The document discusses how virtual reality can be used to replay and re-experience past events. It provides two case studies where VR was used to simulate an archaeological site and the historical city center of Sao Paulo in 1911. The authors conclude that VR has great potential as a medium to immerse users in multi-sensory simulations of past, present, and future environments and experiences in a way that feels like the user has become part of the environment.
The document discusses the concepts of disruptive innovation and collaborative innovation to create radical change. It advocates switching from the status quo by breaking conventions and assumptions to build new models that make existing ones obsolete. Examples are provided of how Kodak failed to innovate digitally and how the PC opened up computing to everyday users through a breakthrough concept.
Christian Jacquemin presented research projects at LIMSI-CNRS involving telepresence, tangible interfaces, and emotions. LIMSI has 120 permanent staff working on topics like language processing, multimodal perception and interaction, and augmented and virtual reality. Some projects presented include augmented virtuality artworks, augmented reality for performing arts and open air installations, audio augmented reality, mobile augmented reality, and physical world augmentation using multiple physical layers.
The document discusses the history and future of augmented reality (AR) and ubiquitous virtual reality (UVR). It describes how AR has evolved from early implementations using markers to today's mobile AR applications. Current research includes developing AR for social networking and wearable devices. The author envisions UVR as a platform that seamlessly links real and virtual spaces through context-aware augmentation and organic user interfaces. UVR could extend human perception and enable new forms of digital storytelling, education and collaboration across dual spaces. Future advances in mobile hardware, computer vision and authoring tools will help realize ubiquitous AR experiences.
Visual percetion in metaverses. Consuming advertising through the avatar's eyes.Eduardo Zilles Borba
This document summarizes Eduardo Zilles Borba's presentation on visual perception in metaverses at the SLActions 2011 conference. Borba discusses how advertising is portrayed in virtual environments like Second Life and Pro Evolution Soccer 2011. He notes that advertising in these spaces aims to emulate real world advertising formats. However, perception of these ads differs based on whether the virtual experience has a first-person or third-person viewpoint. Borba concludes that first-person views in virtual worlds lead to more immersive and emotive experiences of advertising compared to third-person perspectives.
Este documento describe el diseño de sistemas de riego por goteo. Explica los pasos para el diseño agronómico e hidráulico, incluyendo el cálculo de las necesidades de agua del cultivo, la sectorización, el diseño de la red de distribución, y la selección de los componentes del sistema. El diseño agronómico determina la dosis, frecuencia y tiempo de riego, mientras que el diseño hidráulico define la red de tuberías y su capacidad para transportar el agua a la presión
The document discusses considering audiences when formulating a strategy or project. It suggests thinking about whether the audience will differ from expectations, be random or specialist, and how to engage them. It also discusses whether the audience will be passive or active, whether the work can empower or benefit both the artist and audience, and researching audience culture. The document provides examples of art projects involving audience participation or collaboration.
The document discusses the concepts of disruptive innovation and collaborative innovation to create radical change. It advocates switching from the status quo by breaking conventions and assumptions to build new models that make existing ones obsolete. Examples are provided of how Kodak failed to innovate digitally and how the PC opened up computing to everyday users through a breakthrough concept.
Christian Jacquemin presented research projects at LIMSI-CNRS involving telepresence, tangible interfaces, and emotions. LIMSI has 120 permanent staff working on topics like language processing, multimodal perception and interaction, and augmented and virtual reality. Some projects presented include augmented virtuality artworks, augmented reality for performing arts and open air installations, audio augmented reality, mobile augmented reality, and physical world augmentation using multiple physical layers.
The document discusses the history and future of augmented reality (AR) and ubiquitous virtual reality (UVR). It describes how AR has evolved from early implementations using markers to today's mobile AR applications. Current research includes developing AR for social networking and wearable devices. The author envisions UVR as a platform that seamlessly links real and virtual spaces through context-aware augmentation and organic user interfaces. UVR could extend human perception and enable new forms of digital storytelling, education and collaboration across dual spaces. Future advances in mobile hardware, computer vision and authoring tools will help realize ubiquitous AR experiences.
Visual percetion in metaverses. Consuming advertising through the avatar's eyes.Eduardo Zilles Borba
This document summarizes Eduardo Zilles Borba's presentation on visual perception in metaverses at the SLActions 2011 conference. Borba discusses how advertising is portrayed in virtual environments like Second Life and Pro Evolution Soccer 2011. He notes that advertising in these spaces aims to emulate real world advertising formats. However, perception of these ads differs based on whether the virtual experience has a first-person or third-person viewpoint. Borba concludes that first-person views in virtual worlds lead to more immersive and emotive experiences of advertising compared to third-person perspectives.
