Visualising mixed reality simulation for multiple users

Cowling, MA ORCiD: 0000-0003-1444-1563Blended reality seeks to encourage co-presence in the classroom, blending student experience across virtual and physical worlds. In a similar way, Mixed Reality, a continuum between virtual and real environments, is now allowing learners to work in both the physical and the digital world simultaneously, especially when combined with an immersive headset experience. This experience provides innovative new experiences for learning, but faces the challenge that most of these experiences are single user, leaving others outside the new environment. The question therefore becomes, how can a mixed reality simulation be experienced by multiple users, and how can we present that simulation effectively to users to create a true blended reality environment? This paper proposes a study that uses existing screen production research into the user and spectator to produce a mixed reality simulation suitable for multiple users. A research method using Design Based Research is also presented to assess the usability of the approach

FELIX GONZALEZ-TORRES and KEN OKIISHI: The Evolution and Representation of Experience

The two artists Ken Okiishi and Felix Gonzalez-Torres--though separated by a generation--both use physical objects to signify the loss of human presence, connection or connections. Both instill meaning into familiar physical objects such as candy, clocks, or television screens, and both are able to provoke feelings associated with the kinds of presence objects can represent – without that actual presence. Gonzalez-Torres worked during a time when digital technology was not yet an existent medium, while Okiishi worked during a time in which the technological world and its social effects are central to his work and message. In fact, a central point of his work gesture/data is to replicate our dependent relationship with technology and how people interact with the virtual world. This world is only available by viewing through a screen; it is unreachable, unlike the tangible objects, that we can physically feel, via which Gonzalez-Torres’ works often confronted viewers. These two artists demonstrate stark, pivotal generational differences: a world and society before technology, art before digital technology (Gonzalez-Torres), and the effects and experiences of art in a world engulfed by such technology entirely (Okiishi). One relies on physical interaction, and the other responds and relays the effects of infinite, intangible spectacles. Both speak to the importance and meaning of presence, or being, and what part that presence or absence plays in art experience during these juxtaposing time periods: before and after the Internet. In his 1967 book The Society of the Spectacle, French theorist Guy Debord wrote, “in societies where modern conditions of production prevail, all of life presents itself as an immense accumulation of spectacles. Everything that was directly lived has moved away into a representation”.[1] Gonzalez-Torres’ and Okiishi’s artworks both could be said to exemplify this idea of evolution and generational transformation, but in Okiishi’s work, there is an increased disconnection, to the point that everything may be mere representation. This raises the question: has art changed with technology? Have we lost actual experience to mere representation? [1]Debord, Guy. The Society of the Spectacle. Buchet-Chastel, 196

Security and Online learning: to protect or prohibit

The rapid development of online learning is opening up many new learning opportunities. Yet, with this increased potential come a myriad of risks. Usable security systems are essential as poor usability in security can result in excluding intended users while allowing sensitive data to be released to unacceptable recipients. This chapter presents findings concerned with usability for two security issues: authentication mechanisms and privacy. Usability issues such as memorability, feedback, guidance, context of use and concepts of information ownership are reviewed within various environments. This chapter also reviews the roots of these usability difficulties in the culture clash between the non-user-oriented perspective of security and the information exchange culture of the education domain. Finally an account is provided of how future systems can be developed which maintain security and yet are still usable

Taking time to understand: articulating relationships between technologies and organizations

Dynamic relationships between technologies and organizations are investigated through research on digital visualization technologies and their use in the construction sector. Theoretical work highlights mutual adaptation between technologies and organizations but does not explain instances of sustained, sudden, or increasing maladaptation. By focusing on the technological field, I draw attention to hierarchical structuring around inter-dependent levels of technology; technological priorities of diverse groups; power asymmetries and disjunctures between contexts of development and use. For complex technologies, such as digital technologies, I argue these field-level features explain why organizations peripheral to the field may experience difficulty using emerging technology

E-topia: Utopia after the Mediated Body

open access journalA custom-made media installation, diplorasis, will be used to explore the body in digital media. This mediated body attempts to re-think how the Deleuzian time-image is translated from its cinematic confinement to the space of new media. In diplorasis the digitized time-image becomes more directly incorporated with-in the bodily schema. Consequently, the thinking of the virtual and actual space of the body in diplorasis enables a questioning of bodily space-time, and particularly the relation between self and digitized self-image. It is thus crucial to re-frame how this digitized mediated body is distinct from a conventional notion of a metric and habitual space—one that is reinforced by, for example, the medium of linear perspective. The articulation of the mediated body will be used to in-form and extend Elizabeth Grosz’s paradoxical reading of embodiment and utopia, by revisiting the notions of utopia as eu-topic/ou-topic. The spatio-temporality of the topos must be re-considered before utopia. Foucault’s analogy of the mirror will then serve to superimpose the dual and slippery relations between utopia and the heterotopic. The digitized mediated body will thus seek to explore emerging ways by which to consider the utopic by conflating embodiment, time and space within an electronic topos. It is argued that as the sensing and cognitive body becomes increasingly pliable in relation to technological mediations, our very understanding of space-time is changing

Viewing the Future? Virtual Reality In Journalism

Journalism underwent a flurry of virtual reality content creation, production and distribution starting in the final months of 2015. The New York Times distributed more than 1 million cardboard virtual reality viewers and released an app showing a spherical video short about displaced refugees. The Los Angeles Times landed people next to a crater on Mars. USA TODAY took visitors on a ride-along in the "Back to the Future" car on the Universal Studios lot and on a spin through Old Havana in a bright pink '57 Ford. ABC News went to North Korea for a spherical view of a military parade and to Syria to see artifacts threatened by war. The Emblematic Group, a company that creates virtual reality content, followed a woman navigating a gauntlet of anti- abortion demonstrators at a family planning clinic and allowed people to witness a murder-suicide stemming from domestic violence.In short, the period from October 2015 through February 2016 was one of significant experimentation with virtual reality (VR) storytelling. These efforts are part of an initial foray into determining whether VR is a feasible way to present news. The year 2016 is shaping up as a period of further testing and careful monitoring of potential growth in the use of virtual reality among consumers

Live Sports Virtual Reality Broadcasts: Copyright and Other Protections

As virtual reality rapidly progresses, broadcasts are able to increasingly mimic the experience of actually attending a game. As the technology advances and the viewer can freely move about the game and virtual reality can simulate the in-stadium attendance, the virtual reality broadcast nears the point where the broadcast is indistinguishable from the underlying game. Thus, novel copyright protection issues arise regarding the ability to protect the experience through copyright. Although normal broadcasts may be copyrighted, virtual reality broadcasts of live sports could lack protection under the Copyright Act because the elements of originality, authorship, and fixation are harder to satisfy for this type of work. If the elements that formerly protected broadcasts through copyright no longer apply, the virtual reality broadcast of the game will lose copyright protection. The virtual reality broadcaster can receive protection for the work in several ways, such as (1) by broadcaster-made modifications to the transmitted broadcast, (2) through misappropriation claims, or (3) by inserting contract terms. These additional steps maintain the ability of virtual reality broadcasters to disseminate works without fear the work will not be protectable by the law

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