36 research outputs found

    Augmented Reality for Restoration/Reconstruction of Artefacts with Artistic or Historical Value

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    The artistic or historical value of a structure, such as a monument, a mosaic, a painting or, generally speaking, an artefact, arises from the novelty and the development it represents in a certain field and in a certain time of the human activity. The more faithfully the structure preserves its original status, the greater its artistic and historical value is. For this reason it is fundamental to preserve its original condition, maintaining it as genuine as possible over the time. Nevertheless the preservation of a structure cannot be always possible (for traumatic events as wars can occur), or has not always been realized, simply for negligence, incompetence, or even guilty unwillingness. So, unfortunately, nowadays the status of a not irrelevant number of such structures can range from bad to even catastrophic. In such a frame the current technology furnishes a fundamental help for reconstruction/restoration purposes, so to bring back a structure to its original historical value and condition. Among the modern facilities, new possibilities arise from the Augmented Reality (AR) tools, which combine the virtual reality (VR) settings with real physical materials and instruments. The idea is to realize a virtual reconstruction/restoration before materially acting on the structure itself. In this way main advantages are obtained among which: the manpower and machine power are utilized only in the last phase of the reconstruction; potential damages/abrasions of some parts of the structure are avoided during the cataloguing phase; it is possible to precisely define the forms and dimensions of the eventually missing pieces, etc. Actually the virtual reconstruction/restoration can be even improved taking advantages of the AR, which furnish lots of added informative parameters, which can be even fundamental under specific circumstances. So we want here detail the AR application to restore and reconstruct the structures with artistic and/or historical valu

    Immersive design engineering

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    Design Engineering is an innovative field that usually combines a number of disciplines, such as material science, mechanics, electronics, and/or biochemistry, etc. New immersive technologies, such as Virtual Reality (VR) and Augmented Reality (AR), are currently in the process of being widely adapted in various engineering fields. It is a proven fact that the modeling of spatial structures is supported by immersive exploration. But the field of Design Engineering reaches beyond standard engineering tasks. With this review paper we want to achieve the following: define the term “Immersive Design Engineering”, discuss a number of recent immersive technologies in this context, and provide an inspiring overview of work that belongs to, or is related to the field of Immersive Design Engineering. Finally, the paper concludes with definitions of research questions as well as a number of suggestions for future developments

    Virtual Reality

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    At present, the virtual reality has impact on information organization and management and even changes design principle of information systems, which will make it adapt to application requirements. The book aims to provide a broader perspective of virtual reality on development and application. First part of the book is named as "virtual reality visualization and vision" and includes new developments in virtual reality visualization of 3D scenarios, virtual reality and vision, high fidelity immersive virtual reality included tracking, rendering and display subsystems. The second part named as "virtual reality in robot technology" brings forth applications of virtual reality in remote rehabilitation robot-based rehabilitation evaluation method and multi-legged robot adaptive walking in unstructured terrains. The third part, named as "industrial and construction applications" is about the product design, space industry, building information modeling, construction and maintenance by virtual reality, and so on. And the last part, which is named as "culture and life of human" describes applications of culture life and multimedia-technology

    Direct Manipulation Of Virtual Objects

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    Interacting with a Virtual Environment (VE) generally requires the user to correctly perceive the relative position and orientation of virtual objects. For applications requiring interaction in personal space, the user may also need to accurately judge the position of the virtual object relative to that of a real object, for example, a virtual button and the user\u27s real hand. This is difficult since VEs generally only provide a subset of the cues experienced in the real world. Complicating matters further, VEs presented by currently available visual displays may be inaccurate or distorted due to technological limitations. Fundamental physiological and psychological aspects of vision as they pertain to the task of object manipulation were thoroughly reviewed. Other sensory modalities--proprioception, haptics, and audition--and their cross-interactions with each other and with vision are briefly discussed. Visual display technologies, the primary component of any VE, were canvassed and compared. Current applications and research were gathered and categorized by different VE types and object interaction techniques. While object interaction research abounds in the literature, pockets of research gaps remain. Direct, dexterous, manual interaction with virtual objects in Mixed Reality (MR), where the real, seen hand accurately and effectively interacts with virtual objects, has not yet been fully quantified. An experimental test bed was designed to provide the highest accuracy attainable for salient visual cues in personal space. Optical alignment and user calibration were carefully performed. The test bed accommodated the full continuum of VE types and sensory modalities for comprehensive comparison studies. Experimental designs included two sets, each measuring depth perception and object interaction. The first set addressed the extreme end points of the Reality-Virtuality (R-V) continuum--Immersive Virtual Environment (IVE) and Reality Environment (RE). This validated, linked, and extended several previous research findings, using one common test bed and participant pool. The results provided a proven method and solid reference points for further research. The second set of experiments leveraged the first to explore the full R-V spectrum and included additional, relevant sensory modalities. It consisted of two full-factorial experiments providing for rich data and key insights into the effect of each type of environment and each modality on accuracy and timeliness of virtual object interaction. The empirical results clearly showed that mean depth perception error in personal space was less than four millimeters whether the stimuli presented were real, virtual, or mixed. Likewise, mean error for the simple task of pushing a button was less than four millimeters whether the button was real or virtual. Mean task completion time was less than one second. Key to the high accuracy and quick task performance time observed was the correct presentation of the visual cues, including occlusion, stereoscopy, accommodation, and convergence. With performance results already near optimal level with accurate visual cues presented, adding proprioception, audio, and haptic cues did not significantly improve performance. Recommendations for future research include enhancement of the visual display and further experiments with more complex tasks and additional control variables

