z axis) x y Z
  49. 49. Copyright Yoichi Ochiai, University of Tsukuba, Digital Nature Group, Pixie Dust Technologies, inc. Results and User Study2&3 Make Larger Difference (Z). or Change the x-y Direction x y Z
  50. 50. Copyright Yoichi Ochiai, University of Tsukuba, Digital Nature Group, Pixie Dust Technologies, inc. Sound Quality *notice: recording mic is more sensitive than human auditory & reflection of mic itself recorded
  51. 51. Copyright Yoichi Ochiai, University of Tsukuba, Digital Nature Group, Pixie Dust Technologies, inc. Sound Quality *notice: recording mic is more sensitive than human auditory & reflection of mic itself recorded
  52. 52. Copyright Yoichi Ochiai, University of Tsukuba, Digital Nature Group, Pixie Dust Technologies, inc. Sound Quality conventional conventional This studyoriginalwave shape FFT spectrums
  53. 53. Application “I can hear Holographic Whisper” Copyright Yoichi Ochiai, University of Tsukuba, Digital Nature Group, Pixie Dust Technologies, inc.
  54. 54. Copyright Yoichi Ochiai, University of Tsukuba, Digital Nature Group, Pixie Dust Technologies, inc. Application for Interaction Interactive Sound Distribution Features for Novel Applications Narrow and Broad Trace and Focus Haptic and Push
  55. 55. Copyright Yoichi Ochiai, University of Tsukuba, Digital Nature Group, Pixie Dust Technologies, inc. Place the sound spot, more precise and interactive
  56. 56. Copyright Yoichi Ochiai, University of Tsukuba, Digital Nature Group, Pixie Dust Technologies, inc. Application for Interaction (Focusing inner music instruments)
  57. 57. Copyright Yoichi Ochiai, University of Tsukuba, Digital Nature Group, Pixie Dust Technologies, inc. Application for Interaction (Whispered Voxels)
  58. 58. Copyright Yoichi Ochiai, University of Tsukuba, Digital Nature Group, Pixie Dust Technologies, inc. Place the sound spot for pick up target
  59. 59. Copyright Yoichi Ochiai, University of Tsukuba, Digital Nature Group, Pixie Dust Technologies, inc. Super Narrow Distribution for spotting captions
  60. 60. Copyright Yoichi Ochiai, University of Tsukuba, Digital Nature Group, Pixie Dust Technologies, inc. Super Narrow Distribution (active design of sound field)
  61. 61. Copyright Yoichi Ochiai, University of Tsukuba, Digital Nature Group, Pixie Dust Technologies, inc. Super Narrow and Wide Distribution Switchable
  62. 62. Copyright Yoichi Ochiai, University of Tsukuba, Digital Nature Group, Pixie Dust Technologies, inc. Super Narrow and Wide Distribution Switchable training and instruction
  63. 63. Copyright Yoichi Ochiai, University of Tsukuba, Digital Nature Group, Pixie Dust Technologies, inc. 3D manipulation of Object with Audible Annotations
  64. 64. Audible Information can be recognized separately. Audible Information can not be delivered separately. Copyright Yoichi Ochiai, University of Tsukuba, Digital Nature Group, Pixie Dust Technologies, inc. This technique will expand audio recognitions
  65. 65. Copyright Yoichi Ochiai, University of Tsukuba, Digital Nature Group, Pixie Dust Technologies, inc. Possible Scenario Super Narrow Distribution Make Sound Difference navigation play shopping
  66. 66. Copyright Yoichi Ochiai, University of Tsukuba, Digital Nature Group, Pixie Dust Technologies, inc. Super Narrow Distribution (combine with large monitor) User A User B User C Individual Audio Interaction for voice control
  67. 67. Copyright Yoichi Ochiai, University of Tsukuba, Digital Nature Group, Pixie Dust Technologies, inc. Super Narrow Distribution (Multi-language conference)
  68. 68. Discussion and Conclusion “Summery of Holographic Whisper” Copyright Yoichi Ochiai, University of Tsukuba, Digital Nature Group, Pixie Dust Technologies, inc.
