TechWirbel
AUGMENTED REALITY GLASSES
wearing augmented reality glasses (note: characters are fictional) |
One major obstacle for this technology is control. How do you communicate with a pair of glasses? The three most likely solutions are voice command, gesture command, and using a smartphone as a remote. It seems natural to build AR glasses like the next generation of Bluetooth headsets—an extension of a smartphone rather than a standalone device. This way many verbal commands could be processed by software like Siri, and a lot of time handling the smartphone would be eliminated. Another method of control is gesture recognition. Much progress has already been made in this field through Microsoft's Kinect and MIT's SixthSense. To take pictures, a user could frame a shot with his/her hands. The AR glasses would recognize the gesture and act accordingly. Pointing at something might initiate search queries. Handshakes could activate some social media function. Sign language could be translated in real time.
Google’s Project Glass is loaded with various sensors. It can sense the wearer's global position, direction of view, and angle of view. With so much data ready to be streamed online, Google could create a highly detailed and constantly updated digital model of the world. Nature trails, tour routes, store departments, museums, caves. . . all could be easily mapped and uploaded to Google Earth. Photos could be automatically sent to Street View. Anyone wearing Google glasses could serve as a virtual cartographer for Google Earth. With so much geographical data, people could have GPS guidance for finding their favorite book section, the nearest food stand, or even the nearest restroom.
Featured Innovator - Carleen Hutchins
In her collaboration with Saunders, Hutchins made a collection of string instruments that underwent hundreds of experiments. Most of those instruments did not survive to the present day, but much was learned and many papers were published. Hutchins' skill in instrument making reached such a level that some of her instruments were being purchased by professional players. Over the years she devised a surprisingly visual method of analyzing the front and back “plates” of a violin. The setup involves holding the plate over a loudspeaker by placing foam blocks under its corners. Some glitter is sprinkled over the plate, and the speaker is activated with a frequency generator. The operator slowly changes the frequency while watching the glitter. At certain tones, the glitter will astonishingly move into definite patterns on the violin plate. These patterns are called Chladni patterns, and they indicate how the plate naturally vibrates. By observing these patterns and the frequencies at which they occur, a luthier can refine the shape and thickness of the plate for optimal tuning.
Once she had enough technical experience in acoustics, Hutchins felt the need to connect with other researchers and promote the sharing of information. To that end, the Catgut Acoustical Society was founded in the 1960s—bringing isolated minds into a group for studying musical instruments. The society's membership would grow to 800 in less than twenty years.
Perhaps Hutchins' most memorable contribution to violin making is her New Violin Family, also known as the violin octet. Composer Henry Brant came to Hutchins with a challenge in 1957. He wanted her to create seven new string instruments centered around the violin. Each instrument was to be tuned half an octave apart with the highest-pitched instrument tuned one octave above the violin. While certain members of this family are similar to the viola, cello, and double bass, they are designed as large violins, not mere copies of their conventional counterparts. The intention is a group of instruments that sing together in perfect harmony and with amazing clarity. With funding from the Guggenheim Foundation, Hutchins and her many collaborators had a complete octet ready for concert testing by the mid-1960s. The new family was impressive, but Hutchins would spend decades refining each violin for an ever-improving sound. In the end she made eight instruments—slightly modifying the traditional violin design. The members of this family are named the treble, soprano, mezzo, alto, tenor, baritone, small bass, and contrabass violins. The mezzo violin is tuned just like a traditional violin, but its body is longer. The alto violin is tuned like a viola, but it has an endpin and is played upright like a cello. Hutchins traveled the world on lecture tours to spread awareness of the violin octet. She was met with both admiration for her innovation and enmity for trying to change the classical orchestra. Because of this controversy, it took some time for the Metropolitan Museum of Art to display an octet. Nevertheless, the quality of the octet's sound is undeniable, and musicians are catching on to it. Yo-Yo Ma has made recordings using an alto violin, and the instrument has also been favored by William Berman and Randall Vemer.
Carleen Hutchins left a legacy of acoustic innovation. One of her collaborators, Gabriel Weinreich, continues his research to this day and is developing an electric violin and speaker system that recreate the experience of an antique instrument. Hutchins also taught her methods of violin making to many students, even traveling so far as China in 1982 to share her knowledge. Gregg Alf and Joseph Curtin learned from her in the 1980s. Alf specializes in high-quality traditional violins, and Curtin is working on reproducing Stradivarius sound with electric instruments and software. The violin octet continues to be promoted by such groups as the Hutchins Consort, and hopefully its popularity will only increase in the future. Most important of all, what survives Hutchins is her open-mindedness towards innovation and using technology to blur the boundaries between science and art. More luthiers are experimenting with string instrument design and materials. More players are trying out the new instruments. Violin making used to be a stagnant, arcane subject, but it is quickly becoming a dynamic and open-minded field.