    Proceedings of the Second PHANToM Users Group Workshop : October 19-22, 1997 : Endicott House, Dedham, MA, Massachusetts Institute of Technology, Cambridge, MA

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    "December, 1997." Cover title.Includes bibliographical references.Sponsored by SensAble Technologies, Inc., Cambridge, MA."[edited by J. Kennedy Salisbury and Mandayam A. Srinivasan]

    Augmented Reality

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    Augmented Reality (AR) is a natural development from virtual reality (VR), which was developed several decades earlier. AR complements VR in many ways. Due to the advantages of the user being able to see both the real and virtual objects simultaneously, AR is far more intuitive, but it's not completely detached from human factors and other restrictions. AR doesn't consume as much time and effort in the applications because it's not required to construct the entire virtual scene and the environment. In this book, several new and emerging application areas of AR are presented and divided into three sections. The first section contains applications in outdoor and mobile AR, such as construction, restoration, security and surveillance. The second section deals with AR in medical, biological, and human bodies. The third and final section contains a number of new and useful applications in daily living and learning

    3-D Interfaces for Spatial Construction

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    It is becoming increasingly easy to bring the body directly to digital form via stereoscopic immersive displays and tracked input devices. Is this space a viable one in which to construct 3d objects? Interfaces built upon two-dimensional displays and 2d input devices are the current standard for spatial construction, yet 3d interfaces, where the dimensionality of the interactive space matches that of the design space, have something unique to offer. This work increases the richness of 3d interfaces by bringing several new tools into the picture: the hand is used directly to trace surfaces; tangible tongs grab, stretch, and rotate shapes; a handle becomes a lightsaber and a tool for dropping simple objects; and a raygun, analagous to the mouse, is used to select distant things. With these tools, a richer 3d interface is constructed in which a variety of objects are created by novice users with relative ease. What we see is a space, not exactly like the traditional 2d computer, but rather one in which a distinct and different set of operations is easy and natural. Design studies, complemented by user studies, explore the larger space of three-dimensional input possibilities. The target applications are spatial arrangement, freeform shape construction, and molecular design. New possibilities for spatial construction develop alongside particular nuances of input devices and the interactions they support. Task-specific tangible controllers provide a cultural affordance which links input devices to deep histories of tool use, enhancing intuition and affective connection within an interface. On a more practical, but still emotional level, these input devices frame kinesthetic space, resulting in high-bandwidth interactions where large amounts of data can be comfortably and quickly communicated. A crucial issue with this interface approach is the tension between specific and generic input devices. Generic devices are the tradition in computing -- versatile, remappable, frequently bereft of culture or relevance to the task at hand. Specific interfaces are an emerging trend -- customized, culturally rich, to date these systems have been tightly linked to a single application, limiting their widespread use. The theoretical heart of this thesis, and its chief contribution to interface research at large is an approach to customization. Instead of matching an application domain's data, each new input device supports a functional class. The spatial construction task is split into four types of manipulation: grabbing, pointing, holding, and rubbing. Each of these action classes spans the space of spatial construction, allowing a single tool to be used in many settings without losing the unique strengths of its specific form. Outside of 3d interface, outside of spatial construction, this approach strikes a balance between generic and specific suitable for many interface scenarios. In practice, these specific function groups are given versatility via a quick remapping technique which allows one physical tool to perform many digital tasks. For example, the handle can be quickly remapped from a lightsaber that cuts shapes to tools that place simple platonic solids, erase portions of objects, and draw double-helices in space. The contributions of this work lie both in a theoretical model of spatial interaction, and input devices (combined with new interactions) which illustrate the efficacy of this philosophy. This research brings the new results of Tangible User Interface to the field of Virtual Reality. We find a space, in and around the hand, where full-fledged haptics are not necessary for users physically connect with digital form.</p

