Changeable Context of the New Technology Artefact and the Changeable Research Outcomes

Computer Aided Drawing (vector based) and painting (raster based) packages, allow the mock-up of designs in virtual space. Whilst this is beneficial for visualising the end product, both methods of drawing have been applied to new and existing machining technologies so that some aspect of the product is derived from a computer file. Today, the applied artist now has an abundance of CAD/CAM (Computer Aided Drawing / Computer Aided Manufacturing) technologies awaiting them. So much so, that in the past fifteen years, many makers have embarked upon practice-led research to find out what a particular technology can do with regard to their design interests. Within such research, the object is the manifestation of what has been discovered through the research activity. This paper considers the relationship between the content of the research object and the context for the object’s reception. This is examined with regard to the author’s research with new technologies for the applied arts. Examples will highlight how the characteristics of artefacts that arise from the research can help determine who the audience for the work is, and how the technology might be used by different kinds of craft practitioners. References will also be made to the work of other designer-makers working with and researching similar technologies. Evidence from practical examples will also be supported by a more theoretical discussion. The implications of supplying, or not supplying, background information for an audience within a variety of settings on the perceived content/context of the object, and the communication of the research, will also be discussed. It is concluded that when developing new processes, keeping the work open to a number of audiences can maximise the outcomes and increase the chances of the process being integrated within practice. The discussion also highlights a trend of positioning the consumer/viewer at the forefront of the research, and a need to evaluate their experiences

Maintaining authenticity: transferring patina from the real world to the digital to retain narrative value

This research is concerned with utilizing new technologies to harvest existing narrative, symbolic and emotive value for use in a digital environment enabling "emotional durability" (Chapman, 2005) in future design. The projects discussed in this paper have been conducted as part of PhD research by Rosemary Wallin into 'Technology for Sustainable Luxury' at University of the Arts London, and visual effects technology research undertaken by Florian Stephens at University of West London. Jonathan Chapman describes vast consumer waste being "symptomatic of failed relationships" between consumers and the goods they buy, and suggests approaches for designing love, dependency, and even cherishability into products to give them a longer lifespan. 'Failed relationships' might also be observed in the transference of physical objects to their virtual cousins. Consider the throwaway nature of digital photography when compared to the carefully preserved prints in a family album. Apple often use a skeuomorphic (Hobbs, 2012) approach to user interface design, to digitally replicate the patina and 'value' of real objects. However, true transference of physical form and texture presumably occurs when an object is scanned and a virtual 3D model is created. This paper presents three practice-based approaches to storing and transferring patina from an original object, utilizing high resolution scanning, photogrammetry, mobile applications and 3D print technologies. The objective is not merely accuracy, but evocation of the emotive data connecting the digital and physical realm. As the human face holds experience in the lines and wrinkles of the skin, so the surface of an object holds its narrative. From the signs of the craftsman to the bumps and scratches that accumulate over the life of an item over time and generations, marks gather like evidence to be read by a familiar or a trained eye. According to the time and the culture these marks are read within, they will either add to or detract from its value. These marks can be captured via complex 3D modelling and scanning technologies, which allow detailed forms to be recreated as dense 3D wireframe, but the result is often unsatisfying. 3D greyscale surfaces can never fully capture the richness of patina. Authentic surfaces require other qualities such as colour, texture and depth, but there is something else - more difficult to define. Donald A. Norman expands on the idea of emotion and objects by describing three 'levels’ of design "visceral, behavioural and reflective". Visceral is based on "look, feel and sound", behavioural is focused on an object’s use, and reflective is concerned with its message. New technology is commonly seen in terms of its ability to increase efficiency, but this research has longer-term objectives: to repair or even rebuild Chapman's 'broken relationships' and enable ‘emotionally durable' design. The PhD that has formed the context for this paper examines the concept of luxury value, and how and why the value of patina has been replaced by fashion. Luxury goods are aspirational items often emulated in the bulk of mass production. If we are to alter behaviour around consumption, one approach might be to use technology to harvest patina as a way to retain emotional, symbolic and poetic value with a view to maintaining a relationship with the things we buy

Historic Costume Simulation and its Application

This study highlights the potential of new technology as a means to provide new possibility for costumes in fragile condition to be utilised. The aim of this study is to create accurate digital duplicates of costumes from historical sources, and to explore the possibility of developing them as an exhibitory and educational method applying 3D apparel CAD and new media. To achieve this, three attributes for qualities of effective digital costumes were suggested: faithful reproduction, virtual fabrication, and interactive and stereographic appreciation. Based on these qualities, digital costumes and a PC application were produced and evaluated

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

A Prototype that Fuses Virtual Reality, Robots, and Social Networks to Create a New Cyber–Physical–Social Eco-Society System for Cultural Heritage

