Vr

1.1 Shifting from Physicality to Virtuality
No prior generation has witnessed such an extraordinary acceleration of technological
power over reality. Corresponding social changes and ethical responsibilities
accompany this acceleration (Floridi, 2002). To be sure, computing and new
telecommunication technologies are well along in creating a global network of social
communications with near instantaneous transmission of information, ideas, and value judgments in science, commerce, education, politics, religion, entertainment, and
every other facet of human activity. Indeed the very fabric of human understanding
shifts as physical reality gives way to virtual reality, or more appropriately, to
virtuality, concurrently transforming of the way philosophers understand foundational
concepts like mind, consciousness, experience, knowledge, truth, ethics, and
creativity.
While the Internet has been considered the latest and in many respects the most
powerful in the continuum of evolving media from the telegraph to telephone, radio,
and television, virtual reality communication media emerge as the forward edge of a
general evolution towards the emergence of a metamedium and explicitly embody “a
destination for the evolution of this metamedium" (Biocca & Levy, 1995), p. 16). A
metamedium transcends the ability to merely statistically represent. A metamedium
can dynamically simulate (Kay, 1990). Virtuality communication media dynamically
simulate experience perceived as telepresence.

An eight-channel spatial sound system was developed for a Java3D environment known as the Wedge. The goal of the system was to add immersiveness to the VR experience, as well as allow 3D sound scenes to be created through direct manipulation. The system used a layered architecture, with development occurring in four incremental stages. The first layer consisted of a PortAudio interface built on top of ASIO to send data to the sound card. The second layer established an eight- channel VBAP implementation in C++. The final two layers created a Java3D interface into the Wedge by extending an existing Java3D sound class, and allowing it to interface with the VBAP code through the Java Native interface. The advantage brought about by the integration of the audio system within the Java3D environment was that both graphics and audio could now be rendered within the same scene graph. This approach seeked to eliminate concerns such as learning other languages and protocols, or attempting to maintain synchronization of separate audio and graphics systems. The integrated system was therefore much more robust, and allowed for greater programmability.

Kinect sensor is being used for the motion control of a mobile robot according to the movements of hands (gesture), as a ubiquitous human machine interface. The robot is in the form of a loader vehicle, which can be used for transportation of goods. After decision making based on gesture recognition, the corresponding command is sent wirelessly to the robot and action is performed according to the movement of the hands. Moreover, Graphical User Interference (GUI) for monitoring and controlling the robot using computer is also implemented in this project. Obstacles avoidance is being used to avoid hurdles that come across the robot’s path using sonar sensors. The robot can also be controlled using speech recognition.

Reconstruction of archaeological finds from fragments, is a tedious task requiring many hours of work from the archaeologists and restoration personnel. In this paper we present a framework for the full reconstruction of the original objects using texture and surface design information on the sherd. The texture of a band outside the border of pieces is predicted by inpainting and texture synthesis methods. The confidence of this process is also defined. Feature values are derived from these original and predicted images of ...

"[This] feature explores the intersections of dance and augmented reality technologies. Challenging the commonly held fear that technologies will render embodied experiences obsolete, Bergen outlines how Canadian dance artists are discovering ways to highlight sensory experiences through technological interaction." - Emma Doran, Editor's Letter (Dance Current September/October 2017).

Today the emergence of digital technologies has dramatically changed tourism industry. Among these modern technologies is Virtual Reality (VR). Nevertheless, VR technology has not been extremely used by tourist destinations in Iran, yet. So this study investigates Iranian attitude and behavioral intentions toward adoption VR technology in tourism. The sample of the study totaled 260 visitors from three different destinations by VR technology. Online questionnaire and convenience sampling method were used to collect data research. The research hypotheses were tested using smart PLS3 software. this research is among the first studies investigated Iranian attitude toward using VR, The results can be beneficial for managers and marketers of tourism destinations and help them in utilizing this technology as an effective advertising and promotional marketing tool.

