Visualising the past


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Visualising the past

  1. 1. “Examine the implications of omitting or includingavatars or performers in visualisations, and explorethe challenges and implications for both members ofthe project team, and users of the finished projectthat incorporating human figures has on the overallimpact and legitimacy of the project. “
  2. 2.  A Three-dimensional Space Interaction: The user must be able to interact with the virtualenvironment in a meaningful way (Sensory) Presence A certain amount of Autonomy: (Thematic) Presence Source (Jeffrey Jacobson University of Pitsburg 2008)
  3. 3. The Body and Mask inAncient Theatre Space Virtual Pompeii Project
  4. 4.  Other Constructivist Activities: With the right software support, studentscould use virtual Pompeii as a virtual social space, where students could log-infrom remote locations, meet each other as avatars, and interact with eachother, educators and/or autonomous agents. Something similar has alreadybeen done in the area of history/architecture (Raalte, 2003)(Santos, 2002),(Jacobson&Vadnal from the project team) Our original rationale for the Theatron project was that the limitation of theexisting Theatron resources was that they were unpopulated. Whenever theywere shown to anyone, the response was that something was lacking. Thiselement was the human body; even the sense of the viewers own body wasabsent. (Prof Richard Beacham 2009 Theatron final report)
  5. 5.  This project is run by Shelley Hales (SH) and Nic Earle (NE) of the Universityof Bristol. Its main aim has been to meet a need to make accessible to thepublic a collection of the material displayed in and produced in response to thePompeian Court, one of the exhibits of the Crystal Palace. The new CrystalPalace was rebuilt in Sydenham, South London, in 1854 as a ‘museum toreceive, instruct, amuse and interest’ which featured reconstructions ofbuildings from past civilisations. Within the Model, visitors can observe and talk to robot avatars whichassume Pompeian and Victorian characters and also give informationabout the Model and its Collection.
  6. 6.  In the hands of a musician, an extended virtual world becomes anextension of the performer, the instrument, the music, and theperformance itself. (Mary Pietrowicz, Robert E. McGrath, Ben SmithGuy Garnett UI) Virtual worlds, such as Second Life, are already used for “virtualconcerts” and other performances. The artists and audience arerepresented by avatars in a scene, and the music and words aremulticast to the audience. The e use of immersive 3D environment, instead of plain text, isexpected to provide more vivid information which is also easier tounderstand, and to adapt stepwise explanations on the integration ofproposed tools and technology into existing teaching practices. Inquiryand project-based learning activities use a graphical 3D applicationthat builds on the students’ curiosity and motivates students to reflecton what at they are learning.
  7. 7.  In order for performers in both Miami and Gainesvilleto be joined together in this shared virtualenvironment, the Microsoft Kinect was adapted andcombined with a well-known gaming engine, theUnreal Development Kit, UDK. This allowedperformers to inhabit avatars of famous inventors orinnovators from different periods of human history.The dancers then provided their movements to telltheir story.
  8. 8. how doestechnologytransform processdrama into thevirtual world? Astechnology becomesbetter and moreaccessible, are wegoing to see adifferent kind ofprocess drama andhow would thatimpact our learning,critical thinking ,and creativeprocess?And Finally….