Multimodal Perception of Auditoria: Influence of Auditory and Visual Factors on Preference

The enjoyment of a music performance is a multisensory experience, of which auditory and visual senses play the most important parts in conveying the content of the concerts. This thesis investigates the effects of and relationships between various auditory and visual factors on subjective preference, with an emphasis on the rarely-studied visual preference. The thesis includes four subjective evaluation experiments (all using head-mounted virtual reality display and headphones audio playback, 30 to 33 volunteers each) and one online survey (153 responses). The experimental method of virtual reality display and digital audio playback allows each factor to be individually controlled and tested, which was never possible with traditional methods, but still provides a reasonable sense of space and realism. Auditory factors considered in the thesis include sound pressure level and reverberation time, while visual factors include interior design colour, distance from the stage, lateral angle from the concert hall mid-plane, vertical angle from stage level, and visual obstruction. The effects of factors were studied using orthogonal control, and verified with realistic models and alternative methods with larger sample. Results include a prediction model that accounts for the effects and relationships of all investigated factors, and a practical tool for design/evaluation of auditorium seating layout

Perception of Absolute Distances Within Different Visualization Systems: HMD and CAVE

Many studies on distance perception in a virtual environment exist. Most of them were conducted using head-mounted displays (HMD) and less with large screen displays such as CAVE systems. In this paper, we propose to measure the accuracy of perceived distances in a virtual space ranging from 0 to 15 m in a CAVE system compared to an HMD. Eight subjects with different vision performances took part in an experiment. Results show that the HMD provides the best results for distances above 8 m while the CAVE provides the best results for close distances

FACING EXPERIENCE: A PAINTER’S CANVAS IN VIRTUAL REALITY

Full version unavailable due to 3rd party copyright restrictions.This research investigates how shifts in perception might be brought about through the development of visual imagery created by the use of virtual environment technology. Through a discussion of historical uses of immersion in art, this thesis will explore how immersion functions and why immersion has been a goal for artists throughout history. It begins with a discussion of ancient cave drawings and the relevance of Plato’s Allegory of the Cave. Next it examines the biological origins of “making special.” The research will discuss how this concept, combined with the ideas of “action” and “reaction,” has reinforced the view that art is fundamentally experiential rather than static. The research emphasizes how present-day virtual environment art, in providing a space that engages visitors in computer graphics, expands on previous immersive artistic practices. The thesis examines the technical context in which the research occurs by briefly describing the use of computer science technologies, the fundamentals of visual arts practices, and the importance of aesthetics in new media and provides a description of my artistic practice. The aim is to investigate how combining these approaches can enhance virtual environments as artworks. The computer science of virtual environments includes both hardware and software programming. The resultant virtual environment experiences are technologically dependent on the types of visual displays being used, including screens and monitors, and their subsequent viewing affordances. Virtual environments fill the field of view and can be experienced with a head mounted display (HMD) or a large screen display. The sense of immersion gained through the experience depends on how tracking devices and related peripheral devices are used to facilitate interaction. The thesis discusses visual arts practices with a focus on how illusions shift our cognition and perception in the visual modalities. This discussion includes how perceptual thinking is the foundation of art experiences, how analogies are the foundation of cognitive experiences and how the two intertwine in art experiences for virtual environments. An examination of the aesthetic strategies used by artists and new media critics are presented to discuss new media art. This thesis investigates the visual elements used in virtual environments and prescribes strategies for creating art for virtual environments. Methods constituting a unique virtual environment practice that focuses on visual analogies are discussed. The artistic practice that is discussed as the basis for this research also concentrates on experiential moments and shifts in perception and cognition and references Douglas Hofstadter, Rudolf Arnheim and John Dewey. iv Virtual environments provide for experiences in which the imagery generated updates in real time. Following an analysis of existing artwork and critical writing relative to the field, the process of inquiry has required the creation of artworks that involve tracking systems, projection displays, sound work, and an understanding of the importance of the visitor. In practice, the research has shown that the visitor should be seen as an interlocutor, interacting from a first-person perspective with virtual environment events, where avatars or other instrumental intermediaries, such as guns, vehicles, or menu systems, do not to occlude the view. The aesthetic outcomes of this research are the result of combining visual analogies, real time interactive animation, and operatic performance in immersive space. The environments designed in this research were informed initially by paintings created with imagery generated in a hypnopompic state or during the moments of transitioning from sleeping to waking. The drawings often emphasize emotional moments as caricatures and/or elements of the face as seen from a number of perspectives simultaneously, in the way of some cartoons, primitive artwork or Cubist imagery. In the imagery, the faces indicate situations, emotions and confrontations which can offer moments of humour and reflective exploration. At times, the faces usurp the space and stand in representation as both face and figure. The power of the placement of the caricatures in the paintings become apparent as the imagery stages the expressive moment. The placement of faces sets the scene, establishes relationships and promotes the honesty and emotions that develop over time as the paintings are scrutinized. The development process of creating virtual environment imagery starts with hand drawn sketches of characters, develops further as paintings on “digital canvas”, are built as animated, three-dimensional models and finally incorporated into a virtual environment. The imagery is generated while drawing, typically with paper and pencil, in a stream of consciousness during the hypnopompic state. This method became an aesthetic strategy for producing a snappy straightforward sketch. The sketches are explored further as they are worked up as paintings. During the painting process, the figures become fleshed out and their placement on the page, in essence brings them to life. These characters inhabit a world that I explore even further by building them into three dimensional models and placing them in computer generated virtual environments. The methodology of developing and placing the faces/figures became an operational strategy for building virtual environments. In order to open up the range of art virtual environments, and develop operational strategies for visitors’ experience, the characters and their facial features are used as navigational strategies, signposts and methods of wayfinding in order to sustain a stream of consciousness type of navigation. Faces and characters were designed to represent those intimate moments of self-reflection and confrontation that occur daily within ourselves and with others. They sought to reflect moments of wonderment, hurt, curiosity and humour that could subsequently be relinquished for more practical or purposeful endeavours. They were intended to create conditions in which visitors might reflect upon their emotional state, v enabling their understanding and trust of their personal space, in which decisions are made and the nature of world is determined. In order to extend the split-second, frozen moment of recognition that a painting affords, the caricatures and their scenes are given new dimensions as they become characters in a performative virtual reality. Emotables, distinct from avatars, are characters confronting visitors in the virtual environment to engage them in an interactive, stream of consciousness, non-linear dialogue. Visitors are also situated with a role in a virtual world, where they were required to adapt to the language of the environment in order to progress through the dynamics of a drama. The research showed that imagery created in a context of whimsy and fantasy could bring ontological meaning and aesthetic experience into the interactive environment, such that emotables or facially expressive computer graphic characters could be seen as another brushstroke in painting a world of virtual reality

