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Augmenting Education: The Collision of Real and Virtual Worlds [SECAC]

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This presentation explores augmented reality and potential uses within arts education.

Presented as part the SECAC 2012 Visual Resources Curator Group session, "When the Past Collides with the Present: Moving Beyond the Single Classroom Experience via Digital Technologies."

Published in: Education

Augmenting Education: The Collision of Real and Virtual Worlds [SECAC]

  1. 1. Augmenting Education:The Collision of Real and Virtual Worlds Presented as part the SECAC 2012 Visual Resources Curator Group session, "When the Past Collides with the Present: Moving Beyond the Single Classroom Experience via Digital Technologies." Bryan Loar Senior Director, Research & Knowledge Management
  2. 2. WHAT’S AR? Bryan Loar +
  3. 3. Augmented Reality By DanieleCivello Detail of Google Glass By zugaldia augmented reality game bibliotheek deventer ByAugmented Reality Brings 3-D to Retail By nilsmengedoht Concept Art Tijdmachine By TijdmachineIntelFreePress Augmented Reality (AR) is the augmentation of the visual field of a user by enhancing the current field of vision with additional information- Caudell and Mizell Bryan Loar +
  4. 4. Real Environment Augmented Reality (AR) Augmented Virtuality (AV) Virtual Environment OSU Fine Arts Library - Nike By Global kids Screens By NMC Second Bryan Loar Life [Modified] 3 m.MIXED REALITYCONTINUUM Bryan Loar +
  5. 5. BEGINNINGS Ivan Sutherland‟s work at MIT starting in 1966 led to the first head-mounted display exhibited in 1968. The 1968 display‟s translucent properties made Sutherland, Ivan E. A Head-Mounted Three-Dimensional Display. Proceedings of the AFIPS Fall Joint Computer it a precursor to Conference Washington, D.C.: Thompson Books, 1968, p. 757-764. AR.AR& Virtual Reality (VR) share acommon ancestry. Bryan Loar +
  6. 6. EARLYMOBILITYIn the late 1990‟s,researchers like WaynePiekarski began todevelop mobile ARsolutions. Some of thehardware could bepurchased ready to use,some modified, andsome created. Many ofthese systems used abackpack design tocarry the array ofnecessary equipment. Tinmith-Endeavour backpack By Wayne Piekarski Bryan Loar +
  7. 7. ARTOOLS TODAY Bryan Loar +
  8. 8. HEAD “Utilizing Vuzix‟s patented quantum optic see-thru technology, the STAR 1200XL enables you to see the real world directly through itsMOUNTED transparent widescreen video displays. Computer content, such as text, images and video, are overlaid on the displays in full colorDISPLAYS 2D or 3D in a display overlay equivalent to a 75-inch flat panel display, as seen from 10 feet (~3m).” - Vuzix Bryan Loar +
  9. 9. Exploring In Situ with Layar By Mosman CouncilMOBILE DEVICES junaio on iPad 2 - Augmented Reality 2.0 By metaioARPatti Maes Projects [Detail] By jurvetson Bryan Loar +
  10. 10. AR TECHNIQUES& POTENTIALEDUCATIONALUSES Bryan Loar +
  11. 11. GEO- LOCATED ARTagWhat AR App - SW Portland By Robin M. Ashford Bryan Loar +
  12. 12. Students can see who I thought the artist has been to and how demonstrated technical ability they have critiqued but could not execute their gallery shows on vision campus. The act of John Doe 12:35 10/18 Twitter critique can become public discourse without the need to be at the same place at the same time.GEO-LOCATED ARg-spot gallery, northside open studios By autovacGALLERY SHOWS Bryan Loar +
  13. 13. The Getty Museums Augmented Reality Demo By The MARKERSGetty Museum “The Augsburg Display Cabinet, the Getty Museum‟s 17th-century „cabinet of curiosities‟… [The] “AR feature is intended to generate excitement for what museums are all about: discovery and wonder.” - Anne Martens, J. Paul Getty Trust Bryan Loar +
  14. 14. HOMEWORKMARKERS Artist Statement Jane Doe Lskdjflkjsdflkjdfsldkfjlskdjfdkfjl skfjsldfkjsldkfjlsdkjflkdjf. VineArts Exhibits: Artist Statements By yjessienilo lskjdflksjdflksjdflkjsdlfkjsldkfjls kjflksdjflksjlkdfjlskjflksjflksjldfkj slkfjlskdjflksjlfkjslkjflsdjflkjflksjdStudents could provide a video flkjsd.presentation along with theirhomework. The presentation couldvisually illustrate the concepts they are lskjdflskjdflsldfkjlsjlskjfdlksjdflkconveying and build their presenting sjdlfkjslkfjlskjflksjflksjlfkjslfjlsjfland public speaking skills. skjdflsjdljflsjflsjf. Bryan Loar +
  15. 15. Cloud Chamber for the Trees and Sky Chris Drury This shelter operates as an oversized camera obscura or a pinhole camera. A small aperture in the roof projects an inverted image of the sky onto the floor of the chamber, an effect that seems to pull the sky down to the viewer. Inside, one‟s perspective is turned upside down. Instead of looking up at the sky, trees, or clouds, one looks down on them from above. http://www.ncartmuseum.org/ museum_park/art_in_the_par k/MARKERLESS Chris Drury Cloud Chamber for the Trees and Sky NCMA 4529 By bobistraveling Bryan Loar +