Although Virtual Reality (VR) and Augmented Reality (AR) user experiences have received large amounts of recent research interest, a direct comparison of different immersive technologies’ user experiences has not often been conducted. This study compared user experiences of one VR and two AR versions of an immersive gallery
experience ‘Virtual Veronese’, measuring multiple aspects of user experience, including enjoyment, presence, cognitive, emotional and behavioural engagement, using a between-subjects design, at the National Gallery in London, UK. Analysis of the self-reported survey data (N = 368) showed that enjoyment was high on all devices,
with the Oculus Quest (VR) receiving higher mean scores than both AR devices, Magic Leap and Mira Prism. In relation to presence, the elements ‘spatial presence’, ‘involvement’, and ‘sense of being there’ received a higher mean score on the Oculus Quest than on both AR devices, and on ‘realism’ the Oculus Quest scored significantly
higher than the Magic Leap. Cognitive engagement was similar between the three devices, with only ‘I knew what to do’ being rated higher for Quest than Mira Prism. Emotional engagement was similar between the devices. Behavioural engagement was high on all devices, with only ‘I would like to see more experiences like
this’ being higher for Oculus Quest than Mira Prism. Negative effects including nausea were rarely reported. Differences in user experiences were likely partly driven by differences in immersion levels between the devices.

Currently, the virtual reality market is receiving global attention, and VR animation entertainment content is attracting attention as a new content market. In this study, we successfully develop these kinds of VR animations by focusing on interactions, the largest feature of virtual reality content, and we present a novel interaction method for virtual reality animations. We created ".FLY," a virtual reality movie, using wearable technology, and designed augmented context interactions to verify the emotional empathy and emotional immersion effect of the active story-based interactions experienced by the user in a virtual reality environment. The wearable bands used in the interactions were trained through programming, starting at the movie development stage. The audience viewed the interactive virtual reality movie and actively interacted through gesture interactions using the wearable bands.

VR has been spread to general use since the 2010s with increasing sales values every year and the initiatives announced on its behalf; VR appears as a candidate striving to gain a place for itself. The way this tool tells a story is so novel that it can only be discussed through the designs that will be implemented. This study aims to engage in a similar discussion and contends that VR stories, which are to develop a specific language for themselves, can attain success by keeping their distance from classical narrative cinema. VR is not a tool that has designated rules and analysis methods. The lack of a precise frame of analysis requires one to lean back on former tools and methods. Following a similar method, this study utilizes the concept of the cinema of attractions. This study is based on a theoretical framework that is executed by describing the cinema of attractions. Portrayals of the cinema of attractions obtained from this theoretical framework are used to discuss VR stories. In this study, motivations of the cinema of attractions that highlight the interaction, emphasize the presence of the audience, and aim to shock them, are used to interpret VR stories. By assessing two VR experiences, namely The Key (2019) and Goliath (2021), that are favored as the object of analysis considering their success in the field, it is concluded that trying to comprehend VR stories as simulations and differentiating them from the classical narrative cinema and its strategies based on the representation could be beneficial in revealing the potential of VR.


VR 2010’lardan itibaren genel kullanıma yayılan bir araç haline geldi. Her geçen yıl artan satış rakamları ve özelinde duyurulan projelerle kendine yer edinmeye aday bir araç olarak karşımızda duruyor. Bu aracın nasıl hikaye anlatacağı ise ancak ortaya konan tasarımlar üzerinden tartışmaya açılabilecek kadar yeni. Bu çalışma benzer bir tartışma yürütme amacını taşıyor ve özgül bir dil geliştirme çabası içinde olan VR hikayelerinin başarıyı klasik anlatı sinemasından uzaklaşarak bulabileceği savunusunu gütmekte. VR henüz tam anlamı ile kuralları ve analiz metotları belirlenmiş bir araç değil. Bu kural belirsizliği, VR üzerine konuşulurken kendinden önceki araçlara sırt yaslanmasını gerektiriyor. Eldeki çalışma da benzer bir yöntem izlemekte ve atraksiyonlar sineması kavramından yararlanmakta. Çalışmanın, atraksiyonlar sinemasının betimlenmesi yoluyla bir literatür taramasına dayandığı söylenebilir. Bu literatürden elde edilen atraksiyonlar sinemasına ait tanımlardan VR hikayelerini e...

