This book focuses on two issues related to human figures: realtime dynamics computation and interactive motion generation. In spite of the growing interest in human figures as both physical robots and virtual characters, standard algorithms and tools for their kinematics and dynamics computation have not been investigated very much. "Simulating and Generating Motions of Human Figures" presents original algorithms to simulate, analyze, generate and control motions of human figures, all focusing on realtime and interactive computation. The book provides both practical methods for contact/collision simulation essential for the simulation of humanoid robots and virtual characters and a general framework for online, interactive motion generation of human figures based on the dynamics simulation algorithms.

The area of simulated human figures is an active research area in computer graphics, and Norman Badler's group at the University of Pennsylvania is one of the leaders in the field. This book summarizes the state of the art in simulating human figures, discusses many of the interesting application areas, and makes some assumptions and predictions about where the field is going.

Humans always wanted to go faster and higher than their own legs could carry them. This led them to invent numerous types of vehicles to move fast over land, water and air. As training how to handle such vehicles and testing new developments can be dangerous and costly, vehicle motion simulators were invented. Motion-based simulators in particular, combine visual and physical motion cues to provide occupants with a feeling of being in the real vehicle. While visual cues are generally not limited in amplitude, physical cues certainly are, due to the limited simulator motion space. A motion cueing algorithm (MCA) is used to map the vehicle motions onto the simulator motion space. This mapping inherently creates mismatches between the visual and physical motion cues. Due to imperfections in the human perceptual system, not all visual/physical cueing mismatches are perceived. However, if a mismatch is perceived, it can impair the simulation realism and even cause simulator sickness. For MCA design, a good understanding of when mismatches are perceived, and ways to prevent these from occurring, are therefore essential. In this thesis a data-driven approach, using continuous subjective measures of the time-varying Perceived Motion Incongruence (PMI), is adopted. PMI in this case refers to the effect that perceived mismatches between visual and physical motion cues have on the resulting simulator realism. The main goal of this thesis was to develop an MCA-independent off-line prediction method for time-varying PMI during vehicle motion simulation, with the aim of improving motion cueing quality. To this end, a complete roadmap, describing how to measure and model PMI and how to apply such models to predict and minimize PMI in motion simulations is presented. Results from several human-in-the-loop experiments are used to demonstrate the potential of this novel approach.

Humanoid Robotics provides a comprehensive compilation of developments in the conceptualization, design and development of humanoid robots and related technologies. Human beings have built the environment they occupy (living spaces, instruments and vehicles) to suit two-legged systems. Building systems, especially in robotics, that are compatible with the well-established, human-based surroundings and which could naturally interact with humans is an ultimate goal for all researches and engineers. Humanoid Robots are systems (i.e. robots) which mimic human behavior. Humanoids provide a platform to study the construction of systems that behave and interact like humans. A broad range of applications ranging from daily housework to complex medical surgery, deep ocean exploration, and other potentially dangerous tasks are possible using humanoids. In addition, the study of humanoid robotics provides a platform to understand the mechanisms and offers a physical visual of how humans interact, think, and react with the surroundings and how such behaviors could be reassembled and reconstructed. Currently, the most challenging issue with bipedal humanoids is to make them balance on two legs, The purportedly simple act of finding the best balance that enables easy walking, jumping and running requires some of the most sophisticated development of robotic systems- those that will ultimately mimic fully the diversity and dexterity of human beings. Other typical human-like interactions such as complex thought and conversations on the other hand, also pose barriers for the development of humanoids because we are yet to understand fully the way in which we humans interact with our environment and consequently to replicate this in humanoids.

The rapid introduction of sophisticated computers, services, telecommunications systems, and manufacturing systems has caused a major shift in the way people use and work with technology. It is not surprising that computer-aided modeling has emerged as a promising method for ensuring products meet the requirements of the consumer. The Handbook of D

How and why to write a movement? Who is the writer? Who is the reader? They may be choreographers working with dancers. They may be roboticists programming robots. They may be artists designing cartoons in computer animation. In all such fields the purpose is to express an intention about a dance, a specific motion or an action to perform, in terms of intelligible sequences of elementary movements, as a music score that would be devoted to motion representation. Unfortunately there is no universal language to write a motion. Motion languages live together in a Babel tower populated by biomechanists, dance notators, neuroscientists, computer scientists, choreographers, roboticists. Each community handles its own concepts and speaks its own language. The book accounts for this diversity. Its origin is a unique workshop held at LAAS-CNRS in Toulouse in 2014. Worldwide representatives of various communities met there. Their challenge was to reach a mutual understanding allowing a choreographer to access robotics concepts, or a computer scientist to understand the subtleties of dance notation. The liveliness of this multidisciplinary meeting is reflected by the book thank to the willingness of authors to share their own experiences with others.