In this paper, we introduce a novel pilot-based channel estimation approach for Orthogonal Time Frequency Space (OTFS) modulation systems. Our proposed method, which involves inserting a row of pilot symbols in the zero padding region of the ZP-OTFS system, offers significant advantages such as reduced overhead and lower Peak-to-Average Power Ratio (PAPR). Notably, by spreading pilot symbols across the Doppler axis, our method provides robust and accurate channel estimation even in high mobility scenarios, a characteristic feature of environments like the TransPod system for 1000 km/h+ transportation. This is crucial, as the Doppler shifts in such scenarios could otherwise lead to substantial degradation in system performance. We investigate the channel transfer function of the TransPod guideway using the ray-tracing propagation model to illustrate this advantage. Through simulation results, we demonstrate that our proposed method outperforms the conventional pilot-based estimation method, highlighting its potential to significantly enhance OTFS system performance in practical, high-mobility scenarios. This research offers valuable insight into the potential improvements in OTFS channel estimation techniques and their real-world applications.

We introduce the concept of coupled dynamic dynamic-range (D2R) compositing - that is, assembling sensor information, such as images or audio, from multiple dynamic-ranges that are allowed to move and change over time, as lighting conditions or sound conditions change over time in their amplitude-domain properties. We propose a feedback-control method to automatically adjust multiple exposure-value settings for HDR compositing, to increase the dynamic range of a sensory process, such as video capture. The method uses a cost function to express measurement uncertainty, and a "cross-uncertainty" metric between different exposures, fed into a dynamic control system. The system is designed to asymptotically approach an optimal distribution of camera exposure control settings, under varying lighting conditions and motion, to capture an extremely high dynamic range for HDR compositing.

We introduce a multidimensional space to quantify a signal or sensor, expressed in three sets of dimensions: the physical space-time domain, the Fourier space-time domain, and the amplitude domain. When combined with veillametrics we can measure a sensor's capacity-to-sense, as that capacity-to-sense propagates through space. Physical-Fourier-Amplitude visualizations can be generated for sensors, transducers, signal-processing systems, or physical phenomena, to yeild further insight beyond conventional frequency spectra or sensitivity charts. We examine applications in the sonic and optical modalities.

We propose a method to automatically adjust multiple exposure-value settings for HDR video compositing. The method uses imagespace-to-lightspace post-conversion and tonal extrapolation to iteratively select optimal exposure settings, as opposed to present systems, which use manually set settings. The limiting factor becomes the image sensor as opposed to the implementation of the algorithm, as in present systems. By choosing the exposure settings with the described algorithm, the high dynamic range sampling process can be adapted to various lighting environments. This algorithm is especially useful for ultra low power capture of optimally selected exposures which can be processed later using well-known HDR compositing methods.

Wearable computers and Generation-5 Digital Eye Glass easily recognize a user's own gestures, forming the basis for shared AR (Augmediated Reality). This Studio-workshop presents the latest in wearable AR, plus an historical perspective with new insights. Participants will sculpt 3D objects using hand gestures and create Unity 3D art+game objects using computational lightpainting.

In 2001 the term "Natural User Interface" (NUI) was coined to denote the use of wearable computing or of physical matter (solids, liquids, and gases) as direct user interfaces for metaphor-free computing ["Intelligent Image Processing", S. Mann, John Wiley & Sons, Inc., 2001]. An example of NUI is the idioscope, a highly expressive musical instrument based on continuous ("undigital") scratch input ["Natural Interfaces for Musical Expression...", S. Mann, in Proc. NIME 2007, Jun6--10, New York, NY, USA.].

We present a way finding system that uses a range camera and an array of vibrotactile elements which we built into a helmet.

We propose a water-based multitouch multimedia user-interface based on total-internal reflection as viewed by an underwater camera. The underwater camera is arranged so that nothing above the water surface is visible until a user touches the water, at which time anything that penetrates the water's surface becomes clearly visible. Our contribution is twofold: (1) computer vision using underwater cameras aided by total internal reflection; (2) hyperacoustic signal processing (frequency shifting) to capture the natural, acoustically-originating sounds of water rather than using synthetic sounds.

