Software Takes Command

This book is available as open access through the Bloomsbury Open Access programme and is available on www.bloomsburycollections.com. Software has replaced a diverse array of physical, mechanical, and electronic technologies used before 21st century to create, store, distribute and interact with cultural artifacts. It has become our interface to the world, to others, to our memory and our imagination - a universal language through which the world speaks, and a universal engine on which the world runs. What electricity and combustion engine were to the early 20th century, software is to the early 21st century. Offering the the first theoretical and historical account of software for media authoring and its effects on the practice and the very concept of 'media,' the author of The Language of New Media (2001) develops his own theory for this rapidly-growing, always-changing field. What was the thinking and motivations of people who in the 1960 and 1970s created concepts and practical techniques that underlie contemporary media software such as Photoshop, Illustrator, Maya, Final Cut and After Effects? How do their interfaces and tools shape the visual aesthetics of contemporary media and design? What happens to the idea of a 'medium' after previously media-specific tools have been simulated and extended in software? Is it still meaningful to talk about different mediums at all? Lev Manovich answers these questions and supports his theoretical arguments by detailed analysis of key media applications such as Photoshop and After Effects, popular web services such as Google Earth, and the projects in motion graphics, interactive environments, graphic design and architecture. Software Takes Command is a must for all practicing designers and media artists and scholars concerned with contemporary media

Interacting with virtual reconstructions in museums: The etruscanning project

Starting from our experience in this domain, we discuss some fundamental concepts about the potentialities of the virtual reconstructions of cultural sites inside museums, with a specific focus on the communication needs, the design, the combination of media, the interaction interfaces, and the embodiment. We conceive a virtual reconstruction as a digital ecosystem, whose main peculiarities are (1) 3D reconstruction, (2) inclusivity, and (3) interactivity. A virtual reconstruction, in a wide sense, should integrate different levels of visualization, both realistic and symbolic; 3D models; metadata; storytelling; behaviors; and tools of visualization and interaction, in order to "reconstruct" and communicate a cultural context, an ecosystem where all the information is integrated. Despite the great advancements of the last years in the digitization process, computer graphics techniques, and archiving strategies, a basic limit of most of virtual museums is that they do not fire up the attention and the involvement of the public: they lack stimulating activities for visitors, narratives metaphors, and emotional impact. The interaction interfaces are not always simple to understand and to control in a few minutes, and they can generate a sense of frustration that causes users to abandon the application after a short and superficial approach. No gap should exist between knowledge and communication. But how can we translate the complexity of the knowledge in appealing to users and into simple applications that fit with the public's need? This article focuses on some communication rules and criteria that are often considered of minor importance by the researchers working in the field of digital cultural heritage but that are really essential to cultural transmission, especially inside museums. We believe that a stronger collaboration between research institutions and museums and among different disciplines would be recommended. Given this premise, we present the Etruscanning EU project, developed in 2011- 2013, focused on the virtual reconstruction of two important Etruscan tombs of the Orientalizing period: the Regolini-Galassi tomb in Cerveteri and the tomb n.5 of Monte Michele in Veii. © 2014 ACM

Software Takes Command

This book is available as open access through the Bloomsbury Open Access programme and is available on www.bloomsburycollections.com. Software has replaced a diverse array of physical, mechanical, and electronic technologies used before 21st century to create, store, distribute and interact with cultural artifacts. It has become our interface to the world, to others, to our memory and our imagination - a universal language through which the world speaks, and a universal engine on which the world runs. What electricity and combustion engine were to the early 20th century, software is to the early 21st century. Offering the the first theoretical and historical account of software for media authoring and its effects on the practice and the very concept of 'media,' the author of The Language of New Media (2001) develops his own theory for this rapidly-growing, always-changing field. What was the thinking and motivations of people who in the 1960 and 1970s created concepts and practical techniques that underlie contemporary media software such as Photoshop, Illustrator, Maya, Final Cut and After Effects? How do their interfaces and tools shape the visual aesthetics of contemporary media and design? What happens to the idea of a 'medium' after previously media-specific tools have been simulated and extended in software? Is it still meaningful to talk about different mediums at all? Lev Manovich answers these questions and supports his theoretical arguments by detailed analysis of key media applications such as Photoshop and After Effects, popular web services such as Google Earth, and the projects in motion graphics, interactive environments, graphic design and architecture. Software Takes Command is a must for all practicing designers and media artists and scholars concerned with contemporary media

