A web-based approach to image-based lighting using high dynamic range images and QuickTime object virtual reality

This thesis presents a web-based approach to lighting three-dimensional geometry in a virtual scene. The use of High Dynamic Range (HDR) images for the lighting model makes it possible to convey a greater sense of photorealism than can be provided with a conventional computer generated three-point lighting setup. The use of QuickTime ™ Object Virtual Reality to display the three-dimensional geometry offers a sophisticated user experience and a convenient method for viewing virtual objects over the web. With this work, I generate original High Dynamic Range images for the purpose of image-based lighting and use the QuickTime ™ Object Virtual Reality framework to creatively alter the paradigm of object VR for use in object lighting. The result is two scenarios: one that allows for the virtual manipulation of an object within a lit scene, and another with the virtual manipulation of light around a static object. Future work might include the animation of High Dynamic Range image-based lighting, with emphasis on such features as depth of field and glare generation

Gaining resolution when creating imagery of aging

In seeking to support healthy aging, designers have struggled to reduce their assumptions and biases toward older adults, been seen to interpret the worlds of later life through unfiltered imagery, as well as engage with stigmas, ultimately diminishing the technologies they construct. This article seeks to critically analyse this state-of-the-art from a design research perspective while engaging with the growing interdisciplinary study of aging and technologies. Toward this, we proposition “resolution” as a concept indicative of the level of detail that seeks to characterize the fidelity that representations of later life have. This concept is explored through a cultural probe study that investigated the sentiments of several older Australians regarding the inequities and social isolation brought on by the COVID-19 pandemic. Providing a diary alongside photovoice and mapping tasks, the study captured perceptions of social technology, practices, networks, and wellbeing, offering a diverse and complex picture of aging and technology. Through reflexive thematic analyses of some of these materials, this case study offers designers pathways to understanding and including older adults in their work. In determining the resolution of these images of aging, we discuss how transparency about the limitations and qualities of such participatory methods through incorporating reflexivity can influence the degree of detail such imagery gains. Ultimately this concept builds on the notion of participation configuration, supporting designers to realize better images of aging and representations of later life

Reprocessing interference : an artistic exploration of the visual material generated by interference

Includes bibliographical references (leaves 45-47).My body of work is concerned with the constructed promise of telecommunication - that is, the promise to connect people all over the world via telephone lines, computer networks and, most recently, satellite signals. The development of and access to networked systems has brought about this "utopian promise" (Mitchell 2005: 305), an ideal of instant connectivity that allows a user to be in contact with others through technological devices over vast distances. Connectivity supposedly enables users to develop and sustain relationships on the Internet. However, the question arises whether telecommunication technologies are living up to their promise. My title, Reprocessing Inte/ference: An artistic exploration of the visual material generated by inte/terence, refers to the concepts pertaining to this promise and also to the failure of the promise, focusing on the notions of distance and interference. It further encapsulates my working method, a process of degrading and filtering both my own and found footage

Virtual Reality and Choreographic Practice:The Potential for New Creative Methods

Virtual reality (VR) is becoming an increasingly intriguing space for dancers and choreographers. Choreographers may find new possibility emerging in using virtual reality to create movement and the WhoLoDancE: Whole-Body Interaction Learning for Dance Education project is developing tools to assist in this process. The interdisciplinary team which includes dancers, choreographers, educators, artists, coders, technologists and system architects have collaborated in engaging, discussing, analysing, testing and working with end-users to help with thinking about the issues that emerge in the creation of these tools. The paper sets out to explore the creative potential of VR in the context of WhoLoDancE and how this may offer new insights for the choreographer and dancer. We pay attention to the virtual environment, the virtual performance and the virtual dancer as some of the key components for equipping the choreographer to use in the creating process and to inform the dancing body. The cyclical process of live body to virtual, back to the dancing body as a choreographic device is an innovative way to approach practice. This approach may lead to new insights and innovations in choreographic methods that may extend beyond the project and ultimately take dance performance in a new direction