Este documento describe el diseño de sistemas de riego por goteo. Explica los pasos para el diseño agronómico e hidráulico, incluyendo el cálculo de las necesidades de agua del cultivo, la sectorización, el diseño de la red de distribución, y la selección de los componentes del sistema. El diseño agronómico determina la dosis, frecuencia y tiempo de riego, mientras que el diseño hidráulico define la red de tuberías y su capacidad para transportar el agua a la presión
The document discusses considering audiences when formulating a strategy or project. It suggests thinking about whether the audience will differ from expectations, be random or specialist, and how to engage them. It also discusses whether the audience will be passive or active, whether the work can empower or benefit both the artist and audience, and researching audience culture. The document provides examples of art projects involving audience participation or collaboration.
The History and Future of Wearable Computing and Virtual ExperienceC4Media
Video and slides synchronized, mp3 and slide download available at URL http://bit.ly/2gCI7a2.
Amber Case talks about the road from virtual reality to augmented reality and what is needed to build to get there. She talks about various topics on the history and future of wearables, human augmentation, infrastructure, machine vision, processing, distributed computing and wireless data transfer, a church dedicated to VR, computer backpacks, heads up displays, reality editing, and so on. Filmed at qconsf.com.
Amber Case is currently a fellow at Harvard University’s Berkman Klein Center for Internet and Society. She is a cyborg anthropologist and user experience designer. She studies the interaction between humans and computers and how our relationship with information is changing the way cultures think, act, and understand their worlds.
The document provides an overview of virtual reality (VR), including its definition, history, impact, uses, and implementation challenges. It discusses how VR originated from science fiction and theater in the 1930s. Key developments in its history include head-mounted displays in the 1960s, VR arcades in the 1990s, and the commercial releases of the Oculus Rift and HTC Vive in the 2010s. The document also outlines various applications of VR such as education, gaming, fine arts, therapy, and military training.
Why you must join to IVRC and Laval Virtual ReVolution?Akihiko Shirai
This is public announcement for activity of Laval Virtual France and International collegiate Virtual Reality Contest, which is continuing for 24 years.
Today, 1st July, IVRC2016 had selected Japan domestic candidates, which is juried from 101 online submissions to 25 candidates for realization in VRSJ(academic conference in VR of Japan).
Students who want to join to IVRC2016 are still welcome for the "International Video Submission". The final deadline of international video submission is 31st August 2016! Prepare your YouTube video before your summer holiday :-)
http://ivrc.net/2016/en/video/
Fifty Shades of Augmented Reality: Creating Connection Using ARMark Billinghurst
This document discusses how augmented and virtual reality technologies can be used to create more empathetic and collaborative experiences. It outlines trends in content capture, networking bandwidth, and natural interfaces that enable new types of shared experiences. Examples are presented of past and current AR/VR systems that allow remote users to share live video, 3D spaces, gestures, and physiological cues like gaze and expression. The document concludes that AR and VR are well-suited for developing empathetic computing applications by allowing users to understand, experience, and share perspectives and emotions.
Digital technologies have transformed how people experience and share their lives. Many users actively curate their social media profiles to portray idealized versions of their lives. However, this has led to a world of "unreality" where people confuse simulated online representations for reality. New technologies like augmented reality, virtual reality, and mixed reality increasingly blur the lines between real and virtual, allowing people to immerse themselves in simulated experiences. While these technologies provide opportunities to experience the impossible, they also risk further detachment from true reality and increased digital addiction if not approached carefully.
Unveiling the World of 3D Virtual ExhibitionElla Carter
Welcome to the future of exhibitions! Discover the exciting world of 3D virtual exhibitions and how they are revolutionizing the way we experience events. Join us as we explore the endless possibilities of immersive virtual environments.
This presentation explores our collaborative strategies and work for designing and building OVAL (Oklahoma Virtual Academic Laboratory), a multi-disciplinary, multi-user academic virtual reality (VR) system.
For more information:
https://github.com/OUETL/OVAL
bill.endres@ou.edu
MUXL was proud to present its third edition of the annual Mobile UX London Conference - https://mobileuxlondon.com
Christophe is the co-founder of Somewhere Else, a London-based creative consultancy and production house specialised in immersive technologies (VR/AR/MR). After 8 years spent between digital strategy consultancy and music events production, Christophe started Somewhere Else to help brands, agencies and innovators harness the power of VR/AR/MR to win in the Age of Experience.