With the rapid development of technology and the increasing use of social networks, many opportunities for the design and deployment of interconnected systems arise that could enable a paradigm shift in the ways we interact with cultural heritage. The project described in this paper aims to create a new type of conceptually led environment, a kind of Cyber−Physical−Social Eco-Society (CPSeS) system that would seamlessly blend the real with virtual worlds interactively using Virtual Reality, Robots, and Social Networking technologies, engendered by humans’ interactions and intentions. The project seeks to develop new methods of engaging the current generation of museum visitors, who are influenced by their exposure to modern technology such as social media, smart phones, Internet of Things, smart devices, and visual games, by providing a unique experience of exploring and interacting with real and virtual worlds simultaneously. The research envisions a system that connects visitors to events and/or objects separated either in time or in space, or both, providing social meeting points between them. To demonstrate the attributes of the proposed system, a Virtual Museum scenario has been chosen. The following pages will describe the RoboSHU: Virtual Museum prototype, its capabilities and features, and present a generic development framework that will also be applicable to other contexts and sociospatial domains

Computer-aided investigation of interaction mediated by an AR-enabled wearable interface

Dierker A. Computer-aided investigation of interaction mediated by an AR-enabled wearable interface. Bielefeld: Universitätsbibliothek Bielefeld; 2012.This thesis provides an approach on facilitating the analysis of nonverbal behaviour during human-human interaction. Thereby, much of the work that researchers do starting with experiment control, data acquisition, tagging and finally the analysis of the data is alleviated. For this, software and hardware techniques are used as sensor technology, machine learning, object tracking, data processing, visualisation and Augmented Reality. These are combined into an Augmented-Reality-enabled Interception Interface (ARbInI), a modular wearable interface for two users. The interface mediates the users’ interaction thereby intercepting and influencing it. The ARbInI interface consists of two identical setups of sensors and displays, which are mutually coupled. Combining cameras and microphones with sensors, the system offers to record rich multimodal interaction cues in an efficient way. The recorded data can be analysed online and offline for interaction features (e. g. head gestures in head movements, objects in joint attention, speech times) using integrated machine-learning approaches. The classified features can be tagged in the data. For a detailed analysis, the recorded multimodal data is transferred automatically into file bundles loadable in a standard annotation tool where the data can be further tagged by hand. For statistic analyses of the complete multimodal corpus, a toolbox for use in a standard statistics program allows to directly import the corpus and to automate the analysis of multimodal and complex relationships between arbitrary data types. When using the optional multimodal Augmented Reality techniques integrated into ARbInI, the camera records exactly what the participant can see and nothing more or less. The following additional advantages can be used during the experiment: (a) the experiment can be controlled by using the auditory or visual displays thereby ensuring controlled experimental conditions, (b) the experiment can be disturbed, thus offering to investigate how problems in interaction are discovered and solved, and (c) the experiment can be enhanced by interactively comprising the behaviour of the user thereby offering to investigate how users cope with novel interaction channels. This thesis introduces criteria for the design of scenarios in which interaction analysis can benefit from the experimentation interface and presents a set of scenarios. These scenarios are applied in several empirical studies thereby collecting multimodal corpora that particularly include head gestures. The capabilities of computer-aided interaction analysis for the investigation of speech, visual attention and head movements are illustrated on this empirical data. The effects of the head-mounted display (HMD) are evaluated thoroughly in two studies. The results show that the HMD users need more head movements to achieve the same shift of gaze direction and perform less head gestures with slower velocity and fewer repetitions compared to non-HMD users. From this, a reduced willingness to perform head movements if not necessary can be concluded. Moreover, compensation strategies are established like leaning backwards to enlarge the field of view, and increasing the number of utterances or changing the reference to objects to compensate for the absence of mutual eye contact. Two studies investigate the interaction while actively inducing misunderstandings. The participants here use compensation strategies like multiple verification questions and arbitrary gaze movements. Additionally, an enhancement method that highlights the visual attention of the interaction partner is evaluated in a search task. The results show a significantly shorter reaction time and fewer errors

Site-Responsive. Critical of the Interactive Environments in Exhibition Design

With reference to the conference topics, this paper analyzes the emotive, perceptive and social effects of technology in the space dimension, referring both to design practices and user experiences. The aim is to suggest new design scenarios able to contextualize the exhibition design in the contemporary scenario. For this purpose, examples of “interactive architecture”1 are analyzed in order to extrapolate exhibition practices and strategies that include the communicative and educational component in experiences where users use their bodies in space. This implies: acknowledging the emotional, communicative and adaptive possibilities of interactive environments; assuming that the design of the exhibition space is oriented to the integration of advanced technologies – tangible and intangible – so that it is necessary to understand the importance of data and their multiple nature, according to a heterogeneous users that interact with a performative environment, which can make their experience unique. This vital ability requires a level of phenomenological and design complexity that obliges designers to reflect on the meaning of our social nature and the mutable relationship with the world mediated by technolog