We propose the use of multiple sensors of different sensitivity that simultaneously sense the same signal. Outputs of these sensors are then combined in a way that allows the simultaneous sensing of large-signal and small-signal phenomena. This sensing methodology is applied to the andantephone, a musical instrument that allows a player to physically step through the notes of a song as if they were walking along the song's timeline. When you stop walking the music stops. If you walk faster the music plays faster. A new, more expressive design of andantephone was created using a wideband complementary set of geophones to detect seismic waves transmitted from human footsteps. Each tile in the andantephone has one or more high-frequency piezoelectric geophones that respond to small-signals, as well as one or more low-frequency carbon geophones that respond to large-signals. These sensors are subsequently connected to a real-time frequency-shifting system that shifts each geophone's output to the correct musical pitch or chord for a particular note in a song. The proposed HDR sensing principle may be applied to many different sensing scenarios.

Water hammer, a well known phenomenon occurring in water pipes and plumbing fixtures, is generally considered destructive and undesirable. We propose the use of water hammer for a musical instrument akin to hammered percussion instruments like hammered dulcimer, piano, etc. In one embodiment, the instrument comprises an array of mouths each for being struck with the open palm or fingers, each mouth connected to a separate hydraulic resonator. In another embodiment, we use a basin or pool of water as a multitouch user-interface where sounds made by water are acoustically sensed by an array of hydrophones (underwater listening devices). Using water itself as a touch surface creates a fun and playful user interface medium that captures the fluidity of the water's ebb and flow.

The andantephone is an instrument that allows a performed to physically step through a piece of music by walking. Each note or chord of the piece is assigned to one footstep, so expressively varying velocity varies the tempo in turn.

This paper describes a musical instrument consisting of a physical process that acoustically generates sound from the material world (i.e. sound derived from matter such as solid, liquid, gas, or plasma) which is modified by a secondary input from the informatic world. This informatic input selects attributes such as the frequency range of the musical note being sounded, while the acoustic process is kept in close contact with the user, to ensure a high degree of expressivity. In one example, ice skates with acoustic pickups are used to play music while the skater simultaneously controls a bandpass filter with a hand-held keyer and wearable computer. Each skate works much like the bow on a violin, allowing the player to hit, scrape, rub, or "bow", the ice in various ways to create a wide variety of musical textures. Additionally the player can select sound samples on a per-note basis and then "scratch" out a melody or harmony (playing multiple samples at once) on the ice on the rink like a team of disk jockeys (DJs) working together to "scratch" an array of vinyl records. Because the grooves on an ice rink are made by the player in a freeform fashion, there is much more room for variations in musical timbres and textures than with the fixed grooves of a record. Rather than merely using the keyer to trigger musical notes through MIDI note on/note off commands, we create acoustic sound through a physical process such as skating, and then turn those physical sounds into musical notes with the handheld keyer that functions as a modifier input. This combination combines the expressivity of non-electrophonic musical instruments like the violin with the flexibility of electrophones like the sound synthesizer. As a further contribution of the paper, a general taxonomy of acoustic transducers and a link to physical organology is provided, in which the top-level of the taxonomy is the state-of-matter in which the transducer operates.

The hydraulophone is a fun-to-play self-cleaning keyboard instrument in which each key is a water jet. Many hydraulophones are already equipped with an array of underwater microphones (hydrophones), to pick up the turbulent sound from water inside musical sounding mechanisms under each water jet. Accordingly, we propose to make greater use of the sound of the water flow.

Present-day sampling music keyboards are electronic instruments that fall under the last (5th) category of the Hornbostel Sachs musical instrument classification scheme. Conversely, we first propose an entirely acoustic/mechanical mellotron-like sampling keyboard instrument that neither uses nor involves electricity in any way. Instrument voice/voicing is changed by replacing mechanical storage media similar to Edison phonograph cylinders, gramophone disks, or vinyl records that were commonly used from 1870 to 1980. We next propose a fluid version of our instrument in which hydraulic (water) action is used to fluidly index into the mechanically stored samples, again, without the use of electrical components. Finally, we present a computerized version of our instrument in which digital signal processing is used to obtain fluidly continuous control of musical sampling from a hydraulic keyboard in which each key is a water jet. The final result gives rise to new musically expressive capabilities for continuously flowing manipulation of music samples. Moreover, we propose versions of the computerized instrument that derive the initial sound source from the water itself, such that the instrument is not an electrophone.

