Generating Mobile Virtual Tour Using UAV and 360 Degree Panorama for Geography-Environmental Learning in Higher Educationw

Nowadays, the limitations of media in geo-environmental learning present a significant challenge, as media plays an indispensable role in fostering students’ comprehensive understanding. Employing technology capable of delivering comprehensive landscape information is crucial for effective environmental education. Utilizing Unmanned Aerial Vehicles (UAVs) and 360-degree panoramic cameras represents a judicious technological choice, which can be seamlessly integrated into virtual tours. This research aims to develop a Mobile Virtual Tour (Movie-Tour) as a medium to support learning, especially for materials regarding environmental geography. The research and development (RnD) method is used in research with the ADDIE model (Analysis, Design, Development, Implementation and Evaluation). Data collection for the development of the product involved conducting a need assessment, performing validation tests and conducting trials with students. To gather field data for creating environmental geography materials for the Movie-Tour product, we utilized an Unmanned Aerial Vehicle (UAV) and a 360-degree stereoscopic camera. The results demonstrate that Movie- Tour is an educational medium capable of delivering an immersive learning experience and comprehensive materials, allowing for the virtual visualization of real-world conditions in the field. This capability enhances students’ engagement in exploring physical geography conditions, fosters independent knowledge acquisition, and nurtures their innate curiosity. Movie-Tour stands as a potent and practical educational tool, offering an effective and secure learning experience for students, eliminating the need for direct field visits

3D Gaze Point Localization and Visualization Using LiDAR-based 3D Reconstructions

We present a novel pipeline for localizing a free roaming eye tracker within a LiDAR-based 3D reconstructed scene with high levels of accuracy. By utilizing a combination of reconstruction algorithms that leverage the strengths of global versus local capture methods and user-assisted refinement, we reduce drift errors associated with Dense Simultaneous Localization and Mapping (D-SLAM) techniques. Our framework supports region-of-interest (ROI) annotation and gaze statistics generation and the ability to visualize gaze in 3D from an immersive first person or third person perspective. This approach gives unique insights into viewers\u27 problem solving and search task strategies and has high applicability in indoor static environments such as crime scenes

Crowd And Acoustical Modelling In Digital Cultural Heritage

The broad term of heritage refers to the study of human activity in the past and its cultural narratives and to virtualize heritage means to actualize the heritage content digitally. Istilah warisan secara meluas merujuk kepada kajian kegiatan manusia pada masa lampau dan pengkisahan budayanya dan memayakan warisan bermaksud merealisasikan kandungan warisan secara digital

Creating Convenience : How Virtual Reality allows for Augmented Relationships

This dissertation uses Heidegger’s critique of technology and its essence in an attempt to understand how Virtual Reality technology can change how we interact with the world and each other. The history of VR devices is unpacked to understand the motivation behind VR’s uses and development. Merleau-Ponty’s theories about embodied experiences are also used to understand how VR has an increased capacity to generate a sense of telepresence in the virtual environment for the user. Cases are investigated that specifically deals with how VR has influenced human interactions and rituals and made them more convenient to the users. The first cases focus on religion and how it changes when it is taken online. Specific focus is given to the Church of Fools online church and D.J. Soto’s VR church. The difference between how an online church operates is compared to the VR Church and how embodiment in the VE is experienced in each. This dissertation also explores cases where a user enters a ‘cross-dimensional’ relationship with the virtual. Two cases of people marrying virtual characters are examined. In these cases, the user entered a relationship with a character that was constructed by someone else. The other case examined, is that of Sgt.Hale (username) who created and then married a virtual character in a VE that he designed and based on a real-world location. In each of the relevant cases, how technology has influenced and, in a sense, encouraged them, is explored and unpacked.Dissertation (MA)--University of Pretoria, 2020.Visual ArtsMAUnrestricte

VR Storytelling

The question of cinematic VR production has been on the table for several years. This is due to the peculiarity of VR language which, even if it is de ned by an image that surrounds and immerses the viewer rather than placing them, as in the classic cinematic situation, in front of a screen, relies decisively on an audiovisual basis that cannot help but refer to cinematic practices of constructing visual and auditory experience. Despite this, it would be extremely reductive to consider VR as the mere transposition of elements of cinematic language. The VR medium is endowed with its own speci city, which inevitably impacts its forms of narration. We thus need to investigate the narrative forms it uses that are probably related to cinematic language, and draw their strength from the same basis, drink from the same well, but develop according to di erent trajectories, thus displaying di erent links and a nities

Using Two Simulation Tools to Teach Concepts in Introductory Astronomy: A Design-Based Research Approach

