Narrative approaches to design multi-screen augmented reality experiences

This paper explores how traditional narrative language used in film and theatre can be adapted to create interactivity and a greater sense of presence in the virtual heritage environment. It focuses on the fundamental principles of narrative required to create immersion and presence and investigates methods of embedding intangible social histories into these environments. These issues are explored in a case study of Greens Mill in the 1830’s, interweaving the story of the reform bill riots in Nottingham with the life of George Green, mathematician and proprietor of the Mill

Smart Photos

Recent technological leaps have been a great catalyst for changing how people interact with the world around us. Specifically, the field of Augmented Reality has led to many software and hardware advances that have formed a digital intermediary between humans and their environment. As of now, Augmented Reality is available to the select few with the means of obtaining Google Glass, Oculus Rifts, and other relatively expensive platforms. Be that as it may, the tech industry\u27s current goal has been integration of this technology into the public\u27s smartphones and everyday devices. One inhibitor of this goal is the difficulty of finding an Augmented Reality application whose usage could satisfy an everyday need or attraction. Augmented reality presents our world in a unique perspective that can be found nowhere else in the natural world. However, visual impact is weak without substance or meaning. The best technology is invisible, and what makes a good product is its ability to fill a void in a person\u27s life. The most important researchers in this field are those who have been augmenting the tasks that most would consider mundane, such as overlaying nutritional information directly onto a meal [4]. In the same vein, we hope to incorporate Augmented Reality into everyday life by unlocking the full potential of a technology often believed to have already have reached its peak. The humble photograph, a classic invention and unwavering enhancement to the human experience, captures moments in space and time and compresses them into a single permanent state. These two-dimensional assortments of pixels give us a physical representation of the memories we form in specific periods of our lives. We believe this representation can be further enhanced in what we like to call a Smart Photo. The idea behind a Smart Photo is to unlock the full potential in the way that people can interact with photographs. This same notion is explored in the field of Virtual Reality with inventions such as 3D movies, which provide a special appeal that ordinary 2D films cannot. The 3D technology places the viewer inside the film\u27s environment. We intend to marry this seemingly mutually exclusive dichotomy by processing 2D photos alongside their 3D counterparts

Museums and New Media Art

Investigates the relationship between new media art and museums

Spartan Daily November 5, 2009

Volume 133, Issue 36https://scholarworks.sjsu.edu/spartandaily/1303/thumbnail.jp

Finding the way: improving access to the collections of the Royal Scottish Geographical Society

This case study describes and discusses the ‘Images for All’ project at the Royal Scottish Geographical Society and lessons learned from it. The background to the project and collections held is described. The case study focuses on the development of the project website, the digitisation of 100 images from the collection and the nature of project management in a small scale project. The paper finds that there are many potential challenges faced by project managers working in small voluntary organisations, but these can be overcome

Spartan Daily April 8, 2010

Volume 134, Issue 34https://scholarworks.sjsu.edu/spartandaily/1249/thumbnail.jp

The hunt for submarines in classical art: mappings between scientific invention and artistic interpretation

This is a report to the AHRC's ICT in Arts and Humanities Research Programme. This report stems from a project which aimed to produce a series of mappings between advanced imaging information and communications technologies (ICT) and needs within visual arts research. A secondary aim was to demonstrate the feasibility of a structured approach to establishing such mappings. The project was carried out over 2006, from January to December, by the visual arts centre of the Arts and Humanities Data Service (AHDS Visual Arts).1 It was funded by the Arts and Humanities Research Council (AHRC) as one of the Strategy Projects run under the aegis of its ICT in Arts and Humanities Research programme. The programme, which runs from October 2003 until September 2008, aims ‘to develop, promote and monitor the AHRC’s ICT strategy, and to build capacity nation-wide in the use of ICT for arts and humanities research’.2 As part of this, the Strategy Projects were intended to contribute to the programme in two ways: knowledge-gathering projects would inform the programme’s Fundamental Strategic Review of ICT, conducted for the AHRC in the second half of 2006, focusing ‘on critical strategic issues such as e-science and peer-review of digital resources’. Resource-development projects would ‘build tools and resources of broad relevance across the range of the AHRC’s academic subject disciplines’.3 This project fell into the knowledge-gathering strand. The project ran under the leadership of Dr Mike Pringle, Director, AHDS Visual Arts, and the day-to-day management of Polly Christie, Projects Manager, AHDS Visual Arts. The research was carried out by Dr Rupert Shepherd

The Table is the Floor

A passage of text based on my reflective research writing that was produced in initially for a CCW symposium on the Substrate (12 February 2014). Here it was revised for publication in the journal Bright Light