From an invasive to an immersive language in virtual environments: tools to prevent Infoxication in our near future

A través de referencias artísticas y tecnológicas, se analiza el concepto de inmersión y su relación con el lenguaje presente en los nuevos medios: Realidad Virtual, Aumentada o el concepto de Metaverso. Estos, se relacionan en el documento, buscando el hacer conscientes a diseñadores y tecnólogos de la necesidad de desarrollar un lenguaje propio para estos nuevos medios, de cara a evitar la Infoxicación y la Hiporealidad. Para ello, como concusión final, se propone una narrativa, y un producto en el marco del diseño especulativo y ficticio.Through artistic and technological references, the concept of immersion is analysed, as well as its relationship with the language present in New Media: Virtual Reality, Augmented Reality, the Metaverse... The document seek to bring awareness to designers and technologists of the need to develop the own language for these new media, in order to avoid Infoxication and Hypo-reality. To this end, as a final conclusion, a narrative and a product are proposed within the framework of Speculative and Design Fiction.Award-winnin

The shudder of a cinephiliac idea? Videographic film studies practice as material thinking

Long after the advent of the digital era, while most university-based film studies academics still choose to publish their critical, theoretical and historical research in conventional written formats, a small but growing number of scholars working on the moving image have begun to explore the online publication possibilities of the digital video essay. This multimedia form has come to prominence in recent years in much Internet-based cinephile and film critical culture. In this article, I will consider, above all from a personal perspective looking back at two of the sixty or so videos that I have made, some of the possibilities that these processes offer for the production of new knowledge, forged out of the conjunction of the film object(s) to be studied, digital technologies of reproduction and editing tools, and the facticity of the researcher(s). I will argue that digital video is usefully seen not only as a promising communicative tool with different affordances than those of written text, but also as an important emergent cultural and phenomenological field for the creative practice of our work as film scholars

2D to 3D non photo realistic character transformation and morphing (computer animation)

This research concerns the transformation and morphing between a full body 2D and 3D animated character. This practice based research will examine both technical and aesthetic techniques for enhancing morphing of animated characters. Stylized character transformations from A to B and from B to A, where details like facial expression, body motion, texture are to be expressively transformed aesthetically in a narrated story. Currently it is hard to separate 2D and 3D animation in a mix media usage. If we analyse and breakdown these graphical components, we could actually find a distinction as to how these 2D and 3D element increase the information level and complexity of storytelling. However, if we analyse it from character animation perspective, instance transformation of a digital character from 2D to 3D is not possible without post production techniques, pre-define 3D information such as blend shape or complex geometry data and mathematic calculation. There are mainly two elements to this investigation. The primary element is the design system of such stylizes character in 2D and 3D. Currently many design systems (morphing software) are based on photo realistic artifacts such as Fanta Morph, Morph Buster, Morpheus, Fun Morph and etc. This investigation will focus on non photo realistic character morphing. In seeking to define the targeted non photo realistic, illustrated stylize 2D and 3D character, I am examining the advantages and disadvantages of a number of 2D illustrated characters in respect to 3D morphing. This investigation could also help to analyse the efficiency and limitation of such 2D and 3D non photo realistic character design and transformation where broader techniques will be explored. The secondary element is the theoretical investigation by relating how such artistic and technical morphing idea is being used in past and today films/games. In a narrated story contain character that acts upon a starting question or situation and reacts on the event. The gap between his aim and the result of his acting, the gap between his vision and his personality creates the dramatic tension. I intend to distinguish the possibility of identifying a transitional process of voice between narrator and morphing character, while also illustrating, through visual terminology, the varying fluctuations between two speaking agents. I intend to prove and insert sample demonstrating “morphing” is not just visually important but have direct impact on storytelling

Cultures Of Practice Within Design: An Exploration Of The Differences And Similarities Between Photography And Painting As Representational Practices