Working with the likes of Samsung, Three and ExxonMobil, Somewhere Else has enable brands in the fashion, retail and entertainment sectors to build deeper relationships with their audiences through powerful VR experiences. Christophe is a regular VR blogger and a member of the Uni-VR think tank. He has recently delivered talks at the Awwwards LDN, the AR/VR Show and the Virtual Reality Show as well as conducted VR workshops for top creatives at agencies such as Ogilvy, FCB Inferno, IDEO and OMD.
Storytelling in VR represents a paradigm shift for creators. We’re moving away from author-directed linear narratives and into the realm of world-building. The spectator becomes a visitor: the actual author of a story within a world designed for him. This is the age of Audience Experience design, a new era where creators have to put themselves in their audience’s shoes and understand their cognitive, emotional and physical experience. The talk will look at the following topics among others: the death of the author, behavioural design, the body as a computer interface, designers as storyscapers. Each concept will be illustrated by existing VR/MR experiences.
The topic of this presentation is a particular case among the different kinds of relationships that digital technology etablishes with architectural culture today. More precisely, I will discuss the concept of “post-digital” architecture, which is a concept that has been quite widely debated in the last few years, particularly in relation to architectural practices that recur to techniques of representation privileging 2d image-editing tools such as Photoshop and Illustrator, instead of using advanced 3D modelling and rendering tools. In a nutshell, what I want to discuss is the kind of architectural image, and therefore the kind of architecture, that emerges from a post-digital approach to representation.
IN140703 service support technologies 6.10.2016Pirita Ihamäki
6.10.2016 Service support technologies first part go through Virtual Reality, Virtual Prototyping, Component of a Virtual Prototype, Top 5 Virtual Reality Gadget of the Future, Virtual Market Potential.
Prowess-ing the Past: Considering the AudienceRuth Tringham
The aim of this presentation was to shift the focus of 3D modeling in archaeology and cultural heritage to consider the ways in which a more active motivation and engagement of their users (whether professionals or general public) might lead to the long-term sustainability of the models and visualizations. Currently the life expectancy of 3D models in installations or on-line is generally quite short. My argument is that engagement with the models should be measured not so much how many users/visitors a model receives, but in how long and through how many re-visits the users wish to visit the same model. I am guessing that for most users, the visit is a one-time short event. I identify five major strategy foci that might lead to longer and more specific usage of the models and thus to their longer-term sustainability; these are: 1) active user participation, 2) meaningful exploration, 3) cultural presence, 4) multi sensorial experience, and 5) the education of attention, with greatest emphasis given to the latter. I end with idea that these five foci in fact could all be embraced within the gamification of the models, not necessarily as video games, but as media-rich non-linear narratives that go by various terms, such as Walking Simulator, Interactive Digital Stories, and Alternative Reality Games that take advantage of a mixed environment of Augmented and Mixed Reality as well as the more “traditional” Virtual Reality modeling. I finally point out that such gamification could potentially make powerful contributions to draw attention to socio-political and ethical issues of cultural heritage and archaeology.
The document discusses the history and evolution of new media technologies. It covers early pioneers in fields like interactive computing, user interfaces, and augmented reality. Figures like Vannevar Bush, Douglas Engelbart, Ivan Sutherland, and Alan Kay are highlighted for their contributions to concepts like hypermedia, direct manipulation interfaces, virtual reality, and personal computing. Timelines provided give context for the development of new forms of narrative, interactive art, and alternative realities. The overall document serves as an introduction to exploring the intersection of technology and creativity throughout history.
High-Tech Drones and Immersive Displays – Exploiting New Technologies for Dig...RCAHMW
Professor Bob Stone discusses his work using new technologies like drones and immersive displays for digital heritage projects. His team has created virtual reconstructions of historic sites like Stonehenge, Scylla, and various locations in Devon like Burrator Reservoir and Wembury Bay. He cautions that immersive technologies are overhyped and have limitations, especially in outdoor environments. Stone emphasizes engaging stakeholders and designing experiences and content before implementing technology.