Creating mobile gesture-based interaction design patterns for older adults : a study of tap and swipe gestures with portuguese seniors

Tese de mestrado. Multimédia. Faculdade de Engenharia. Universidade do Porto. 201

CHORUS Deliverable 2.1: State of the Art on Multimedia Search Engines

Based on the information provided by European projects and national initiatives related to multimedia search as well as domains experts that participated in the CHORUS Think-thanks and workshops, this document reports on the state of the art related to multimedia content search from, a technical, and socio-economic perspective. The technical perspective includes an up to date view on content based indexing and retrieval technologies, multimedia search in the context of mobile devices and peer-to-peer networks, and an overview of current evaluation and benchmark inititiatives to measure the performance of multimedia search engines. From a socio-economic perspective we inventorize the impact and legal consequences of these technical advances and point out future directions of research

Designing Interactions with Multilevel Auditory Displays in Mobile Audio-Augmented Reality

Auditory interfaces offer a solution to the problem of effective eyes-free mobile interactions. In this article, we investigate the use of multilevel auditory displays to enable eyes-free mobile interaction with indoor location-based information in non-guided audio-augmented environments. A top-level exocentric sonification layer advertises information in a gallery-like space. A secondary interactive layer is used to evaluate three different conditions that varied in the presentation (sequential versus simultaneous) and spatialisation (non-spatialised versus egocentric/exocentric spatialisation) of multiple auditory sources. Our findings show that (1) participants spent significantly more time interacting with spatialised displays; (2) using the same design for primary and interactive secondary display (simultaneous exocentric) showed a negative impact on the user experience, an increase in workload and substantially increased participant movement; and (3) the other spatial interactive secondary display designs (simultaneous egocentric, sequential egocentric, and sequential exocentric) showed an increase in time spent stationary but no negative impact on the user experience, suggesting a more exploratory experience. A follow-up qualitative and quantitative analysis of user behaviour support these conclusions. These results provide practical guidelines for designing effective eyes-free interactions for far richer auditory soundscapes

Virtual Reality Methods

ePDF and ePUB available Open Access under CC-BY-NC-ND licence. Since the mid-2010s, virtual reality (VR) technology has advanced rapidly. This book explores the many opportunities that VR can offer for humanities and social sciences researchers. The book provides a user-friendly, non-technical methods guide to using ready-made VR content and 360° video as well as creating custom materials. It examines the advantages and disadvantages of different approaches to using VR, providing helpful, real-world examples of how researchers have used the technology

Building a virtual classroom : an education environment for the internet generation

This thesis examines the provision of learning environments that enable people to participate in high-quality learning experiences without physically travelling to classrooms and classes. New technologies enable the asynchronous web currently based on text, images, and video, to be extended to facilitate multi-channel synchronous communications. There is significant potential to enhance learning using the 3D worlds used for interactive gaming, populated by avatars representing the participants, and chat systems using text and audio channels. The purpose of this study was to investigate the development and use of 3D web-based learning environments. Staff and students from an Information Technology degree programme at one New Zealand Polytechnic participated in the study. The design and use of 3D web-based learning environments were integrated into one paper over six years. Data were collected from the teachers of this paper and the programme in which it was embedded.A survey instrument was used to collect data, along with artefacts from the software design and development plus the web-based environments created. Computer logs, and records of chat sessions were collected to enable analysis of the activities that took place in the new learning environments. Follow-up interviews were conducted with a sample of students after the completion of their study. Analysis of these data included collations of statistically significant relationships between environmental factors and the design features of the 3D web-based environments created. Results indicate that the 3D web-based environments were well received by the students and show significant potential for the future provision of learning environments. The technology has no negative impact on students’ perception of their learning environment; however, it did not have the expected positive impact on their communications with peers or teaching staff. This research suggests directions for the future development and application of 3D webbased technologies to fully enable their potential to be achieved in educational learning environments