1,633 research outputs found
Towards a Theoretical Framework of Acceptance of Virtual Reality Technology: Evidence from 360-Video Concert
We examine the use of 360-degree video technology in a live music event with the aim to explore the factors leading to acceptance of the VR use case and technology, to reduce the knowledge gap about this topic. We collected self-reported, quantitative data from 23 participants and investigated the user experience during the VR mediated 360-video concert and the acceptance of the 360-video for concert participation and VR technology use. We found that acceptance of the novel VR-based communication approach was correlated mainly with perceived usefulness. Furthermore, the perceived usefulness was only correlated with fun, but not flow and immersion. We outline the results in a new theoretical framework for studying and predicting the relationships between individual characteristics, user experience, VR evaluation, content and device, and the acceptance of 360-video mediated musical events and VR technology. Implications for VR acceptance theory and design practice are discussed
Professor Avatar Holographic Telepresence Model
Introduced into theaters in the 1860s, Pepper’s Ghost startled theatergoers with an effect that allowed live people or objects to materialize into the scene. The illusion of a ghost is an actor located forward of and below the stage floor. The glass illustrates the reflection of the offstage “ghost,” while the leftmost “ghost” simulates what the audiences see. Modern versions of this effect consist of a completely new way of projecting video to create the illusion of life-size, full-color, moving images but projected as 2D images into a set. The mind of the audience creates the 3D illusion. This technology enables a new line of communication, which is called “holographic telepresence” that delivers a life-sized holographic experience in real time, enabling to connect more effectively and make an impact on audiences. The technology reduces expenses and saves on time travel. This project identified the parameters for correct setup of holographic telepresence, so that future users will be able to replicate and use with ease. The project used action research, which provides fast and effective solutions. The results demonstrated that it was possible that by defining the parameters and a guide for setting up a holographic telepresence
Rendering the reality: Development of a video mapping show on a mountain cliff face for a music festival
Rendering the Reality, como conceito, quer difundir a ideia de que aquilo que as pessoas experimentam não é apenas a representação objetiva da realidade, mas a sua interpretação subjetiva. Todos podem perceber algo diferente dos outros e este aspeto é analisado neste trabalho através de uma imersão total no mundo das projeções.
O principal objetivo desta tese de projeto, de facto, é desenvolver um espetáculo de video mapping sobre uma superfície irregular dentro de um festival de música. Para tal, inicialmente, foram analisados os antecedentes históricos e o estado da arte. Foi levado em consideração três tópicos principais: história do cinema, história do som no cinema, e história do video mapping. Relativamente a este último, no qual o desenvolvimento é mais recente, foi também discutida uma análise adicional e notícias relacionadas ao assunto.
Posteriormente, foram apresentados e investigados alguns projetos inspiradores. Estes são instalações ou espetáculos que levam à concretização da tarefa principal.
A parte central é o desenvolvimento do projeto. Primeiro, foi apresentado o conceito do festival e detalhes relacionados. Fundamental nesta secção é a análise do local, uma vez que o mapeamento da projeção teve de ser assentado numa falésia de uma montanha. Uma vez analisado o espaço, foram feitas muitas inspeções ao local a fim de produzir uma maquete. Esta última foi feita utilizando fotogrametria e impressão 3D. O protótipo 3D foi então mapeado e o conteúdo de vídeo foi projetado sobre ele. Os conteúdos para o video mapping foram devidamente registados, editados e distorcidos para se obter uma proposta do programa no protótipo.
O resultado final é um video mapping de 3 minutos ao vivo feito de conteúdos visuais mistos e uma faixa musical criada para o efeito. Este resultado é a soma de todo o processo e dos obstáculos encontrados ao longo do percurso.
Em conclusão, a relação que o público pode estabelecer com este espetáculo de video mapping não pode ser esclarecida, já que o festival não se realizou. Mas é evidente que o artista que desenvolveu o espetáculo tentou dar uma interpretação do festival e da sua localização através do conteúdo audiovisual, ou seja, tentando renderizar a realidade.Rendering the Reality, as a concept, wants to spread the idea that what people experience is not only the objective representation of reality but the subjective interpretation of it. Everyone can perceive something different from others and this aspect is analyzed in this work through full immersion in the world of projections.
The main goal of this project thesis, indeed, is to develop a video mapping show on an irregular surface within a music festival. To do so, initially, the historical background and state of the art were analyzed. Three main topics were taken into consideration: History of filmmaking, History of sound in movies, and History of projection mapping. Concerning this latter, whose development is most recent, additional analysis and related news were discussed, too.
Subsequently, some inspiring projects were presented and investigated. Those are installations or shows that lead to the concretization of the main task.
The central part is the development of the project. First, the festival concept and related details were presented. Fundamental in this section is the analysis of the location since the projection mapping had to be settled on a cliff face of a mountain. Once analyzed the space, lots of site inspections were made in order to produce a maquette. This latter was made using photogrammetry and 3D printing. The 3D prototype, then, was mapped and video contents were projected on it. Contents for video mapping were appositely recorded, edited, and distorted to obtain a proposal of the show on the prototype.
The final result is a 3-minute video mapping live made of mixed visual contents and a music track created for the purpose. This outcome is the sum of the entire process and obstacles encountered along the way.