  69. 69. Copyright Yoichi Ochiai, University of Tsukuba, Digital Nature Group, Pixie Dust Technologies, inc. Discussions Ultrasound exposure Multiple Sound Points by CGH It cannot say no effect. Lower than conventional ones (because this methods generate radiation point Lower intensity than haptic device Available by generating multiple focus by multiple modulation. but it limited spatiotemporal resolution. Lower intensity(eg.haptic) Direct Exposure is not necessary Available Advantage Advantage
  70. 70. Copyright Yoichi Ochiai, University of Tsukuba, Digital Nature Group, Pixie Dust Technologies, inc. Discussions Amplitude of Audio Signals Grating Lobes Audible Ultrasonic Amplitude of Audio signal decides the characteristics of sound focus, it is typical trade off of this methods. it generates grating lobes around the focus (40 degree). This is typical limitation of this methods. It affects both amplitude and audio distribution It generated around the focal point limitation and tradeoff limitation and tradeoff
  71. 71. Discussions The size of speaker decides fundamental limitation of beam forming. Copyright Yoichi Ochiai, University of Tsukuba, Digital Nature Group, Pixie Dust Technologies, inc. Discussions
  72. 72. Copyright Yoichi Ochiai, University of Tsukuba, Digital Nature Group, Pixie Dust Technologies, inc. Overview Designing narrow audio distribution for individual communication Our Study Conventional
  73. 73. Copyright Yoichi Ochiai, University of Tsukuba, Digital Nature Group, Pixie Dust Technologies, inc. Conclusion Production of aerial sound point sources with an ultrasonic phased array for three-dimensional (3D) audio interaction includes: Principles Theory Simulated Result Implementation User Study Evaluation Application Discussion
  74. 74. Copyright Yoichi Ochiai, University of Tsukuba, Digital Nature Group, Pixie Dust Technologies, inc. We envision the post-pixel world Release data from material existence and regenerate Material Properties by using our of range of our sensory organs. P i x e l s P i x i e s 2D to 2.5D 3 D
  75. 75. Copyright Yoichi Ochiai, University of Tsukuba, Digital Nature Group, Pixie Dust Technologies, inc.Copyright Yoichi Ochiai, University of Tsukuba, Digital Nature Group, Pixie Dust Technologies, inc. Team Dr. Yoichi Ochiai Assistant Prof, Advisor to President Head of Digital Nature Group, University of Tsukuba CEO and coFounder of Pixie Dust Technologies, inc. Dr. Takayuki Hoshi Assistant Prof, University of Tokyo co Founder of Pixie Dust Technologies, inc. Ippei Suzuki Undergrad Student, Digital Nature Group, University of Tsukuba U n i v e r s i t y o f Ts u k u b a , Yo i c h i O c h i a i L a b r a t o r y
  76. 76. Holographic Whisper: Rendering audible sound spots in three-dimensional space by focusing ultrasonic waves Yoichi Ochiai*13, Takayuki Hoshi*23, Ippei Suzuki*1 *1 University of Tsukuba, Digital Nature Group *2 University of Tokyo, *3 Pixie Dust Technologies, inc. *joint first authorship, Contact: wizard@slis.tsukuba.ac.jp Assistant Professor at University of Tsukuba, Head of Digital Nature Group CEO of Pixie Dust Technologies, inc
  77. 77. Copyright Yoichi Ochiai, University of Tsukuba, Digital Nature Group, Pixie Dust Technologies, inc.Copyright Yoichi Ochiai, University of Tsukuba, Digital Nature Group, Pixie Dust Technologies, inc. FAQ Oh what amazing! Can I buy? Yes, you can buy soon ( this year) We provide this technique for B to B for now. Is it safe??? Our auditory is sensible and it quite lower intensity than Ultrasonic Haptic Applications call or mail Oh, complex!! Just Use Headphones! Easy! Nice idea, it can suppress others voice to concentrate.
  78. 78. What is the next Challenge towards Post Multimedia? (Post Pixels interaction) Visual: HD(1080p) in Space 60Hz in Time Audio: 22.1kHz in Time U n i v e r s i t y o f Ts u k u b a , Yo i c h i O c h i a i L a b r a t o r y Copyright Yoichi Ochiai, University of Tsukuba, Digital Nature Group, Pixie Dust Technologies, inc.Copyright Yoichi Ochiai, University of Tsukuba, Digital Nature Group, Pixie Dust Technologies, inc. Go out of the range
  79. 79. What is the next Challenge towards Post Multimedia? (Post Pixels interaction) Visual: HD(1080p) in Space 60Hz in Time Audio: 22.1kHz in Time Multimedia systems are restricted from limitation and imitation of the spec of human sensory organs U n i v e r s i t y o f Ts u k u b a , Yo i c h i O c h i a i L a b r a t o r y Copyright Yoichi Ochiai, University of Tsukuba, Digital Nature Group, Pixie Dust Technologies, inc.Copyright Yoichi Ochiai, University of Tsukuba, Digital Nature Group, Pixie Dust Technologies, inc. Go out of the range
  80. 80. What is the next Challenge towards Post Multimedia? (Post Pixels interaction) Visual: HD(1080p) in Space 60Hz in Time Audio: 22.1kHz in Time Multimedia systems are restricted from limitation and imitation of the spec of human sensory organs 1.High Intensity 2.High Resolution 3.True Holography U n i v e r s i t y o f Ts u k u b a , Yo i c h i O c h i a i L a b r a t o r y Copyright Yoichi Ochiai, University of Tsukuba, Digital Nature Group, Pixie Dust Technologies, inc.Copyright Yoichi Ochiai, University of Tsukuba, Digital Nature Group, Pixie Dust Technologies, inc. Go out of the range
  81. 81. U n i v e r s i t y o f Ts u k u b a , Yo i c h i O c h i a i L a b r a t o r y
  82. 82. “Focused Ultrasound and Lasers by Field Generators” U n i v e r s i t y o f Ts u k u b a , Yo i c h i O c h i a i L a b r a t o r y Spatial light modulator (SLM) CGH Laser Lens Focal Points Acoustic Optic Modulation on Reflection Time delay generation Acoustic Pressure and Standing Waves Laser Induced Plasma
  83. 83. Copyright Yoichi Ochiai, University of Tsukuba, Digital Nature Group, Pixie Dust Technologies, inc. We envision the post-pixel world Release data from material existence and regenerate Material Properties by using out of range frequencies of our sensory organs. P i x e l s P i x i e s 2D to 2.5D Physical Device 3 D C o m p u t a t i o n a l W a v e D e s i g n M a g i c a l E x p e r i e n c e w i t h N o C o n t a c t D e v i c e T o w a r d s

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