Design of Digital Museum System Based on Optimized Virtual Reality Technology

Although China's cultural characteristics were diverse, its museum supply is limited. Traditional institutions would be unable to meet the people's needs for culture dissemination, historic preservation, cultural exchange, and science and research in history's era of the internet. By utilizing VR Technology in the field of furniture decorating, a new viewpoint and method for the development of a virtual museum are unveiled. Using optimum VR Technology in museum exhibition design based on the ideas of architecture, atmospheric art, light settings, coloring style, and ecological design, humans may be presented with natural and cultural heritages. The advancement of completely separate HTML text languages, QuickTime Virtual Reality innovation, Interactive Virtual Model-based Linguistic, three-dimensional (3D) applications, and data interaction systems for the exhibition has done result from an inquiry into virtual reality's history, definition, application, and present state. Ultimately, the planned work's effectiveness is analyzed and compared to other related projects to maximize its efficacy. Using the Origins software, the results of this study are shown

Toward an Aesthetics of New-Media Environments

In this paper I suggest that, over and above the need to explore and understand the technological newness of computer art works, there is a need to address the aesthetic significance of the changes and effects that such technological newness brings about, considering the whole environmental transaction pertaining to new media, including what they can or do offer and what users do or can do with such offerings, and how this whole package is integrated into our living spaces and activities. I argue that, given the primacy of computer-based interaction in the new-media, the notion of ‘ornamentality’ indicates the ground-floor aesthetics of new-media environments. I locate ornamentality not only in the logically constitutive principles of the new-media (hypertextuality and interactivity) but also in their multiform cultural embodiments (decoration as cultural interface). I utilize Kendall Walton’s theory of ornamentality in order to construe a puzzle pertaining to the ornamental erosion of information in new-media environments. I argue that insofar as we consider new-media to be conduits of ‘real-life’, the excessive density of ornamental devices prevalent in certain new-media environments forces us to conduct our inquiries under conditions of neustic uncertainty, that is, uncertainty concerning the kind of relationship that we, the users, have to the propositional content mediated. I conclude that this puzzle calls our attention to a peculiar interrogatory complexity inherent in any game of knowledge-seeking conducted across the infosphere, which is not restricted to the simplest form of data retrieval, especially in mixed-reality environments and when the knowledge sought is embodied mimetically

An epistolic contextualisation of an art practice that engages with temporality, memory and narrative in relation to a use of contemporary visual technologies

In this submission I intend to draw together the common threads of a use of narrative and of investigations using technologies, which underpinned a significant proportion of my professional artistic production. This is a selective and focused submission of works, which either share or inform an interconnection of narrative and technologies. The works referred to here have been published, exhibited or demonstrated both nationally and internationally. These are research activities that I have been consistently engaged with for the past thirty years

A Soulful Egg Can Break a Rock: A Case Study of a South Korean Social Movement Leader\u27s Rhetoric

This dissertation introduces and analyzes Ven. Hyemoon’s rhetoric emanating from his leadership of the civic group, the Committee for the Return of Korean Cultural Property in South Korea. On the surface, he seems focused on retrieving cultural artifacts, pillaged by the Japanese colonial invasion. His work, upon deeper analysis, emerges to be about regaining a Korean cultural and national identity that is historically grounded, civically engaged and morally reflective. This study is informed by multiple theories (i.e., framing, narrative, social semiotics, critical geography, rhetoric, and social movement) to examine aspects of a phenomenon in depth – involving nationalism, social movement, rhetoric, repatriation, colonialism, and cultural resources – that work together to dissect or dismantle the complex construction of meanings and processes of specific social movement rhetoric. The central focus is on the examination of Hyemoon’s discursive construction of what it means to be authentic Koreans within the context of South Korea situated within a post-colonial, post-cold war, and post-democratizing movement as well as within global capitalism. The primary focus is on how historical, cultural, and moral landscapes mediated by Korean cultural artifacts are constructed and represented to the public in Hyemoon’s rhetoric and performance. In particular, the ways in which Korean collective-identity landscapes are depicted by relating cultural artifacts to specific places in history is considered. Moreover, the study examines discursive and performative practices and strategies that Hyemoon has adopted and developed to construct and represent his message by using linguistic, visual, and other material signs and symbols. Each chapter explores Hyemoon’s discourse by adopting different theories and focusing on specific events. The study concludes that Hyemoon’s discourse and performance appeals to the Korean public, engaging this audience in associating particular cultural assets with experiential, historic, and social collective memory. Most importantly, he reframes the meaning of cultural artifacts while also searching for cultural assets in terms of morality and civic agency. By offering a new interpretive framework, this work also finds that Hyemoon’s activism is effective in specific historic, political contexts of South Korea, in particular during the extension of the previous democratization social movement that had become quiescent