Dronau Technoleg Uchel ac Arddangosfeydd Ymgollol – Manteisio ar Dechnolegau ...RCAHMW
Fydd hi ddim yn syndod i chi glywed bod Realiti Rhithwir (VR), Realiti Estynedig (AR) a thechnolegau system ddi-beilot (UxV) megis dronau ar gael ar raddfa ehangach erioed i ddiwydiant, ymchwilwyr a hobïwyr fel ei gilydd. Mae rhai yn credu bod y cynnydd mawr mewn cynhyrchion technoleg uchel fel y rhain yn fygythiad i gymdeithas ar lawer lefel. Fodd bynnag, o safbwynt treftadaeth ddigidol neu rithwir, ac yn y dwylo iawn, maent hwy hefyd yn cynnig posibiliadau cyffrous a mwyfwy fforddiadwy o ran datblygu a darparu profiadau addysgol cyfoethog a rhyngweithiol ar gyfer amrywiaeth eang o ddefnyddwyr terfynol a chynulleidfaoedd.
Yn y cyflwyniad hwn, bydd yr Athro Bob Stone, Cyfarwyddwr y Tîm Technolegau Rhyngwyneb Dynol ym Mhrifysgol Birmingham, yn disgrifio nifer o astudiaethau achos ym maes treftadaeth arforol gan mwyaf a ddatblygwyd yn ystod 2014 a 2015 lle mae technolegau VR, AR a drôn wedi cael eu defnyddio’n effeithiol iawn wrth arolygu ac ail-greu’n ddigidol safleoedd sydd yn aml yn anhygyrch ac wrth gyflwyno’r canlyniadau i ystod eang o gymunedau a phobl o sawl oedran. Mae’r portffolio o astudiaethau achos yn cynnwys safleoedd llongddrylliadau’r SS James Eagan Layne (Whitsand Bay, 1945); Llong Danfor A7 Ei Mawrhydi (Whitsand Bay, 1914); y Maria (Firestone Bay, Plymouth 1774) – lle cafwyd yr achos cyntaf o danforwr yn colli ei fywyd; llongddrylliadau Llyn Hooe yn Plymouth; cynefin is-for cyntaf y DU – y GLAUCUS (1965) – sydd bellach yn sgerbwd rhydlyd ger Breakwater Fort yn Plymouth; a phrosiect llongddrylliad yr Anne (1690), lle cafodd llong hanesyddol ei hatgyfodi’n ddigidol am y tro cyntaf erioed gan ddefnyddio technegau Realiti Estynedig ar fwrdd ‘quadcopter’ a fu’n hedfan dros orffwysfan terfynol y llong ar Draeth Pett Level ger Hastings.
Materialidades, Sociabilidades e Outras Possibilidades Tecnoculturais em Dis...Eduardo Zilles Borba
O documento discute as possibilidades tecnoculturais dos dispositivos de realidade virtual, abordando questões sobre materialidade, sociabilidade e percepção de espaço e tempo. Ele propõe uma abordagem sociotécnica com base na teoria ator-rede e no conceito de affordances para analisar como esses dispositivos influenciam as interações humanas e a apropriação da tecnologia pelos usuários.
Realidade Virtual Imersiva: fundamentos, características e perspectivas de ap...Eduardo Zilles Borba
Comunicação apresentada no IX SOPCOM (Congresso da Sociedade Portuguesa de Ciências da Comunicação ). Realizada em Novembro/2015, na Universidade de Coimbra (Coimbra, Portugal).
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Video and slides synchronized, mp3 and slide download available at URL http://bit.ly/2gCI7a2.
Amber Case talks about the road from virtual reality to augmented reality and what is needed to build to get there. She talks about various topics on the history and future of wearables, human augmentation, infrastructure, machine vision, processing, distributed computing and wireless data transfer, a church dedicated to VR, computer backpacks, heads up displays, reality editing, and so on. Filmed at qconsf.com.
Amber Case is currently a fellow at Harvard University’s Berkman Klein Center for Internet and Society. She is a cyborg anthropologist and user experience designer. She studies the interaction between humans and computers and how our relationship with information is changing the way cultures think, act, and understand their worlds.
The document provides an overview of virtual reality (VR), including its definition, history, impact, uses, and implementation challenges. It discusses how VR originated from science fiction and theater in the 1930s. Key developments in its history include head-mounted displays in the 1960s, VR arcades in the 1990s, and the commercial releases of the Oculus Rift and HTC Vive in the 2010s. The document also outlines various applications of VR such as education, gaming, fine arts, therapy, and military training.
Why you must join to IVRC and Laval Virtual ReVolution?Akihiko Shirai
This is public announcement for activity of Laval Virtual France and International collegiate Virtual Reality Contest, which is continuing for 24 years.
Today, 1st July, IVRC2016 had selected Japan domestic candidates, which is juried from 101 online submissions to 25 candidates for realization in VRSJ(academic conference in VR of Japan).
