December 21, 2024

Ambitions as Deep as Their Pockets

“When I was a kid, I loved not only amazing ocean exploration but space, too,” James Cameron, the director of “Avatar,” “Titanic” and “The Abyss,” said in an interview. “I can think of no greater fantasy than to be an explorer and see what no human eye has seen before.”

The would-be explorers can afford to live their dreams because of their extraordinarily deep pockets. Significantly, their ambitions far exceed those of the world’s seafaring nations, which have no plans to send people so deep.

The billionaires and millionaires include Mr. Cameron, the airline mogul Richard Branson and the Internet guru Eric E. Schmidt. Each is building, planning to build or financing the construction of minisubmarines meant to transport them, their friends and scientists into the depths. Entrepreneurs talk of taking tourists down as well.

The vehicles, meant to hold one to three people, are estimated to cost anywhere from $7 million to $40 million.

The first dive is scheduled for later this year. Since secrecy and technical uncertainty surround many of the ventures, oceanographers say the current schedules may well change.

The rush is happening now in part because of advances in materials, batteries and electronics, which are lowering the cost and raising the capabilities of submersibles. Still, the challenges are formidable.

Hardest to build are the crew compartments, whose walls must be very thick, strong and precisely manufactured to withstand tons of crushing pressure. Designers are using not only traditional steel but such unexpected materials as spheres of pressure-resistant glass.

Humans have laid eyes on the Challenger Deep just once, half a century ago, in a United States Navy vessel. A window cracked on the way down. The landing on the bottom stirred up so much ooze that the two divers could see little and took no pictures. They stayed just 20 minutes.

Forays to lesser depths have multiplied over the years. Since the discovery of the Titanic at the bottom of the North Atlantic in 1985, hundreds of explorers, tourists and moviemakers (including Mr. Cameron) have visited the world’s most famous shipwreck. It lies more than two miles down.

The Challenger Deep and similar recesses are part of a vast system of seabed trenches that crisscross the globe. The deepest are found in the western Pacific.

Over the decades, biologists have glimpsed their inhabitants by lowering dredges on long lines. Up have come thousands of bizarre-looking worms, crustaceans and sea cucumbers. More recently, undersea robots have filmed swarms of eels and ghostly fish, their tails long and sinuous.

In early April, Mr. Branson held a news conference in Newport Beach, Calif., to unveil his submersible. “The last great challenge for humans,” declared Mr. Branson, the founder of Virgin Atlantic and Virgin Galactic, “is to explore the depths of our planet’s oceans.”

His solo craft, nearly 18 feet long, looked like a white-and-blue airplane with stubby wings and a cockpit. The curve of the wings is meant to drive the vehicle downward as it speeds through the water, rather than upward, as with an airplane.

Graham Hawkes, the craft’s designer and a veteran maker of undersea vehicles, said in an interview that more conservative designs were possible but that his goal was “to advance the state of the art.”

The winged craft and its mother ship cost an estimated $17 million. The submersible is scheduled to plunge deep later this year, its pilot a colleague of Mr. Branson. (The venture is profiled at virginoceanic.com.)

A few weeks later, in late April, another team went public. It unveiled plans, rather than a nearly complete vehicle. The company, Triton Submarines, based in Vero Beach, Fla., makes tiny submersibles with acrylic personnel spheres that carry two people down a half mile or more. The clear spheres provide much better viewing than the tiny portholes of traditional submersibles.

The company announced that it was ready to build a submersible to carry three people into the Challenger Deep. The vehicle’s personnel sphere — seven and a half feet in diameter — would be made entirely of glass and open like a clamshell to admit passengers.

Glass might seem fragile. But as pressures rise, said L. Bruce Jones, the company’s chief executive, “it gets stronger.”

He said two people — a billionaire and a near billionaire — were talking separately about buying one or two of the craft, each costing $15 million.

A company brochure says investors can expect to charge $250,000 a seat for tours of the Challenger Deep.

Mr. Jones said the craft would drop fast, covering the seven miles in about two hours. That would leave hours of bottom time for exploration before the return trip to the surface.

Article source: http://feeds.nytimes.com/click.phdo?i=d3b86e99ad8ec1d5101bb4c2513a0785

With a Wave of the Hand, Improvising on Kinect

In his work as a graduate student at the School of Visual Arts in New York, he created one from thin air.

He hacked a Microsoft Kinect game machine so the device’s cameras follow his body and turn its movements into notes. He can pluck notes from the air as if he were playing a harp.