Technology in college classrooms has gone from being an enhancement to the learning experience to being something expected by both instructors and students. This design-based research investigation takes technology one step further, putting the tools used to teach directly in the hands of students. The study examined the affordances and constraints of two simulation tools for use in introductory astronomy courses. The variety of experiences participants had using two tools; a virtual reality headset and fulldome immersive planetarium simulation, to manipulate a lunar surface flyby were identified using a multi-method research approach with N = 67 participants. Participants were recruited from classes of students taking astronomy over one academic year at a two-year college. Participants manipulated a lunar flyby using a virtual reality headset and a motion sensor device in the college fulldome planetarium. Data were collected in the form of two post-treatment questionnaires using Likert-type scales and one small group interview. The small group interview was intended to elicit various experiences participants had using the tools. Responses were analyzed quantitatively for optimal flyby speed and qualitatively for salient themes using data reduction informed by a methodological framework of phenomenography to identify the variety of experiences participants had using the tools. Findings for optimal flyby speed of the Moon based on analysis of data for both the Immersion Questionnaire and the Simulator Sickness Questionnaire done using SPSS software determine that the optimal flyby speed for college students to manipulate the Moon was calculated to be .04 x the radius of the Earth (3,959 miles) or 160 miles per second. A variety of different participant experiences were revealed using MAXQDA software to code positive and negative remarks participants had when engaged in the use of each tool. Both tools offer potential to actively engage students with astronomy content in college lecture and laboratory courses

FACING EXPERIENCE: A PAINTER’S CANVAS IN VIRTUAL REALITY

Full version unavailable due to 3rd party copyright restrictions.This research investigates how shifts in perception might be brought about through the development of visual imagery created by the use of virtual environment technology. Through a discussion of historical uses of immersion in art, this thesis will explore how immersion functions and why immersion has been a goal for artists throughout history. It begins with a discussion of ancient cave drawings and the relevance of Plato’s Allegory of the Cave. Next it examines the biological origins of “making special.” The research will discuss how this concept, combined with the ideas of “action” and “reaction,” has reinforced the view that art is fundamentally experiential rather than static. The research emphasizes how present-day virtual environment art, in providing a space that engages visitors in computer graphics, expands on previous immersive artistic practices. The thesis examines the technical context in which the research occurs by briefly describing the use of computer science technologies, the fundamentals of visual arts practices, and the importance of aesthetics in new media and provides a description of my artistic practice. The aim is to investigate how combining these approaches can enhance virtual environments as artworks. The computer science of virtual environments includes both hardware and software programming. The resultant virtual environment experiences are technologically dependent on the types of visual displays being used, including screens and monitors, and their subsequent viewing affordances. Virtual environments fill the field of view and can be experienced with a head mounted display (HMD) or a large screen display. The sense of immersion gained through the experience depends on how tracking devices and related peripheral devices are used to facilitate interaction. The thesis discusses visual arts practices with a focus on how illusions shift our cognition and perception in the visual modalities. This discussion includes how perceptual thinking is the foundation of art experiences, how analogies are the foundation of cognitive experiences and how the two intertwine in art experiences for virtual environments. An examination of the aesthetic strategies used by artists and new media critics are presented to discuss new media art. This thesis investigates the visual elements used in virtual environments and prescribes strategies for creating art for virtual environments. Methods constituting a unique virtual environment practice that focuses on visual analogies are discussed. The artistic practice that is discussed as the basis for this research also concentrates on experiential moments and shifts in perception and cognition and references Douglas Hofstadter, Rudolf Arnheim and John Dewey. iv Virtual environments provide for experiences in which the imagery generated updates in real time. Following an analysis of existing artwork and critical writing relative to the field, the process of inquiry has required the creation of artworks that involve tracking systems, projection displays, sound work, and an understanding of the importance of the visitor. In practice, the research has shown that the visitor should be seen as an interlocutor, interacting from a first-person perspective with virtual environment events, where avatars or other instrumental intermediaries, such as guns, vehicles, or menu systems, do not to occlude the view. The aesthetic outcomes of this research are the result of combining visual analogies, real time interactive animation, and operatic performance in immersive space. The environments designed in this research were informed initially by paintings created with imagery generated in a hypnopompic state or during the moments of transitioning from sleeping to waking. The drawings often emphasize emotional moments as caricatures and/or elements of the face as seen from a number of perspectives simultaneously, in the way of some cartoons, primitive artwork or Cubist imagery. In the imagery, the faces indicate situations, emotions and confrontations which can offer moments of humour and reflective exploration. At times, the faces usurp the space and stand in representation as both face and figure. The power of the placement of the caricatures in the paintings become apparent as the imagery stages the expressive moment. The placement of faces sets the scene, establishes relationships and promotes the honesty and emotions that develop over time as the paintings are scrutinized. The development process of creating virtual environment imagery starts with hand drawn sketches of characters, develops further as paintings on “digital canvas”, are built as animated, three-dimensional models and finally incorporated into a virtual environment. The imagery is generated while drawing, typically with paper and pencil, in a stream of consciousness during the hypnopompic state. This method became an aesthetic strategy for producing a snappy straightforward sketch. The sketches are explored further as they are worked up as paintings. During the painting process, the figures become fleshed out and their placement on the page, in essence brings them to life. These characters inhabit a world that I explore even further by building them into three dimensional models and placing them in computer generated virtual environments. The methodology of developing and placing the faces/figures became an operational strategy for building virtual environments. In order to open up the range of art virtual environments, and develop operational strategies for visitors’ experience, the characters and their facial features are used as navigational strategies, signposts and methods of wayfinding in order to sustain a stream of consciousness type of navigation. Faces and characters were designed to represent those intimate moments of self-reflection and confrontation that occur daily within ourselves and with others. They sought to reflect moments of wonderment, hurt, curiosity and humour that could subsequently be relinquished for more practical or purposeful endeavours. They were intended to create conditions in which visitors might reflect upon their emotional state, v enabling their understanding and trust of their personal space, in which decisions are made and the nature of world is determined. In order to extend the split-second, frozen moment of recognition that a painting affords, the caricatures and their scenes are given new dimensions as they become characters in a performative virtual reality. Emotables, distinct from avatars, are characters confronting visitors in the virtual environment to engage them in an interactive, stream of consciousness, non-linear dialogue. Visitors are also situated with a role in a virtual world, where they were required to adapt to the language of the environment in order to progress through the dynamics of a drama. The research showed that imagery created in a context of whimsy and fantasy could bring ontological meaning and aesthetic experience into the interactive environment, such that emotables or facially expressive computer graphic characters could be seen as another brushstroke in painting a world of virtual reality