Students who want to join to IVRC2016 are still welcome for the "International Video Submission". The final deadline of international video submission is 31st August 2016! Prepare your YouTube video before your summer holiday :-)
http://ivrc.net/2016/en/video/
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This document discusses how augmented and virtual reality technologies can be used to create more empathetic and collaborative experiences. It outlines trends in content capture, networking bandwidth, and natural interfaces that enable new types of shared experiences. Examples are presented of past and current AR/VR systems that allow remote users to share live video, 3D spaces, gestures, and physiological cues like gaze and expression. The document concludes that AR and VR are well-suited for developing empathetic computing applications by allowing users to understand, experience, and share perspectives and emotions.
Digital technologies have transformed how people experience and share their lives. Many users actively curate their social media profiles to portray idealized versions of their lives. However, this has led to a world of "unreality" where people confuse simulated online representations for reality. New technologies like augmented reality, virtual reality, and mixed reality increasingly blur the lines between real and virtual, allowing people to immerse themselves in simulated experiences. While these technologies provide opportunities to experience the impossible, they also risk further detachment from true reality and increased digital addiction if not approached carefully.
Unveiling the World of 3D Virtual ExhibitionElla Carter
Welcome to the future of exhibitions! Discover the exciting world of 3D virtual exhibitions and how they are revolutionizing the way we experience events. Join us as we explore the endless possibilities of immersive virtual environments.
This presentation explores our collaborative strategies and work for designing and building OVAL (Oklahoma Virtual Academic Laboratory), a multi-disciplinary, multi-user academic virtual reality (VR) system.
For more information:
https://github.com/OUETL/OVAL
bill.endres@ou.edu
MUXL was proud to present its third edition of the annual Mobile UX London Conference - https://mobileuxlondon.com
Christophe is the co-founder of Somewhere Else, a London-based creative consultancy and production house specialised in immersive technologies (VR/AR/MR). After 8 years spent between digital strategy consultancy and music events production, Christophe started Somewhere Else to help brands, agencies and innovators harness the power of VR/AR/MR to win in the Age of Experience.
Working with the likes of Samsung, Three and ExxonMobil, Somewhere Else has enable brands in the fashion, retail and entertainment sectors to build deeper relationships with their audiences through powerful VR experiences. Christophe is a regular VR blogger and a member of the Uni-VR think tank. He has recently delivered talks at the Awwwards LDN, the AR/VR Show and the Virtual Reality Show as well as conducted VR workshops for top creatives at agencies such as Ogilvy, FCB Inferno, IDEO and OMD.
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The aim of this presentation was to shift the focus of 3D modeling in archaeology and cultural heritage to consider the ways in which a more active motivation and engagement of their users (whether professionals or general public) might lead to the long-term sustainability of the models and visualizations. Currently the life expectancy of 3D models in installations or on-line is generally quite short. My argument is that engagement with the models should be measured not so much how many users/visitors a model receives, but in how long and through how many re-visits the users wish to visit the same model. I am guessing that for most users, the visit is a one-time short event. I identify five major strategy foci that might lead to longer and more specific usage of the models and thus to their longer-term sustainability; these are: 1) active user participation, 2) meaningful exploration, 3) cultural presence, 4) multi sensorial experience, and 5) the education of attention, with greatest emphasis given to the latter. I end with idea that these five foci in fact could all be embraced within the gamification of the models, not necessarily as video games, but as media-rich non-linear narratives that go by various terms, such as Walking Simulator, Interactive Digital Stories, and Alternative Reality Games that take advantage of a mixed environment of Augmented and Mixed Reality as well as the more “traditional” Virtual Reality modeling. I finally point out that such gamification could potentially make powerful contributions to draw attention to socio-political and ethical issues of cultural heritage and archaeology.
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Professor Bob Stone discusses his work using new technologies like drones and immersive displays for digital heritage projects. His team has created virtual reconstructions of historic sites like Stonehenge, Scylla, and various locations in Devon like Burrator Reservoir and Wembury Bay. He cautions that immersive technologies are overhyped and have limitations, especially in outdoor environments. Stone emphasizes engaging stakeholders and designing experiences and content before implementing technology.