Past years have seen the exploitation of multimedia techniques and lately the introduction of virtual reality methods to create new forms of presentation for museums' exhibitions. Virtual Reality can offer a number of advantages to museums, offering a way to overcome some common problems like the lack of space or the need of visitors to interact with the exhibits. A broad categorisation of virtual museums reveals that they vary from fully immersive cave systems to simple multimedia presentations. In our approach to develop a virtual reality museum we have designed a virtual environment (VE) where guests can visit a total of ten different museums. The processes of digitisation, architectural design and exhibit presentation are outlined and points of particular importance are explained. Exhibits from the real world museums have been digitised and integrated in the VE. The system has been implemented in two versions: one fully immersive and one with a stereo display.

Virtual Reality (VR) appears a natural medium for three-dimensional computer supported collaborative work (CSCW). However the current trend in CSCW is to adapt the computer interface to work with the user's traditional tools, rather than separating the user from the real world as does immersive VR. One solution is through Augmented Reality, the overlaying of virtual objects on the real world. In this paper we describe the Shared Space concept—the application of Augmented Reality for three-dimensional CSCW. This combines the ...

The effects of field-of-view (FOV) in a virtual environment (VE) on presence, enjoyment, memory and simulator sickness (SS) were studied. A refined scale, designed to assess subjects' engagement, enjoyment and immersion (E2I), was developed. Items to examine subjects' memory of the VE were included. SS was examined using the Simulator Sickness Questionnaire (SSQ). Using a within-subjects design, data were collected from 10 subjects at four FOVs (60°, 100°, 140° and 180°). The VE, called "Crayolaland", was presented in a driving simulator. The results indicated that presence, enjoyment and SS varied as a function of the display FOV. Subjects exhibited higher SSQ and presence subscale scores with increasing FOV. SSQ and presence values approached asymptotes for FOVs beyond 140°. Presence and SS were positively correlated, while enjoyment and SS were negatively correlated

In virtual, augmented and mixed reality applications, the position and orientation of the participating people or objects is often needed. In most cases this problem is solved by using expensive-and not always that accurate-special-purpose hardware. We propose an alternative position and orientation tracking system that only uses cheap off-the-shelf components like cameras and LED ropes. The construction of the scene doesn't require any off-line calibration or absolute positioning, which makes it easy to build and indefinitely ...

Visual illusions have provided researchers with important insights into the rules of how the visual system interprets environmental information. In current models of lightness perception it has been suggested that 2D visual cues in a scene play a crucial role in lightness estimations. The role of depth cues was investigated in some studies, but the results were contradictory. Lately, the virtual reality (VR) techniques were applied successfully to investigate 3D visual perception. Using the CAVE system, we studied the strength of 3D visual illusions. We investigated the role of 3D articulated backgrounds in the perception of the simultaneous lightness contrast (SLC) illusion. The results showed that the illusion strength decreased for all 3D displays relative to the 2D articulated version. There were no significant differences between different types of 3D displays.

Mixed Realities (MR) and their concept of cyber-real space interplay invoke such interactive 'touching' experiences that promote new patterns of believability and presence. Believability is a term used to measure the realism of interaction in the MR environments. Presence is ...

Today, the digitisation of our environment has gained a strong presence in all areas of our daily life, including archaeology. The documentation of historical buildings or museum exhibits by means of high­resolution laser scans is a widespread practice that is not only researched by experts but also appreciated by the general public. Even the recording of destructive activities, such as archaeological excavations, begins to change slowly but steadily, and here too, three­dimensional surface recording using optical methods e.g. laser scanning or Image Based Modelling (IBM) is becoming increasingly popular. The additional benefits compared to the conventional 2D representations are obvious and not only serve the legally required documentation but are often also the starting point for further analyses or virtual reconstructions. But it is not only the digitisation of surfaces that is at the focus of this young discipline; in particular the further processing of the recorded data offers countless application possibilities. Since the documentation is no longer only two­dimensional, the analysis of the recorded surfaces is no longer bound to the plane 2D environment. Modern media such as Augmented Reality (AR) for our smartphones/tablets or Virtual Reality (VR) glasses have made their way into our everyday lives and the coming technical developments in the entertainment sector are hardly to be foreseen. But are these virtual visualisations really the future of ‘traditional’ archaeology? In this article, the current possibilities of virtual archaeology will be presented using examples from the open­air museum ‘Keltendorf Mit­terkirchen’ (Upper Austria).