A comparative analysis of two immersive virtual reality systems in the integration and visualization of natural hand interaction

It is generally accepted that the use of natural interaction provides a positive impact in Virtual Reality (VR) applications. Therefore, it is important to understand what is the best way to integrate and visualize this feature in VR. For this reason, this paper presents a comparative study of the integration of natural hand interaction in two immersive VR systems: a Cave Audio Visual Experience (CAVE) system –where users’ real hands are visible– and a non-see-through Head-Mounted Display (HMD) system –where only a virtual representation of the hands is possible–. In order to test the suitability of using this type of interaction in a CAVE and compare it to an HMD, we raise six research questions related to task performance, usability and perception differences regarding natural hand interaction with these two systems. To answer these questions, we designed an experiment where users have to complete a pick-and-place task with virtual balls and a text-typing task with virtual keyboards. In both systems, the same tracking technology, based on a Leap Motion device, was used. To the best of our knowledge this is the first academic work addressing a comparison of this type. Objective and subjective data were collected during the experiments. The results show that the HMD has a performance, preference and usability advantage over the CAVE with respect to the integration of natural hand interaction. Nevertheless, the results also show that the CAVE system can be, as well, successfully used in combination with an optical hand tracking device

Beyond Media Borders, Volume 2

This open access book promotes the idea that all media types are multimodal and that comparing media types, through an intermedial lens, necessarily involves analysing these multimodal traits. The collection includes a series of interconnected articles that illustrate and clarify how the concepts developed in Elleström’s influential article The Modalities of Media: A Model for Understanding Intermedial Relations (Palgrave Macmillan, 2010) can be used for methodical investigation and interpretation of media traits and media interrelations. The authors work with a wide range of old and new media types that are traditionally investigated through limited, media-specific concepts. The publication is a significant contribution to interdisciplinary research, advancing the frontiers of conceptual as well as practical understanding of media interrelations. This is the second of two volumes. It contains a concluding article by Elleström and seven contributions concentrated on the issue of media transformations: how media characteristics are transferred and transfigured among various media products and media types

Advances in Architectural Acoustics

Satisfactory acoustics is crucial for the ability of spaces such as auditoriums and lecture rooms to perform their primary function. The acoustics of dwellings and offices greatly affects the quality of our life, since we are all consciously or subconsciously aware of the sounds to which we are daily subjected. Architectural acoustics, which encompasses room and building acoustics, is the scientific field that deals with these topics and can be defined as the study of generation, propagation, and effects of sound in enclosures. Modeling techniques, as well as related acoustic theories for accurately calculating the sound field, have been the center of many major new developments. In addition, the image conveyed by a purely physical description of sound would be incomplete without regarding human perception; hence, the interrelation between objective stimuli and subjective sensations is a field of important investigations. A holistic approach in terms of research and practice is the optimum way for solving the perplexing problems which arise in the design or refurbishment of spaces, since current trends in contemporary architecture, such as transparency, openness, and preference for bare sound-reflecting surfaces are continuing pushing the very limits of functional acoustics. All the advances in architectural acoustics gathered in this Special Issue, we hope that inspire researchers and acousticians to explore new directions in this age of scientific convergence

The BIM process for the architectural heritage: New communication tools based on AR/VR Case study: Palazzo di Città