Dronau Technoleg Uchel ac Arddangosfeydd Ymgollol – Manteisio ar Dechnolegau ...RCAHMW
Fydd hi ddim yn syndod i chi glywed bod Realiti Rhithwir (VR), Realiti Estynedig (AR) a thechnolegau system ddi-beilot (UxV) megis dronau ar gael ar raddfa ehangach erioed i ddiwydiant, ymchwilwyr a hobïwyr fel ei gilydd. Mae rhai yn credu bod y cynnydd mawr mewn cynhyrchion technoleg uchel fel y rhain yn fygythiad i gymdeithas ar lawer lefel. Fodd bynnag, o safbwynt treftadaeth ddigidol neu rithwir, ac yn y dwylo iawn, maent hwy hefyd yn cynnig posibiliadau cyffrous a mwyfwy fforddiadwy o ran datblygu a darparu profiadau addysgol cyfoethog a rhyngweithiol ar gyfer amrywiaeth eang o ddefnyddwyr terfynol a chynulleidfaoedd.
Yn y cyflwyniad hwn, bydd yr Athro Bob Stone, Cyfarwyddwr y Tîm Technolegau Rhyngwyneb Dynol ym Mhrifysgol Birmingham, yn disgrifio nifer o astudiaethau achos ym maes treftadaeth arforol gan mwyaf a ddatblygwyd yn ystod 2014 a 2015 lle mae technolegau VR, AR a drôn wedi cael eu defnyddio’n effeithiol iawn wrth arolygu ac ail-greu’n ddigidol safleoedd sydd yn aml yn anhygyrch ac wrth gyflwyno’r canlyniadau i ystod eang o gymunedau a phobl o sawl oedran. Mae’r portffolio o astudiaethau achos yn cynnwys safleoedd llongddrylliadau’r SS James Eagan Layne (Whitsand Bay, 1945); Llong Danfor A7 Ei Mawrhydi (Whitsand Bay, 1914); y Maria (Firestone Bay, Plymouth 1774) – lle cafwyd yr achos cyntaf o danforwr yn colli ei fywyd; llongddrylliadau Llyn Hooe yn Plymouth; cynefin is-for cyntaf y DU – y GLAUCUS (1965) – sydd bellach yn sgerbwd rhydlyd ger Breakwater Fort yn Plymouth; a phrosiect llongddrylliad yr Anne (1690), lle cafodd llong hanesyddol ei hatgyfodi’n ddigidol am y tro cyntaf erioed gan ddefnyddio technegau Realiti Estynedig ar fwrdd ‘quadcopter’ a fu’n hedfan dros orffwysfan terfynol y llong ar Draeth Pett Level ger Hastings.
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Esta comunicação é um resumo do artigo científico publicado no V Encontro Sobre Ciencias e Culturas (Universidade Fernando Pessoa, Portugal). Ele explora a comunicação estratégica da marca Coca-Cola Zero através de três advergames internacionais (Brasil, Inglaterra e Suécia). Seu foco de discussão assenta nas ações de marketing utilizadas pela marca, no sentido de identificar aspectos que sugerem a percepção de conceitos ligados ao anunciante, estejam eles representados na composição estética (cenário, design) ou na semântica do jogo (enredo, trama, história, jogabilidade).
O documento explora a virtualização da publicidade exterior personalizada, analisando como ela é percebida no espaço urbano físico. Ele identifica elementos que influenciam a percepção da mensagem publicitária e propõe um quadro teórico para sistematizar a experiência do observador com o outdoor personalizado no contexto da interação entre observador, publicidade e espaço urbano.
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Replay! When past experiences are reassembled through virtual reality
1. Replay!
When past experiences are
reassembled through virtual reality
Prof. Eduardo Zilles Borba, Ph.D.* (ezb@lsi.usp.br)
Prof. Marcelo Knorich Zuffo, Ph.D (mkzuffo@lsi.usp.br)
* Fellow support by CNPq-Brazil
.............................................................................................................
Center of Interdisciplinary and Interactive Technologies (CITI-USP)
University of Sao Paulo, Brazil (USP)
IAMCR Conference – Leicester (UK), July 27-31, 2016
(Digital Divide Working Group)
2. IAMCR 2016 Conference - Leicester (UK) PG. 02/22
Replay! When past experiences are reassembled through virtual reality | Zilles Borba and Zuffo (2016)
» Topics
1) Virtual Reality (VR) as a multi-sensorial Media
2) Registering and preserving memories through VR
3) Replay! Re-living experiences with VR (cases and
discussion)
4) Conclusion
3. Replay! When past experiences are reassembled through virtual reality | Zilles Borba and Zuffo (2016)
1) VR as a multi-sensorial Media
Nowadays much has been said about Virtual Reality (VR).