Virtual Reality

At present, the virtual reality has impact on information organization and management and even changes design principle of information systems, which will make it adapt to application requirements. The book aims to provide a broader perspective of virtual reality on development and application. First part of the book is named as "virtual reality visualization and vision" and includes new developments in virtual reality visualization of 3D scenarios, virtual reality and vision, high fidelity immersive virtual reality included tracking, rendering and display subsystems. The second part named as "virtual reality in robot technology" brings forth applications of virtual reality in remote rehabilitation robot-based rehabilitation evaluation method and multi-legged robot adaptive walking in unstructured terrains. The third part, named as "industrial and construction applications" is about the product design, space industry, building information modeling, construction and maintenance by virtual reality, and so on. And the last part, which is named as "culture and life of human" describes applications of culture life and multimedia-technology

The Eye in Motion: Mid-Victorian Fiction and Moving-Image Technologies

This thesis reads selected works of fiction by three mid-Victorian writers (Charlotte Brontë, Charles Dickens, and George Eliot) alongside contemporaneous innovations and developments in moving-image technologies, or what have been referred to by historians of film as ‘pre-cinematic devices’. It looks specifically at the moving panorama, diorama, dissolving magic lantern slides, the kaleidoscope, and persistence of vision devices such as the phenakistiscope and zoetrope, and ranges across scientific writing, journalism, letters, and paintings to demonstrate the scope and popularity of visual motion devices. By exploring this history of optical technologies I show how their display, mechanism, and manual operation contributed to a broader cultural and literary interest in the phenomenological experience of animation, decades before the establishment of cinematography as an industry, technology, and viewing practice. Through a close reading of a range of mid-Victorian novels, this thesis identifies and analyses the literary use of language closely associated with moving-image technologies to argue that the Victorian literary imagination reflected upon, drew from, and incorporated reference to visual and technological animation many decades earlier than critics, focusing usually on early twentieth-century cinema and modernist literature, have allowed. It develops current scholarship on Victorian visual culture and optical technologies by a close reading of the language of moving-image devices—found in advertisements, reviews, and descriptions of their physiological operation and spectacle—alongside the choices Victorian authors made to describe precisely how their characters perceived, how they imagined, remembered, and mentally relived particular scenes and images, and how the readers of their texts were encouraged to imaginatively ‘see’ the animated unfolding of the plot and the material dimensionality of its world through a shared understanding of this language of moving images