Digital sculpting for historical representation: Neville tomb case study

Despite digital 3-D polygon modelling applications providing a common and powerful tool-set for archaeological, architectural and historical visualisation over recent years, the relatively recent developments in high-resolution sculpting software allow for the possibility to create digital outcomes with a degree of surface fidelity not previously obtainable from the more widely used poly-modelling software packages. Such digital sculpting applications are more commonly applied within the video games and TV/motion picture industries, the intention of this paper is to show how such tools and methodologies together with existing scanned data and some historical knowledge can remediate and re-imagine lost sculptural form. The intended research will focus on an examination and partial re-construction of the tomb of Sir John Neville, 3rd Baron Raby located at Durham Cathedral, County Durham UK

Digital but authentic? Defining the Authenticity of Two Church Interiors Reconstructed with Mixed Reality Technology

I denna artikel definierar jag begreppet autenticitet då det används för att bedöma trovärdigheten av rekonstruktioner av förflutna rum som baserar sig på blandad verklighet (mixed reality). Som exempel använder jag mig av två applikationer som har skapats vid Åbo universitet inom projekten Futuristic History och MIRACLE. En virtuell rekonstruktion av Helgeandskyrkan i Åbo visar, hur kyrkan kunde ha sett ut under slutet av 1500-talet och applikationen Sanan seppä, som utnyttjar förstärkt verklighet, inkluderar rekonstruerade interiörer och detaljer i Åbo domkyrka under reformationstiden. De båda applikationerna kombinerar den fysiska verkligheten och digitala element på sätt som förändrar existerande rum till rekonstruktioner av det förflutna. Jag presenterar olika sätt att definiera autenticitet och värderar hur de passar för dylika rekonstruktioner. Jag föreslår att autenticitet skulle förstås som en egenskap med gradvis variation. Ingenting borde ses som helt autentiskt eller helt icke-autentisk utan någonting däremellan. Dessutom anser jag det viktigt? att separera begreppen historisk autenticitet, dvs. ålder, och autenticitet baserat på motsvarighet med det förflutna. Det senare begreppet har ja delat vidare till autenticitet baserat på äkthet (genuineness) och autenticitet baserat på likhet med verkligheten (verisimilitude). I den sistnämnda kategorin består autenticitet av publikens upplevelser och i de andra av förbindelsen med historisk kunskap

Cinderella Collections come to the digital humanities ball

When the Cinderella Collections reports were released, in 1996 and 1998, 256 university museums and collections in Australia were identified as needing investment to aid in transforming research and teaching. Digitisation then was a functional extension of access to physical collections; however, 20 years on, a new paradigm for digitisation is emerging. This new paradigm is driven by strategic pragmatism and scholarly coherence through collaboration in digital scholarship, redefining collections “as data”, and in the use of new technologies and methodologies

Bulletin of the Massachusetts Archaeological Society, Vol. 77, No. 2

Editor\u27s Note (Curtiss Hoffman) A Quantitative Assessment of Stone Relics in a Western Massachusetts Town (Rolf Cachat-Schilling) The Braintree Cache (Scott F. Kostiw) Two Previously Unreported Biface Caches from Southeastern Massachusetts (William E. Moody) Caches or Offerings? Ceremonial Objects from the First Terrace of the Middleborough Little League Site (19-PL-520) (Curtiss Hoffman