The present study aims at presenting the application of the Building Information Modeling methodology to the case study of Palazzo di Città, the Turin City Hall, investigating the possibilities of integration of new technologies in Cultural Heritage preservation and valorization. From the survey phase to the communication of the CH to end-users, BIM methodology, combined with the latest digital innovations (AR, VR, 3d Laser Scanner and much more), allows a fast and highly communicative representation of buildings to both professionals and common visitors who interact with the building life-cycle. An important objective of this work is moreover to demonstrate the advantages of adopting and integrating this technologies in Real Estate Management at a national scale, fully testing the adaptability of parametric software and Virtual Reality modeling to complex and highly decorated buildings, confirming the potentiality of BIM software upon an uncommon field: the historic buildings. The case study is in fact Palazzo di Città, the baroque, seventieth century City Hall of Turin. The research fully meets the latest directives of European Union and other International Organizations in the field of digitization of archives and Public Property management, participating to the international community effort to overcome the contemporary deep Construction Field crisis. In particular, the methodology has been focused and adapted to the protection and management of our huge Heritage, founding its objectives on the quest of cost-saving processes and instruments, applied to the management of a CH. Through BIM it is in fact possible to increase the communication and cooperation among all the actors involved in the building life-cycle behaving as a common working platform. Draws, 3D model and database are shared by all the actors and integrated in the same digital structure, where control tools and cooperation can prevent the designers from errors, saving time and money in the construction phase. The particularity of the case study, Palazzo di Città, being contemporarily a CH, a public asset and a working space, allows a deep study of the possibilities of BIM applied to a complex building, touching very important aspects of a historic building management: digitization of the historic information, publication of modeling techniques of complex architectonical elements, transformations reconstruction, energy consumption control, Facility Management, dissemination, virtual reconstructions of the lost appearance and accessibility for people with sensory and motor impairments. Moreover, the last chapters of the study focus on the fruition of this paramount Turin CH, making available for all kind of people interesting and not well known aspects of the history of the building and of the city itself. This part of the research suggests a methodology to translate static 2d images and written descriptions of a CH into living and immersive VR environment, presenting in an interactive way the transformation of the Marble Hall, once called Aula Maior: the room where the Mayor meets his citizens. Besides the aspects related to the valorization and preservation of the CH, the study reserves considerable space to the deepening of technical aspects involving advanced parametric modeling techniques, use of BIM software and all the vital procedures necessary to the generation of an efficient management informative platform. The whole work is intended as a guide for future works, structuring a replicable protocol to achieve an efficient digitization of papery resources into a 3d virtual model

Attendance and Public Participation in the Performing Arts: A Review of the Empirical Literature

While audience and participation surveys, as well as econometric demand studies, generally confirm that performing arts audiences are relatively elite, there are surprises. Education (despite conflicting causal interpretations) is a stronger determinant than income, but that evidence is more reliable from survey results than from econometric estimation, and arts training is often distinguished from formal education. The arts as luxury goods can only be confirmed by those rare studies controlling for the value of time, and price elasticities are often higher than expected, especially when more disaggregated data are examined. Price inelastic demand is more likely the result of low pricing strategies of non-profit arts managements rather than any inherent result of an acquired taste for the arts, while cross-price elasticity evidence is relatively weak, even within the performing arts. Arts demand cannot adequately be estimated without also considering "life-style" variables, or non-standard socioeconomic factors such as sexual orientation, gender and socialization processes, and even the role of age has been notably complex. Quality of arts performance or organization seems important, but the econometric results are mixed. Habit formation must be distinguished from learning-by-consuming and rational addiction in examining dynamic determinants. Sociologists, psychologists, and marketing specialists, as well as economists, have contributed to this literature, which remains unusually enigmatic despite about forty years of increasingly sophisticated analysis. Working Paper 06-2

METROPOLITAN ENCHANTMENT AND DISENCHANTMENT. METROPOLITAN ANTHROPOLOGY FOR THE CONTEMPORARY LIVING MAP CONSTRUCTION

We can no longer interpret the contemporary metropolis as we did in the last century. The thought of civil economy regarding the contemporary Metropolis conflicts more or less radically with the merely acquisitive dimension of the behaviour of its citizens. What is needed is therefore a new capacity for imagining the economic-productive future of the city: hybrid social enterprises, economically sustainable, structured and capable of using technologies, could be a solution for producing value and distributing it fairly and inclusively. Metropolitan Urbanity is another issue to establish. Metropolis needs new spaces where inclusion can occur, and where a repository of the imagery can be recreated. What is the ontology behind the technique of metropolitan planning and management, its vision and its symbols? Competitiveness, speed, and meritocracy are political words, not technical ones. Metropolitan Urbanity is the characteristic of a polis that expresses itself in its public places. Today, however, public places are private ones that are destined for public use. The Common Good has always had a space of representation in the city, which was the public space. Today, the Green-Grey Infrastructure is the metropolitan city's monument that communicates a value for future generations and must therefore be recognised and imagined; it is the production of the metropolitan symbolic imagery, the new magic of the city