Telekinetic is a gestural interface called g-stalt that allows users to navigate and manipulate 3D graphical environments and video media through motion capture of hand gestures. g-stalt tracks infrared dots on gloves to detect gestures like pinching to move spaces or pointing to play videos. It incorporates metaphoric, deictic, and ergotic gestures to intuitively manipulate computational environments. Related projects like WaaZam and InReach also use video compositing to merge remote user locations into a shared virtual space for collaborative activities or 3D object manipulation.

1. TELEKINETIC
By: Akshat Singh
B.Tech(IT-3rd year)

2. HISTORY
• Derive from word :TELEKINESIS(from τῆλε "far off"
and κίνησις "movement)
• the apparent production of motion in objects (as
by a spiritualistic medium) without contact or other
physical means—compare precognition,
psychokinesis.
• Ability to move objects through mind power.

3. g-stalt
a chirocentric, spatiotemporal, and telekinetic gestural
interface
• g-stalt, a gestural interface for interacting with video.
• Graphics can be viewed and rearranged along with their metadata
using a specialized gesture set.
• g-stalt is designed to be chirocentric, spatiotemporal, and telekinetic.

4. WHY?
• The g-stalt gestural interface allows users to navigate and manipulate
a three-dimensional graphical environment filled with video media.
• Play videos, seek through them, re-order them according to their
metadata, structure.
• The videos are displayed on large projection screens and metadata for
the videos is arranged on the projection surface of a table .

5. g-speak
• g-speak is a software and hardware platform that combines gestural
input, networking, and graphical output systems into a unified spatial
operating environment(SOE).
• g- stalt uses a Vicon motion capture system to track passive IR
retroreflective dots that are arranged in unique patterns on plastic tags
placed on the back of the hand, the thumb, index, and middle fingers
of simple nylon gloves.
• Each tag is tracked at over 100 Hz and with submillimeter precision in
a room-sized 3D volume.

6. Metadata
• By touching these tags on the table surface with an index finger the user
picks up a tag. The target finger becomes a representation of the form of the
space
• If the videos are structured in a cube shape, the thumb represents the Y axis,
the index finger represents the Z axis, and the middle finger represents the X
axis.
• To clear the tags the user can create a new telekinetic form, or touch their
index finger to the finger holding the tag and then touch that index finger
back against the table.

7. Gesture Set

8. •Navigating Space
• to translate the graphical environment isotonically.
• By touching the tip of index and thumb together
• to translate and rotate the space.
•Navigating Time
• to play a video the user first points to the video and to zoom
• to scrub through the video by clicking
• the user can manipulate the video with either hand.

9. WHY?
• visually disjunctive physical and virtual spaces
• limited ways to employ gestures as a communication tool
• limited ways to collaboratively refer to and manipulate shared
content

10. Interaction Themes
• Incorporated metaphoric gestures to instantly manipulate features of a
computational environment iconic gestures, deictic gestures, and
ergotic gestures.
• we intrigued by the possibility of creating new, virtuosic interfaces that
require time to learn but enable much greater power once learned.
• Developed the following themes to guide our work.

11. •Theme 1: chirocentric
• the gestures available in g-stalt
to specific configurations of the
hands and fingers in space.
• This constraint helps to simplify
the possibilities for action in g-
stalt and allowed us to integrate
well with g-speak’s existing
functionality
•Theme 2:
spatiotemporal
• By rooting the interaction
design in conventional
phenomena such as inertia,
persistence in space, and solid
geometry we designed the
actions in g-stalt to mimic the
real world.

12. •Theme 3: telekinetic
• For the functions that have direct and plausible gestural associations we
the most relevant gestural mappings that we could come up with, such as
pinching to move space.
• For functions that had no real world analogs we tried to develop
metaphorical bindings that made sense.
• We used the idea of telekinesis to structure the interactions where the user
manipulates the spatial position of multiple videos directly.

13. DEFINATION
• Telekinetic a platform for collaborate interactions at a distance in the
same virtual space.
• The framework supports the real-time videos transport of foreground
elements from remote locations and composites them into a merged
virtual space

14. TYPE OF REMOTE EXPERIENCE
• In a decision-making session, collaborators might prefer to have a sense of being in the same
room as if they were talking face-to-face thereby concentrating on the interpersonal space
• the attention lies on displaying a realistic representation of the remote person on the screen,
correct as to their physical size and gaze direction, and extending the remote physical space into
the local place.
• In contrast, a second type of session includes creative meetings that are more directed towards
brainstorming as well as sessions that are about a shared activity or exploration. the focus is on
the data itself, the shared space.
1.meeting that focuses on critical decision making
2.shared experience that focuses on the collaborative creation and
modification of digital content.

15. Within the domain of shared spaces many
possible applications
• currently research is going on: WaaZam and InReach
• WAAZAM (CREATE AND PLAY TOGETHER IN A NETWORKED VIDEO
ENVIRONMENT)
• InReach(MANIPULATING 3D OBJECTS REMOTELY USING YOUR BODY)

16. WAAZAM
• WaaZam is a system that tracks and composites users and objects
from separate physical locations with digital media in the same virtual
space
• A telepresence platform that focuses on supporting creative
collaboration
• Provide users more creative control over their experiences by
facilitating the creation and customization of the space during a live
session.

17. • In the research domain composited video
environments such as Agamanolis’ Reflexion ,
Markopoulos’ PhotoMirror and the
HyperMirror project have been developed to
merge distant spaces on one screen.
• A girl and her mother dancing together in the
WaaZam system which allows them to do
activities remotely in the same shared virtual
space with content from the internet
.

18. WAAZAM future
• provide case studies of specific user.
• Study to determine the effectiveness of the customization features and
assess the potential of these environments to support social
engagement through creative play and shared activities.

19. InReach
• InReach collaborators see their live 3D recreated mesh next to each
other in a shared virtual space on a large screen in front of them,
which creates the illusion of an augmented mirror
• Collaborators can point at data or 3D models. They can grab digital
objects with their bare hands, translate, scale, and rotate them.

20. The local user is represented in red, the
remote user in blue. The local user sees his
mirrored representation. Both users are
represented as 3D meshes
Grab digital objects with their bare
hands, translate, scale, and rotate them.

21. • InReach is particularly useful for
situations in which users use their
body to point to and manipulate the
data, and can see themselves in
relation to the data.
• Mirage Table mimics the situation of
two collaborators working at a table

22. InReach future
• Study how our system can be integrated in industries that use 3D
models extensively in their design processes.
• Joint presentations that would benefit from a shared virtual space for
two and more remote collaborators

23. THANK YOU