Developing serious games for cultural heritage: a state-of-the-art review

Although the widespread use of gaming for leisure purposes has been well documented, the use of games to support cultural heritage purposes, such as historical teaching and learning, or for enhancing museum visits, has been less well considered. The state-of-the-art in serious game technology is identical to that of the state-of-the-art in entertainment games technology. As a result, the field of serious heritage games concerns itself with recent advances in computer games, real-time computer graphics, virtual and augmented reality and artificial intelligence. On the other hand, the main strengths of serious gaming applications may be generalised as being in the areas of communication, visual expression of information, collaboration mechanisms, interactivity and entertainment. In this report, we will focus on the state-of-the-art with respect to the theories, methods and technologies used in serious heritage games. We provide an overview of existing literature of relevance to the domain, discuss the strengths and weaknesses of the described methods and point out unsolved problems and challenges. In addition, several case studies illustrating the application of methods and technologies used in cultural heritage are presented

Serious Games in Cultural Heritage

Although the widespread use of gaming for leisure purposes has been well documented, the use of games to support cultural heritage purposes, such as historical teaching and learning, or for enhancing museum visits, has been less well considered. The state-of-the-art in serious game technology is identical to that of the state-of-the-art in entertainment games technology. As a result the field of serious heritage games concerns itself with recent advances in computer games, real-time computer graphics, virtual and augmented reality and artificial intelligence. On the other hand, the main strengths of serious gaming applications may be generalised as being in the areas of communication, visual expression of information, collaboration mechanisms, interactivity and entertainment. In this report, we will focus on the state-of-the-art with respect to the theories, methods and technologies used in serious heritage games. We provide an overview of existing literature of relevance to the domain, discuss the strengths and weaknesses of the described methods and point out unsolved problems and challenges. In addition, several case studies illustrating the application of methods and technologies used in cultural heritage are presented

Annual Report 2016-2017

The College of Computing and Digital Media has always prided itself on curriculum, creative work, and research that stays current with changes in our various fields of instruction. As we looked back on our 2016-17 academic year, the need to chronicle the breadth and excellence of this work became clear. We are pleased to share with you this annual report, our first, highlighting our accomplishments. Last year, we began offering three new graduate programs and two new certificate programs. We also planned six degree programs and three new certificate programs for implementation in the current academic year. CDM faculty were published more than 100 times, had their films screened more than 200 times, and participated in over two dozen exhibitions. Our students were recognized for their scholarly and creative work, and our alumni accomplished amazing things, from winning a Student Academy Award to receiving a Pulitzer. We are proud of all the work we have done together. One notable priority for us in 2016-17 was creating and strengthening relationships with industry—including expanding our footprint at Cinespace and developing the iD Lab—as well as with the community, through partnerships with the Chicago Housing Authority, Wabash Lights, and other nonprofit organizations. We look forward to continuing to provide innovative programs and spaces this academic year. Two areas in particular we’ve been watching closely are makerspaces and the “internet of things.” We’ve already made significant commitments to these areas through the creation of our 4,500 square foot makerspace, the Idea Realization Lab, and our new cyber-physical systems bachelor’s program and lab. We are excited to continue providing the opportunities, curriculum, and facilities to support our remarkable students. David MillerDean, College of Computing and Digital Mediahttps://via.library.depaul.edu/cdmannual/1000/thumbnail.jp

Adobe Youth Voices Literature Review

Education Development Center, Inc. (EDC) received a grant from Adobe to conduct an evaluation of the Adobe Youth Voices (AYV) program. As part of the evaluation, EDC conducted a review of relevant literature to situate AYV in a broader context, provide stakeholders with a framework for understanding goals and outcomes, and frame and inform the evaluation questions. EDC reviewed scholarly articles, program reports and evaluations, and research studies that addressed youth media programs, youth development, teacher professional development, and other areas related to AYV's goals.Among the findings, the literature review includes 6 key points that speak to the AYV program:1. The goals of youth media programs most commonly cited can be grouped into several categories: Youth voice -- the capacity for self-expression Youth development -- the process of developing the skills and personal attributes that enable young people to become successful adults Media literacy -- the ability to analyze, evaluate and produce information in a variety of media forms Skill development -- such as communication, critical thinking, technology, and media production skills Social action or civic engagement 2. Outcomes and impacts on participants of youth media programs commonly found in the literature include: Improved skills Improved community perception of youth Positive youth development Increased social action and civic engagement 3. Outcomes and impacts on participants of youth development programs frequently cited include:Improved communication, critical thinking, and related skills Increased self-esteem More positive attitudes towards school and their futures 4. There is broad agreement that traditional educational approaches do not adequately address 21st century skills. Education must adapt to be more compatible with the ways in which young people think and learn, as well as the tools and media that are part of their environment.5. Student engagement in education has been associated with positive youth development and 21st century skills. Engaging instruction often includes inquiry- or project-based, multidisciplinary, and authentic learning activities.6. Educator professional development is believed to be a key step toward improving student outcomes. While there is little research that can demonstrate this connection, there is new focus on evaluating the effectiveness of professional development activities. Elements of effective professional development include learning communities and collaboration, ongoing support and assistance, and active or applied learning

University for the Creative Arts staff research 2011

This publication brings together a selection of the University’s current research. The contributions foreground areas of research strength including still and moving image research, applied arts and crafts, as well as emerging fields of investigations such as design and architecture. It also maps thematic concerns across disciplinary areas that focus on models and processes of creative practice, value formations and processes of identification through art and artefacts as well as cross-cultural connectivity. Dr. Seymour Roworth-Stoke

Multimedia as a tool for learning: The design & development of a Hyperstudio project on the celebration of Chicano culture

This project was intended to demonstrate how multimedia can be utilized to differentiate instruction in order to meet the diverse needs of all students, and educate teacher credential candidates about cultural awareness and acceptance

The potential of multimedia art to stimulate personal expression of, and reflection on childhood experience

EThOS - Electronic Theses Online ServiceGBUnited Kingdo

I-Light Symposium 2005 Proceedings

I-Light was made possible by a special appropriation by the State of Indiana. The research described at the I-Light Symposium has been supported by numerous grants from several sources. Any opinions, findings and conclusions, or recommendations expressed in the 2005 I-Light Symposium Proceedings are those of the researchers and authors and do not necessarily reflect the views of the granting agencies.Indiana University Office of the Vice President for Research and Information Technology, Purdue University Office of the Vice President for Information Technology and CI

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