Virtual Institutes: Between Immersion and Communication

In the two expressions "virtual reality" and "virtual community", the term "virtual" has different meanings. A virtual reality is a depiction or, more generally speaking, a sensuous representation of reality that allows - mainly by means of interactivity - to experience various features of reality without actually being in contact with the reality depicted. Therefore, any interactive depiction that is able to imitate reality to such an extent that a high degree of sensory-motor immersion becomes possible is called a virtual reality (Heim 1998, 6f). Since reality is always much more complex than its depiction and full of unpredictable surprises, hardly ever a user has doubts about the difference between the depiction and the thing depicted. Nevertheless, there are good reasons for preferring the imitation to the reality: at least, the imitation is usually not as dangerous as reality sometimes turns out to be. Accordingly, quite different platforms for virtual institutes may be used emphasizing either the immersion aspect or the communication aspect. The decision for a platform depends on the goals pursued with the institute: text-based chat systems allow virtual communities to flourish, single-user VRML scenes convey a highly immersive 3D impression to its users. This is particularly true for virtual institutes realized as a 3D environment, as well as for corresponding virtual communities since 3D environments are adequate for certain tasks only. As an overall framework for the evaluation it is helpful to distinguish three major application areas: research, presentation, and communicative work. The Virtual Institute for Image Science (VIB), which we would like to describe in the following (3) as a case study, is almost exclusively designed for the third task: communicative working. It intends to provide a working space persons can share for joint projects despite being physically separated. Before describing the VIB in more detail we would like to give an overview of virtual institutes between the poles of realistic immersion and of communication in a community (2). The discussion of the case study leads to some more general considerations about the balance virtual institutes must find along that bi-polar dimension (4). In the concluding remarks we focus on the technical tools for virtual communities in 3D presently available

Updating the art history curriculum: incorporating virtual and augmented reality technologies to improve interactivity and engagement

Master's Project (M.Ed.) University of Alaska Fairbanks, 2017This project investigates how the art history curricula in higher education can borrow from and incorporate emerging technologies currently being used in art museums. Many art museums are using augmented reality and virtual reality technologies to transform their visitors' experiences into experiences that are interactive and engaging. Art museums have historically offered static visitor experiences, which have been mirrored in the study of art. This project explores the current state of the art history classroom in higher education, which is historically a teacher-centered learning environment and the learning effects of that environment. The project then looks at how art museums are creating visitor-centered learning environments; specifically looking at how they are using reality technologies (virtual and augmented) to transition into digitally interactive learning environments that support various learning theories. Lastly, the project examines the learning benefits of such tools to see what could (and should) be implemented into the art history curricula at the higher education level and provides a sample section of a curriculum demonstrating what that implementation could look like. Art and art history are a crucial part of our culture and being able to successfully engage with it and learn from it enables the spread of our culture through digital means and of digital culture

Virtual reality in theatre education and design practice - new developments and applications

The global use of Information and Communication Technologies (ICTs) has already established new approaches to theatre education and research, shifting traditional methods of knowledge delivery towards a more visually enhanced experience, which is especially important for teaching scenography. In this paper, I examine the role of multimedia within the field of theatre studies, with particular focus on the theory and practice of theatre design and education. I discuss various IT applications that have transformed the way we experience, learn and co-create our cultural heritage. I explore a suite of rapidly developing communication and computer-visualization techniques that enable reciprocal exchange between students, theatre performances and artefacts. Eventually, I analyse novel technology-mediated teaching techniques that attempt to provide a new media platform for visually enhanced information transfer. My findings indicate that the recent developments in the personalization of knowledge delivery, and also in student-centred study and e-learning, necessitate the transformation of the learners from passive consumers of digital products to active and creative participants in the learning experience