    Virtual Heritage: new technologies for edutainment

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    Cultural heritage represents an enormous amount of information and knowledge. Accessing this treasure chest allows not only to discover the legacy of physical and intangible attributes of the past but also to provide a better understanding of the present. Museums and cultural institutions have to face the problem of providing access to and communicating these cultural contents to a wide and assorted audience, meeting the expectations and interests of the reference end-users and relying on the most appropriate tools available. Given the large amount of existing tangible and intangible heritage, artistic, historical and cultural contents, what can be done to preserve and properly disseminate their heritage significance? How can these items be disseminated in the proper way to the public, taking into account their enormous heterogeneity? Answering this question requires to deal as well with another aspect of the problem: the evolution of culture, literacy and society during the last decades of 20th century. To reflect such transformations, this period witnessed a shift in the museum’s focus from the aesthetic value of museum artifacts to the historical and artistic information they encompass, and a change into the museums’ role from a mere "container" of cultural objects to a "narrative space" able to explain, describe, and revive the historical material in order to attract and entertain visitors. These developments require creating novel exhibits, able to tell stories about the objects and enabling visitors to construct semantic meanings around them. The objective that museums presently pursue is reflected by the concept of Edutainment, Education + Entertainment. Nowadays, visitors are not satisfied with ‘learning something’, but would rather engage in an ‘experience of learning’, or ‘learning for fun’, being active actors and players in their own cultural experience. As a result, institutions are faced with several new problems, like the need to communicate with people from different age groups and different cultural backgrounds, the change in people attitude due to the massive and unexpected diffusion of technology into everyday life, the need to design the visit by a personal point of view, leading to a high level of customization that allows visitors to shape their path according to their characteristics and interests. In order to cope with these issues, I investigated several approaches. In particular, I focused on Virtual Learning Environments (VLE): real-time interactive virtual environments where visitors can experience a journey through time and space, being immersed into the original historical, cultural and artistic context of the work of arts on display. VLE can strongly help archivists and exhibit designers, allowing to create new interesting and captivating ways to present cultural materials. In this dissertation I will tackle many of the different dimensions related to the creation of a cultural virtual experience. During my research project, the entire pipeline involved into the development and deployment of VLE has been investigated. The approach followed was to analyze in details the main sub-problems to face, in order to better focus on specific issues. Therefore, I first analyzed different approaches to an effective recreation of the historical and cultural context of heritage contents, which is ultimately aimed at an effective transfer of knowledge to the end-users. In particular, I identified the enhancement of the users’ sense of presence in VLE as one of the main tools to reach this objective. Presence is generally expressed as the perception of 'being there', i.e. the subjective belief of users that they are in a certain place, even if they know that the experience is mediated by the computer. Presence is related to the number of senses involved by the VLE and to the quality of the sensorial stimuli. But in a cultural scenario, this is not sufficient as the cultural presence plays a relevant role. Cultural presence is not just a feeling of 'being there' but of being - not only physically, but also socially, culturally - 'there and then'. In other words, the VLE must be able to transfer not only the appearance, but also all the significance and characteristics of the context that makes it a place and both the environment and the context become tools capable of transferring the cultural significance of a historic place. The attention that users pay to the mediated environment is another aspect that contributes to presence. Attention is related to users’ focalization and concentration and to their interests. Thus, in order to improve the involvement and capture the attention of users, I investigated in my work the adoption of narratives and storytelling experiences, which can help people making sense of history and culture, and of gamification approaches, which explore the use of game thinking and game mechanics in cultural contexts, thus engaging users while disseminating cultural contents and, why not?, letting them have fun during this process. Another dimension related to the effectiveness of any VLE is also the quality of the user experience (UX). User interaction, with both the virtual environment and its digital contents, is one of the main elements affecting UX. With respect to this I focused on one of the most recent and promising approaches: the natural interaction, which is based on the idea that persons need to interact with technology in the same way they are used to interact with the real world in everyday life. Then, I focused on the problem of presenting, displaying and communicating contents. VLE represent an ideal presentation layer, being multiplatform hypermedia applications where users are free to interact with the virtual reconstructions by choosing their own visiting path. Cultural items, embedded into the environment, can be accessed by users according to their own curiosity and interests, with the support of narrative structures, which can guide them through the exploration of the virtual spaces, and conceptual maps, which help building meaningful connections between cultural items. Thus, VLE environments can even be seen as visual interfaces to DBs of cultural contents. Users can navigate the VE as if they were browsing the DB contents, exploiting both text-based queries and visual-based queries, provided by the re-contextualization of the objects into their original spaces, whose virtual exploration can provide new insights on specific elements and improve the awareness of relationships between objects in the database. Finally, I have explored the mobile dimension, which became absolutely relevant in the last period. Nowadays, off-the-shelf consumer devices as smartphones and tablets guarantees amazing computing capabilities, support for rich multimedia contents, geo-localization and high network bandwidth. Thus, mobile devices can support users in mobility and detect the user context, thus allowing to develop a plethora of location-based services, from way-finding to the contextualized communication of cultural contents, aimed at providing a meaningful exploration of exhibits and cultural or tourist sites according to visitors’ personal interest and curiosity
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