  16. 16. INSTRUCTION EVERYWHERE Appreciating Art Lecture Series - Sculpture as Contemporary Art By nhbnhb1 A teacher can create videos that give greater insight to objects in situ where specific points need to be stressed or where little-to-no information exists. The power of seeing the object in situ combined with a deeper understanding can lead to more in-depth discussions.Museum Park NCMA 4502 By bobistravelingMARKERLESS Bryan Loar +
  17. 17. TODAY’SARPIONEERS Bryan Loar +
  18. 18. AUGMENTEDTYPOGRAPHY Graffiti artist DAIM partnered with the creative agency Jung von Matt/next GmbH to create an innovative form of typography that can be viewed 360 degrees. The process brings a kinetic element to the creation of "Tagged in Motion" (en) - digital light writing By daimorg digital typography. Bryan Loar +
  19. 19. AUGMENTEDTYPOGRAPHYFiduciary markers, ahead-mounted display(HMD), software, and3 cameras were usedto create 3-D graffiti "Tagged in Motion" (en) - digital light writing By daimorg Bryan Loar +
  20. 20. AUGMENTEDTYPOGRAPHYThe video feed is fedthrough a computer andthe software recognizesthe markers. "Tagged in Motion" (en) - digital light writing By daimorg Bryan Loar +
  21. 21. T(ether) “A Spatially- and Body- Aware Window for Collaborative Editing and Animation of 3D VirtualT(ether) – a Spatially- and Body-Aware Window for Collaborative Editing and Animation of 3D Virtual Objects By TangibleMedia Group Objects” – Tangible Media Group Tangible Media Group MIT Media Lab Bryan Loar +
  22. 22. T(ether) T(ether) – a Spatially- and Body-Aware Window for Collaborative Editing and Animation of 3D Virtual Objects By Tangible Media Group Object size, shape, and location can be altered by the use of a glove with markers. Bryan Loar +
  23. 23. T(ether) T(ether) – a Spatially- and Body-Aware Window for Collaborative Editing and Animation of 3D Virtual Objects By Tangible Media Group Multiple collaborators can manipulate their own objects as well as other‟s objects. Bryan Loar +
  24. 24. AR INTERIOR& INDUSTRIALDESIGNIn 2009, researchers investigatedAR in the context of art, design,and cultural heritage. Figure 11: Forming sentences of dancing letters. By Jurjen Caarls et al. Bryan Loar +
  25. 25. AR INTERIOR& INDUSTRIALDESIGNStudents explore changing thetextiles of virtual curtains in a realroom by selecting real materialswith radio frequency identification(RFID) tags in them. Because theyhave virtualized the real textile andtheir system recognizes the ids,real and virtual worlds are uniquelyintertwined. Figure 15: Touching the RFID tagged textiles at the pole changes the texture of the virtual curtains in the room. By Jurjen Caarls et al. Bryan Loar +
  26. 26. AR INTERIOR& INDUSTRIALDESIGNVirtual furniture designs with somethat are animated to demonstratethe assembly process. Figure 17: Virtual furniture designs; some are animated to show the assembly process. By Jurjen Caarls et al. Bryan Loar +
  27. 27. ARCHALLENGESCHALLENGES TO INCORPORATING AR IN EDUCATIONDEVICE AVAILABILITY Not all students can be expected to have smart mobile devices. SOLUTION: Create teams ensuring one person has a smart mobile device.OFF-SITE ACCESS Not all student have transportation to visit sites off campus. SOLUTION: Keep sites on campus as much as possible. This will also give the student a deeper appreciation of the school. Bryan Loar +
  28. 28. AR TOMORROW Bryan Loar +
  29. 29. GOOGLE GLASSProject Glass: One day... [Detail] By GoogleProject Glass eyewear By robpegoraro Google Glass By Stuck in Customs Bryan Loar +
  30. 30. CONTACT In 2011, researchers under Babak Parviz at the University of Washington successfullyLENSES tested a 1-pixel lens “powered by a remote radio frequency transmitter in free space…on a live rabbit.” (Lingley et al., 2011)A single-pixel wireless contact lens display By A R Lingleyet al. Raygun Studio Bryan Loar +
  31. 31. Imagine working with students where only part of the class is present in a real life and the rest are virtual holograms visible through a head-mounted display (HMD). Now imagine projects where their actions were recorded and your interaction does not have to be at the same time (i.e. asynchronous collaboration throughMIXED MASS AR)COLLABORATION Bryan Loar +
  32. 32. Explore ARToday! Why wait for tomorrow‟s tools. Begin exploring augmented reality today!Many apps are available for both iPhones and Android-based smart phones. SlinGooz Junaio Aurasma Lite Tagwhat Bryan Loar +
  33. 33. THANK YOU Find this presentation & more at bryanloar.comFor more resources on AR, please go to bit.ly/secac12-AR All images were used for educational, non-commercial purposes only. Bryan Loar +

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