Understanding aesthetics in a virtual environment performance. A

The virtual performance is a form of art that simultaneously develops with information technology, as IT provides the flexibility to develop sophisticated design Systems for the artist. Moreover, the intrinsic relationship between art and technology is apparent from the concluding research results. This research aimed to investigate the aesthetical value of VEs performances. The purpose of the study was to confront the location of aesthe tics in VEs. The qualitative method was employed due to the attempt to control the investigated objective. Literature review was employed due to the necessity to understand the VEs aesthetic phenomena in their entirely for developing a complete picture of the research field. Case studies and observation were mainly used because of the type of research conducted. The resulting findings were taken into consideration or rejected through interviews with creators of virtual performances. The research took place in three stages. The first step was to determine the research aims and objectives. The second, was to design the research plan which was divided along three basic axes. The first refers to the historical review and development of visual arts in order to determine the characteristics of the investigated art form. The second axis was the comprehension of the aesthetics that are produced via the determined characteristics. More specifically, these are interactivity, the interrupted flow of information and the audience participation. The third stage was the attempt to identify the elements that characterise a virtual performance. How the artist can handle the interactive element and- create conditions of immersion for his audience. The manifesto of virtual performances was created through the course of research and the analysis of the findings that belong to the third stage, which also includes the data analysis. Another element that also emerged was of the audience's interaction with the performance's development. This element, is in itself a product of aesthetics that has a great influence on the progression pf the thought processes of the audiences that interact with a virtual performance. The creator requires a spectator that is an active participant in order to develop the performance's plot. This does not indicate that the creator can manipulate the audience as a tool because each spectator has his own thoughts and critical evaluations. The spectator simply handles and combines according to his choices the elements that the artist offers so that he can project and co-create the performance's plot. The more the spectator experiences virtual performances through his interaction, the more lie will gain knowledge and freedom which will result in virtual performances to offer a larger selection and more powerful experiences. Besides, this art form is still in its embryonic stage and its maturity promises even greater developments

Application of Augmented Reality to Replicate Couples Sit in Wedding Ceremony

In Indonesia, the bride and groom do pre-wedding photos like a tradition before marriage with couple sit in wedding ceremony. The splendor of the wedding ceremony made many vendors interested in running a wedding party business. These vendors provide services and goods related to wedding parties, such as wedding organizers, bridal, party decorations (couples sit in of wedding ceremony), as well as photo and video documentation. To give more virtual wedding nuance experience to customer, augmented reality was applied. This research develop application of augmented applying to replicate couples sit in of wedding ceremony. Augmented reality (AR) technology adopted to promote couples sit in of wedding ceremony. Moreover, combines wedding ceremony nuance and augmented reality make consumers who want to find 3D wedding background desired

The Digital Puppetmaster

The purpose of “The Digital Puppetmaster” is to provide a means of awareness and a suggestion of mindset for members of the digital age. The digital medium has come to define society and establish its existence as an increasingly omnipresent one. Fundamentally, the digital medium is a sandbox for creating worlds that transcend the limitations of real life. Given the unlimited potential of the digital medium, it becomes apparent that it is easy to show what people want to see and hide what they do not. I aim to bring to light and uncover the realities of the digital medium and how the larger powers that control it take advantage of society. Society at large perpetuates a dangerous mentality of blindly trusting technology and believing that it has their best intentions in mind. I make the case that the ones who control the digital world are the ones who created ground zero for this way of thinking

Camera Creatures: Rhetorics of Light and Emerging Media

Camera Creatures addresses the new media landscape in which cameras, in most situations, outnumber pens. The dissertation argues that despite the accessibility and power of imagemaking devices, there persists in the humanities and social sciences a hesitation to engage the possibilities for composing with optical media. A number of factors contributing to this trend are addressed, including the preference for image analysis over imagemaking practices, persistent assumptions of the camera\u27s mechanical objectivity, and a tendency to teach visual invention as collage. As a counter-measure, a proposal is made for investment in the mediation of light, or \u27photonic rhetorics.\u27 To explore these effects in visual communication and the possibility of bringing them into practice, three emerging camera technologies are examined. The first, the photo app, focuses on the controversy surrounding embedded journalists who use social networks and the Hipstamatic camera phone application to relay stories of U.S. Marines deployed in Afghanistan. The chapter argues that the filters and shooting styles of these mobile apps encourage fluencies in the persuasive effects of light. The second camera technology, the video clip, addresses the long take as the predominant technique of everyday video-making. Film theory, video sharing trends, and circadian science contribute to a discussion of the rhythms of long-take shooting and its capability to expose both visual habits and the contingencies capable of disrupting them. The third site turns to video game \u27shooters\u27 and the virtual camera\u27s construction of \u27surrogate vision,\u27 which the author argues is a critical tool for understanding the future of mediated interactivity in both physical and digital landscapes. The dissertation concludes with a pedagogical section devoted to conscientious cheating. Alongside theories of deliberate practice, \u27cheating\u27 is repurposed for education, offering new ways of testing the \u27rules\u27 of optical composition while discovering opportunities to intervene in light\u27s constant mediation of perception