We introduce a new musical instrument in which computation is used to modify acoustically generated sounds. The acoustically generated sounds originate from real physical objects in the user's environment. These sounds are picked up by one or more microphones connected to a camera phone which filters the sounds using filters whose coefficients change in response to subject matter present in view of the camera. In one example, a row of 12 image processing zones is presented such that sounds originating from real world objects in the first zone are mapped to the first note on a musical scale, sounds originating from the second zone are mapped to the second note of the musical scale, and so on. Thus a user can hit a cement wall or sidewalk, or the ground, and the camera phone will transform the resulting sound (e.g. a dull "thud") into a desired sound, such as the sound of tubular bells, chimes, or the like. Note that the instrument is not an electronic instrument (i.e. not an Electrophone in the Hornbostel Sachs sense) because the sound originates acoustically and is merely filtered toward the desired note. This plays upon the acoustic qualities and physicality of the originating media. For example, if we strike the ground abruptly, the sound resembles that of a bell being hit abruptly. If we rub the ground, the sound resembles that of rubbing a bell. We can scrape the ground in various ways to obtain various sounds that differ depending on which of the camera's zones we're in, as well as the physical properties of the ground itself. These experiences can be shared across "cyborgspace" to effectively blur the boundary between the real and virtual worlds. We present an aquatic instrument that plays upon jets of water, where it is the filter coefficients of the transform that are shared. This allows both users to play the instrument in the jets of water of different public fountains but still experience the same musical qualities of the instrument, and share the physical experience of playing in a fountain despite geographic distances.

We propose a hydraulic user interface consisting of an array of spray jets and the appropriate fluid sensing and fluid flow control systems for each jet, so that the device functions as a fluid-based tactile user interface. Our array of fluid streams work like the keys on a keyboard, but where each fluid stream can also provide tactile feedback by dynamically modulating the pressure of the fluid spray, so that the keyboard is actually bi-directional (i.e. is both an input and an output device). A 104-jet version can be used as a fun and tactile "QWERTY..." style keyboard. More importantly, however, the device can also be used for applications, such as musical instruments, where its more expressive multi-dimensional input capabilities can be put to full use. One such instrument, the hydraulophone (hydrauliphone, hydraulaphone), is a hollow tubular object with a row of holes in it. It is played much like one would play a tin flute or recorder, by covering up the holes to restrict fluid flow. This gives rise to a fun new way of playing music by successively blocking water jets in a fountain, or while frolicking in a pool, or splash pad. Additionally, the hydraulophone can be used as a teaching tool to help children learn music by playing in the water. We demonstrate this teaching capability by way of an implementation of the arcade game "Touch Me" using a hydraulic user interface. We describe some of our present and upcoming installations of these devices in public parks, pools, and aquatic play areas

We present a musical keyboard that is not only velocity-sensitive, but in fact responds to absement (presement), displacement (placement), velocity, acceleration, jerk, jounce, etc. (i.e. to all the derivatives, as well as the integral, of displacement).Moreover, unlike a piano keyboard in which the keys reach a point of maximal displacement, our keys are essentially infinite in length, and thus never reach an end to their key travel. Our infinite length keys are achieved by using water jet streams that continue to flow past the fingers of a person playing the instrument. The instrument takes the form of a pipe with a row of holes, in which water flows out of each hole, while a user is invited to play the instrument by interfering with the flow of water coming out of the holes. The instrument resembles a large flute, but, unlike a flute, there is no complicated fingering pattern. Instead, each hole (each water jet) corresponds to one note (as with a piano or pipe organ). Therefore, unlike a flute, chords can be played by blocking more than one water jet hole at the same time. Because each note corresponds to only one hole, different fingers of the musician can be inserted into, onto, around, or near several of the instrument's many water jet holes, in a variety of different ways, resulting in an ability to independently control the way in which each note in a chord sounds.Thus the hydraulophone combines the intricate embouchure control of woodwind instruments with the polyphony of keyboard instruments.Various forms of our instrument include totally acoustic, totally electronic, as well as hybrid instruments that are acoustic but also include an interface to a multimedia computer to produce a mixture of sounds that are produced by the acoustic properties of water screeching through orific plates, as well as synthesized sounds.