(Graft, 2014)
VR is an advanced user-computer interface which allows
the user to visualize, to interact and to manipulate digital
contents through a virtual experience that reproduces
aesthetics and activities from the physical world (or the
imaginary one). (Kirner and Tori, 2004)
popularization among the general public
immersion feeling
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4. Replay! When past experiences are reassembled through virtual reality | Zilles Borba and Zuffo (2016)
multi-sensorial media experience
IAMCR 2016 Conference - Leicester (UK)
To create a simulation scene, more than a 3D image is
necessary. So, VR makes use of electronic devices such as
stereoscopic goggles, motion sensors and others technical
equipment responsible for stimulating sensory experiences
of the human body, specially: sight, hearing and touch.
(Zilles Borba, 2014)
When our body is stimulated to believe it really inhabits
other space, we have a feeling of IMMERSION. And, there
are 3 categories for immersion in VR:
PG. 04/22
5. Replay! When past experiences are reassembled through virtual reality | Zilles Borba and Zuffo (2016)
Realism
Involvement Interaction
Zilles Borba and Zuffo (2015)
Immersion
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6. Replay! When past experiences are reassembled through virtual reality | Zilles Borba and Zuffo (2016)
Realism
(computer graphics)
Realism + Involvement
(360º enviroment/scene)
Realism
+ Involvement
+ Interaction
(Natural to the User
Interactions, NUIs)
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7. Replay! When past experiences are reassembled through virtual reality | Zilles Borba and Zuffo (2016)
Immersive VR vs. Non-immersive VR
(HMD, CAVEs, etc.) (TV, monitor screen, etc.)
Sense of presence
Virtual content/environment/scene
Media device
IAMCR 2016 Conference - Leicester (UK) PG. 07/22
8. Replay! When past experiences are reassembled through virtual reality | Zilles Borba and Zuffo (2016)
2) Registering and preserving
memories through VR
It is already known that media have always been (and still
are) responsible for registering important facts of humanity
“to freeze moments”
“extensions of mankind”
photo,
video,
VR (?)
IAMCR 2016 Conference - Leicester (UK) PG. 08/22
9. Replay! When past experiences are reassembled through virtual reality | Zilles Borba and Zuffo (2016)
But, in a multi-sensory way, we can say VR
After all, VR can reproduce the sense of space, objects,
activities and people relationship in a very realistic way
(forms, scales, proportions, depths, colors, lights and shadows).
photo (visual)
video (audiovisual)
i.e.
more than admiring a landscape,
through VR users can experience it!
IAMCR 2016 Conference - Leicester (UK) PG. 09/22
10. Replay! When past experiences are reassembled through virtual reality | Zilles Borba and Zuffo (2016)
CAVE HMD
HMD + NUIs
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11. Replay! When past experiences are reassembled through virtual reality | Zilles Borba and Zuffo (2016)
With VR, we can create simulations of spaces, scenes,
moments, activities to:
• Preserve feelings (sensations)
• Reconstruct situations (geographic, architectonic or
atmospheric notion of places)
• Explain emotions to other people (memories)
It might be related to ephemeral objects, people,
zones or even actions from the past/present to be
replayed by future people
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12. Replay! When past experiences are reassembled through virtual reality | Zilles Borba and Zuffo (2016)
» Examples:
• User could feel like what it was to be in the middle of a
dense jungle during a war conflict that doesn’t exist
anymore because deforestation phenomenon;
• People could participate in musical gigs of an extint
band through a 360º video experience;
• A father/mother could interact with the hologram of
their children to remember family and childhood
memories.
» Those examples are all related to interesting topics on
cyberculture: telepresence, time-travel illusion, immersion...
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14. Replay! When past experiences are reassembled through virtual reality | Zilles Borba and Zuffo (2016)
3) Replay! Re-living experiences
with VR(cases and discussion)
» Research: the main objective of this work was to conduct
an initial (but relevant) discussion about VR as a media
that allows user to play past experiences in an immersive
and multi-sensorial way.
» Methodology: We decided to explore two cases about
past experiences reassembled using VR techniques created
by our research lab (CITI-USP):
a) Archaeological Site of Itapeva (2015)
b) Historial City Center of Sao Paulo (1911)
IAMCR 2016 Conference - Leicester (UK) PG. 14/22
15. Replay! When past experiences are reassembled through virtual reality | Zilles Borba and Zuffo (2016)
» Case 1: Archaeological Site of Itapeva (2015)
“More than create a sensation of transporting the user to the
archaeological site, this work presents a great goal about how
VR can be particularly used to explore ephemeral spaces and
objects in a non-destructive way”, (Zilles Borba and Zuffo, 2016, p.7).