In conclusion, the relationship the audience can establish with this video mapping show cannot be clarified, as the festival did not take place. But it is clear that the artist who developed the show tried to give an interpretation of the festival and its location through the audiovisual content, that is, trying to render the reality
‘Seeding a Lead’: Exploring the Live Theatre Industry’s Reception of a Pre-Market Canadian Display Technology
This article shares the results of a research project conducted by a multidisciplinary group formed from theatre studies, digital media, and business and technology in 2009. The research story is an unusual one for the theatre. It features access to pre-market digital display technologies for play-making, a combination of industry and federal research funding support, and a combination of artistic and business interrogation of primary stakeholders in the live theatre, its culturally-networked industries, and theatre education communities
Watching Androids Dream of Electric Sheep: Immersive Technology, Biometric Psychography, and the Law
Virtual reality and augmented reality present exceedingly complex privacy issues because of the enhanced user experience and reality-based models. Unlike the issues presented by traditional gaming and social media, immersive technology poses inherent risks, which our legal understanding of biometrics and online harassment is simply not prepared to address. This Article offers five important contributions to this emerging space. It begins by introducing a new area of legal and policy inquiry raised by immersive technology called “biometric psychography.” Second, it explains how immersive technology works to a legal audience and defines concepts that are essential to understanding the risks that the technology poses. Third, it analyzes the gaps in privacy law to address biometric psychography and other emerging challenges raised by immersive technology that most regulators and consumers incorrectly assume will be governed by existing law. Fourth, this Article sources firsthand interviews from early innovators and leading thinkers to highlight harassment and user experience risks posed by immersive technology. Finally, this Article compiles insights from each of these discussions to propose a framework that integrates privacy and human rights into the development of future immersive tech applications. It applies that framework to three specific scenarios and demonstrates how it can help navigate challenges, both old and new
Immersed in Pop! Excursions into Compositional Design
Recent changes in consumer audio and music technology and distribution - for example the addition of 3D audio formats such as Dolby Atmos to music streaming services, the recent release of “Spatial Audio” on Apple and Beats products, the proliferation of musical content in virtual reality and 360º videos, etc. - have reignited a public discourse on concepts of immersion and interactivity in popular music and media. This raises questions and necessitates a deepening of popular musicological discourse in these areas. This thesis thus asks: what is the relationship between so-called immersive media and immersive experience? How are immersive and interactive experiences of audiovisual popular music compositionally designed? And to what degree do interpretations of immersion and interactivity in popular music imply agency on part of the listener/viewer? To address these questions, Bresler has authored or co-authored four articles and book chapters on music in immersive and interactive media with a focus on compositional design and immersion in pop music. In the framing chapter, these articles are contextualized through the coining of the term immersive staging, which is a framework for understanding how the perceived relationship between the performer and listener is mediated through technology, performativity, audiovisual compositional design, and aesthetics. Additionally, the chapter makes a case for the hermeneutic methodologies employed throughout.publishedVersio
New interaction models for 360º video
Esta dissertação tem como principal objectivo a incorporação de um mecanismo de buffering num sistema de multimídia, capaz de oferecer experiências multivista adaptáveis. A incorporação deste mecanismo vem provocar melhorias na qualidade de serviço e na qualidade de experiência.
O sistema recorre ao protocolo MPEG-DASH e a uma câmara convencional para detecção dos movimentos da cabeça do utilizador. O sistema incorpora ainda um mecanismo de adaptação automática da qualidade, ajustável às condições da rede.
O mecanismo desenvolvido é composto por um proxy e tem o objectivo de minimizar o atraso existente na transição de vistas. O proxy será capaz de enviar três vistas em simultâneo, duas em baixa qualidade, enquanto a vista principal será enviada e apresenta ao utilizador em alta qualidade.Sempre que existe um novo pedido por parte do utilizador, o mecanismo irá comutar entre as vistas enviadas até receber a resposta por parte do servidor.
Deste modo, esta dissertação pretende identificar as dificuldades que se colocam relativamente à disponibilização e transmissão eficiente deste tipo de conteúdos, assim como os compromissos necessários ao nível da qualidade de experiência do utilizador.Today, the fast technological evolution and the significant increase in the demand for multimedia content has boosted the development of the transmission mechanisms used for this purpose.This development had repercussions in several areas, such as the immersive experiences that include the 360º contents. Whether through live streaming or using on demand services, the quality of service and experience have become two points whose development has assumed high importance.
The capture and reproduction of 360º content allows transmitting an immersive view of reality at a given moment. With this approach, the industry intends to provide a product with better audiovisual quality, more comfortable for the user and that allows a better interaction with the same. An example of this is the choice of the view that most appeals to us in a given event (for example, football matches or concerts).
This dissertation has as main objective the incorporation of a buffering mechanism in a multimedia system, able to offer adaptive multivista experiments. The system uses the MPEG-DASH protocol for efficient use of network resources and a conventional camera for detecting the movements of the user's head, selecting the points of view that one wishes to visualize in real time. The system also incorporates an automatic quality adjustment mechanism, adjustable to the network conditions.
The buffering mechanism is intended to increase the quality of experience and the quality of service, minimizing the delay in the transition of views. The mechanism will consist of a proxy capable of sending three views simultaneously. Of these views, two will be sent in low quality, while the main view will be sent and presented to the user in high quality. Whenever there is a new request from the user, the mechanism will switch between sent views until it receives the response from the server.
Based on these assumptions, the dissertation intends to identify the challenges that are posed regarding the availability and efficient transmission of 360º content, as well as the necessary commitments regarding the quality of user experience. This last point is particularly significant, taking into account the network requirements and the volume of data presented by the transmissions of this type of content
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