“Traditional instruments are really, really complex.” he said. “Not only do you need to know how to produce a note, but know how to produce them rapidly in sequence. To be a master musician, you’ve got to be able to pull off all of the micromovements necessary for it to be an expressive performance.”

From the day it was released last fall, the Kinect captured the imagination of experimenters, starting with programmers, roboticists and tinkerers. Research scientists have long used pairs of cameras and specialized algorithms, but Microsoft’s machine handled all the hard work. The Kinect was the first relatively low-cost way to capture three-dimensional information about the world.

Because the Kinect is inexpensive and easy to work with, the experimentation grew more mainstream, and people began sharing their software and reporting on their exploits using sites like kinecthacks.net.

Microsoft developed the device as an attachment for the Xbox game console and built in enough power to track the movement of people and objects in front of it in three dimensions. The Kinect, which costs $150, uses a camera with an infrared light that is not visible to the human eye.

The various objects and people in a room reflect this light and the camera analyzes the pattern from this invisible light. From this it reconstructs a three-dimensional view of the room and tracks any people in front of it.

Thousands of people have used Kinect to create musical instruments, artworks or other projects. Many of their efforts can be found on sites like kinecthacks.net, kinecthacks.com or hackaday.com.

Such sites often outline how to do it yourself. People have created voice-controlled music playback software for televisions, colored on-screen “water trails” that flow from your feet wherever you walk on the floor, animated art inside picture frames as in the Harry Potter movies and a way to turn any surface into a multitouch reading device.

Artists seem to be the largest group drawn to the device, perhaps because there’s not much excitement in waving your arms to manipulate the quarterly budget report.

In one of Alexandra Wolfe’s classes at Carnegie Mellon, she programmed her Kinect to track her movement and add a swirl of colored lights that followed her on screen.

“I was tracking the silhouette because the Kinect has this great user tracking data,” she said. “You can do that with plain computer vision, but it would have taken ages and require so much intense code, but it only took five minutes.”

Anyone who has a new task for the Kinect can experiment with the tools, which are proliferating. Some of the packages require sophisticated programming ability, but others are meant to be simpler.

One of the easier approaches is to download the Flexible Action and Articulated Skeleton Toolkit from the University of Southern California. It converts physical gestures into instructions for PC software.

The toolkit simulates the clicking of a keyboard. This makes it much easier for anyone to use because the keyboard is a common interface.

The toolkit team took a popular game, World of Warcraft, and created a list of gestures that corresponded to keystrokes. Leaning forward, for instance, is converted into a push of the W key that would normally be pressed to walk forward in the game.

Users are already swapping lists of gestures that work well for various software packages.

Using a tool like this makes it fairly easy to reprogram any software that responds to the keyboard. Many photo packages, for instance, have slide shows that advance when the space bar is hit. It’s easy to arrange for any gesture, like a wave of the hand, to be used to skip to the next picture.

The Southern California project site has a forum where people swap lists for common software packages and games. The blog kinecteducation.com also offers a number of suggestions for using the package in classrooms.

All of this excitement has not gone unnoticed at Microsoft, and the company recently released its own software development kit for noncommercial users.

These tools are supporting a wide range of experiments in home automation, art and manufacturing. Gerard Rubio worked with two friends, Raul Nieves and Jordi Bari, in Barcelona to build a three-dimensional copying machine that would scan an item from three sides with three Kinects and then send the model to a three-dimensional printer. A person could stand in the center of the circle and be turned into a sculpture in a few minutes.

Artists are integrating the tool with projectors and sound cards to turn the way we move our bodies into a performance.

Peter Morton, an Australian programmer, worked with a friend to build a simulation of the scene from the movie “Big” in which Tom Hanks and Robert Loggia played “Heart and Soul” and “Chopsticks” on a piano keyboard floor mat with sensors. The Kinect version doesn’t require any floor sensors because it watches the feet.

The team used software from OpenKinect.org and wrote its own software in the Python language to extract the position of the feet and turn it into music.

Mr. Morton said that the OpenKinect software was evolving quickly to be more flexible and supportive, freeing up the programmers to experiment and be creative.

“The sheer scope and variety of demos produced so far could not have been predicted by Microsoft,” he said, and then added with a bit of surprise: “Or anyone else.”

Article source: http://feeds.nytimes.com/click.phdo?i=401085ecfbd0312a5ba62e3f5b73f3ae