• Goal as a media:
1) To revive (or live for the first time) the feeling of exploring places
with really hard access (i.e. general public).
2) To observe and to perceive details of the landscape in a digital
model available anywhere and anytime (i.e. archaeologist)
3) To practice excavation or to view the digging process (i.e. students)
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16. Replay! When past experiences are reassembled through virtual reality | Zilles Borba and Zuffo (2016)
» Case 1: Archaeological Site of Itapeva (2015)
• Oculus Rift (HMD): this VR device allows user to visualize the
space in a 360º view through the first-person perspective
(the user became the avatar; symbiosis between user and
avatar; the self-avatar).
• Razer Hydra (3D joystiks): provides a natural to the user
interaction (NUI), so it’s possible to navigate around the
archaeological space and to manipulate objects.
• Project web site: http://cavernadigital.org.br/ciberarch/index.html
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» Case 2: Historical City Center of Sao Paulo (1911)
“The main objective was to create a time-travel illusion that
allows the user to fell the sensation of walk by a place that no
longer exists”, (Zilles Borba and Zuffo, 2016, p.8).
• Goal as a media: to reproduce more than an image of the
heritage urban space. It means, to reconstruct situations and
explore culture, architecture or habits of the brazilian people
in that period of History.
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19. Replay! When past experiences are reassembled through virtual reality | Zilles Borba and Zuffo (2016)
» Case 2: Historical City Center of Sao Paulo (1911)
• CAVE: a multi-user experience inside a 3D projection room
(steoscopic goggles, real scale images, etc.). Also the audio
was mapped around the cubic room.
• Motion sensors: above the CAVE there were infrared
trackers to identify user position and to allow her/him to
navigate through the virtual environment. Also, a Wii remote
allows the user to manipulate objects (bluetooth technology).
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Conclusion
» Self-avatar: it was concluded VR has a huge potential to create
multi-sensorial experiences to explore past, present and, even,
the future. It means, VR platforms will allow people to replay
experiences like the´re actually a part of the enviroment
» Huge potencial as media: it was also concluded that its
narratives and aesthetics gave a wide range of possibilities for the
Media field (journalism, advertising, marketing and PR actions).
» Immersive feelings: VR devices are bringing a new perspective to
our Media mass content consume, after all we finally are facing a
multi-sensorial experience with interfaces that really create the
feeling of being another or living/inhabiting virtual places.
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22. Replay! When past experiences are reassembled through virtual reality | Zilles Borba and Zuffo (2016)
Bibliography
» Graft, M. (2014). The 5 Trends That Defined the Game Industry in 2014. [Online]. Available:
<http://www.gamasutra.com/view/news/232257/The_5_trends_that_defized_the_game_indust
ry_in_2014.php> [24/jul. 2015].
» Kirner, C. and Tori, R. (2004). Introducao a Realidade Virtual, Misturada e Hiper-realidade. In:
Kirner, C. and Tori, R. (Eds.). Realidade Virtual. Sao Paulo: Ed. Senac, pp.3-20.
» Kerckhove, D. (1995). The Skin of Culture: Investigating the New Electronic Reality. London:
Kogan Page.
» McLuhan, M. (1964). Understanding Media: The Extensions of Man. New York: McGraw-Hill.
» Zilles Borba, E. and Zuffo, M. (2015). Natural to the Human Interactions with Digital
Interfaces: a new perspective to understand the virtual experiences. In: IAMCR Conference
Proceedings 2015. Montreal: Universite du Quebec a Montreal, pp. 312-317.
» Zilles Borba, E. (2014). Imersao Visual e Corporal: Paradigmas da Percepcao em Simuladores.
in: Soster, D. e Piccinin, F. (Orgs.). Narrativas Comunicacionais Complexificadas II – A Forma.
Santa Cruz do Sul: Edunisc, pp.239-258.
IAMCR 2016 Conference - Leicester (UK) PG. 22/22
23. thank
Prof. Eduardo Zilles Borba, Ph.D.* (ezb@lsi.usp.br) » Twitter: @ezillesborba
Prof. Marcelo Knorich Zuffo, Ph.D (mkzuffo@lsi.usp.br)
* Fellow supported by CNPq-Brazil
.............................................................................................................
Center of Interdisciplinary and Interactive Technologies (CITI-USP)
University of Sao Paulo, Brazil (USP)
you!
IAMCR Conference – Leicester (UK), July 27-31, 2016
(Digital Divide Working Group)