Five dimensions in the communication of design intent

Industries which utilize Computer Aided Design, (CAD), are in a similar situation to the film industry, where the use of Computer Graphics, (CG), has reached such a level of reality that audiences often do not spot where CG has been used. This has resulted in a general attitude among critics of: “CG is what you expect in a film, but what we often lack is a decent plot”. Over a similar period, CAD software has become a powerful tool with proficient users, whilst the marketplace for such services now takes such facilities for granted. The ‘wow factor’ has faded. The special effects used in films has contributed to this dulling of presentation impact, which leads us to question where we stand in relation to a competitive edge, with the realization that: “CAD is what you expect from a firm, but what we often lack is clear intent.” The questioning of competitive edge draws us into some complex issues, concerning the reduction of compromise for design intent, where priorities fight for first place. There is no disputing the importance of time to market, yet the time compression technologies may no longer be providing a sufficient cutting edge. Even if new technologies facilitate even shorter lead-times we will always face the threat of a time management trap and potential loss of design quality. As a high-risk strategy for competitive advantage, contractual agreements for specified short lead-time deliveries, in some cases with penalty clauses written in, have established an expectation among the client base. Such a strategy leads us to effectively burn our bridges, in sacrificing margins for schedule 3 slippage and error compensation, leaving us nowhere to go but back. With such a lean approach to product development we have to improve our focus on the plot and its intent for design quality. The more investment we make at the front end, to enable the decision making process, the more likely we are to avoid pain at the back-end. Presently, decisions are made on a resource of available quality and quantity of data, using a perspective which is based on the experience, tacit knowledge and intuition of those involved. Whilst intuition is a good starting point or fall-back, as with tacit knowledge, it often proves difficult to substantiate. Background experience is the most valuable asset here but proves ineffectual when faced with low quality data, either through ambiguity, error or lack of substance. The improvement of quality standards require that we look closely at the production and presentation of data in the context of decision making and establish a process by which quality decisions can be made quickly and efficiently. This paper focuses on the process of communication between designers and their colleagues and clients, concerning the presentation of CAD models, from a cognitive perspective. It first establishes a context for individual differences in the management of auditory and visual information for decision making. This is followed by a discussion of five approaches to the communication of design intent and concludes with a checklist, to aid selection of an effective approach to communication

Digital communities: context for leading learning into the future?

In 2011, a robust, on-campus, three-element Community of Practice model consisting of growing community, sharing of practice and building domain knowledge was piloted in a digital learning environment. An interim evaluation of the pilot study revealed that the three-element framework, when used in a digital environment, required a fourth element. This element, which appears to happen incidentally in the face-to-face context, is that of reflecting, reporting and revising. This paper outlines the extension of the pilot study to the national tertiary education context in order to explore the implications for the design, leadership roles, and selection of appropriate technologies to support and sustain digital communities using the four-element model

But a walking shadow: designing, performing and learning on the virtual stage

Representing elements of reality within a medium, or taking aspects from one medium and placing them in another is an act of remediation. The process of this act, however, is largely taken for granted. Despite the fact that available information enables a qualitative assessment of the history of multimedia and their influences on different fields of knowledge, there are still some areas that require more focused research attention. For example, the relationship between media evolution and new developments in scenographic practice is currently under investigation. This article explores the issue of immediacy as a condition of modern theatre in the context of digital reality. It discusses the opportunities and challenges that recent technologies present to contemporary practitioners and theatre design educators, creating a lot of scope to break with conventions. Here, we present two case studies that look into technology-mediated learning about scenography through the employment of novel computer visualization techniques. The first case study is concerned with new ways of researching and learning about theatre through creative exploration of design artefacts. The second case study investigates the role of the Immersive Virtual World Second Life™ (SL) in effective teaching of scenography, and in creating and experiencing theatrical performances

Education Unleashed: Participatory Culture, Education, and Innovation in Second Life

Part of the Volume on the Ecology of Games: Connecting Youth, Games, and LearningWhile virtual worlds share common technologies and audiences with games, they possess many unique characteristics. Particularly when compared to massively multiplayer online role-playing games, virtual worlds create very different learning and teaching opportunities through markets, creation, and connections to the real world, and lack of overt game goals. This chapter aims to expose a wide audience to the breadth and depth of learning occurring within Second Life (SL). From in-world classes in the scripting language to mixed-reality conferences about the future of broadcasting, a tremendous variety of both amateurs and experts are leveraging SL as a platform for education. In one sense, this isn't new since every technology is co-opted by communities for communication, but SL is different because every aspect of it was designed to encourage this co-opting, this remixing of the virtual and the real