Contemporary designers and photographers face many challenges as the profession rapidly develops. This is especially the case in in the Western Australian context. A review into the recent history of the Western Australian design profession is evidence that designers and photographers are consistently shifting between commercial and self-expressive practice. However, the urge to keep up with technological advancement has masked conscious development of this shift, which is a key to self-realisation and improvement for a designer and photographer. This lack of conscious questioning limits holistic development in design practice. This research reflects on myself as a designer developing a response to the significant convergence of media that developed during my career. The research led to an understanding of the development of design as a practice and its connections to art, especially painting. This exploration of the differences and similarities between photography and painting, as representational practices that impact upon the values of a practitioner, seeks, in part, to understand photography using paint. This research is a broad investigation that sets out to reveal aspects of these relationships, and to raise questions that will form the basis of more in depth studies

Illustrator as detective: Discovery through drawing

I am an illustrator and I have produced an innovative drawing project with the Museum of East Asian Art, Bath, that interrogates concepts of illustration and illustrator as visionary.The majority of the museum’s collection consists of small-scale objects and miniatures, showcasing centuries of traditional craftsmanship and artistry. The museum holds a collection of ceramics, jades, bronzes and other artefacts from China, Japan, Korea and Southeast Asia. It is the only museum in the UK solely dedicated to arts and cultures of East and Southeast Asia.In producing this project, I act as a visionary, through exploring drawing as a tool for looking beyond the obvious, to truly study and discover an exotic object within a museum collection. The project explores ideas of future thinking in educational and professional developments, as the drawings will act as functional and democratic means to communicate my personal response to objects, and in turn challenge personal and studied responses from the public.Future thinking in educational and professional developments is also explored through the showcase of work, as drawings will be displayed in cabinets in direct juxtaposition with corresponding objects, and exhibited between different galleries

Design Ideation: The Conceptual Sketch in a Digital Design Culture

Design ideation, or the generating and developing of design ideas is central to designing in both education and practice. But what is the impact of digital technology on conceptual tools, notably the traditional pen and paper sketch? Initial research, in the Introduction highlights how freehand drawing is under pressure from digital technology both in design schools and industry yet educators and practitioners alike seem uncertain how best to deal with the digital challenge. The Literature review, in which the investigation is likened to a sprawling rhizome, covers both practical and philosophical concerns about conceptual tools thereby extending the notion of sketching beyond pen and paper, to what is called sketcherly ways of designing. To find out how to capture designers' use of conceptual tools, the spectrum of Design methodology was explored in which the case study method combined with protocol study emerged as the research strategy to be tested in a Pilot study. The pilot outcome set the scene for a protocol study with first-year design students which, through a series of Ideation workshops, illuminates how sketching together with verbalisation is a powerful combination for conceptualisation. In this, the workshop format emerged as an effective means for encouraging novice designers to develop ideation skills. The pilot was also instrumental for conducting a Multiple case study comprising five second year design students and five recent design graduates working in industry in the domains of fashion, architecture, graphics, product and general design. Using self-reporting and interviews the cases illuminate real uses of conceptual tools situated in everyday designing that reveal the multifaceted yet unpredictable character of ideation. The Summary and Conclusion discuss the future role of the conceptual sketch in digital design environments and suggest how scholarship in the context of teaching and learning design can bridge the worlds of design schools and professional practice. In this, computer-aided ideation, CAI, emerged as a promising research field

Designing a training tool for imaging mental models

The training process can be conceptualized as the student acquiring an evolutionary sequence of classification-problem solving mental models. For example a physician learns (1) classification systems for patient symptoms, diagnostic procedures, diseases, and therapeutic interventions and (2) interrelationships among these classifications (e.g., how to use diagnostic procedures to collect data about a patient's symptoms in order to identify the disease so that therapeutic measures can be taken. This project developed functional specifications for a computer-based tool, Mental Link, that allows the evaluative imaging of such mental models. The fundamental design approach underlying this representational medium is traversal of virtual cognition space. Typically intangible cognitive entities and links among them are visible as a three-dimensional web that represents a knowledge structure. The tool has a high degree of flexibility and customizability to allow extension to other types of uses, such a front-end to an intelligent tutoring system, knowledge base, hypermedia system, or semantic network