The benefits of using a walking interface to navigate virtual environments

Navigation is the most common interactive task performed in three-dimensional virtual environments (VEs), but it is also a task that users often find difficult. We investigated how body-based information about the translational and rotational components of movement helped participants to perform a navigational search task (finding targets hidden inside boxes in a room-sized space). When participants physically walked around the VE while viewing it on a head-mounted display (HMD), they then performed 90% of trials perfectly, comparable to participants who had performed an equivalent task in the real world during a previous study. By contrast, participants performed less than 50% of trials perfectly if they used a tethered HMD (move by physically turning but pressing a button to translate) or a desktop display (no body-based information). This is the most complex navigational task in which a real-world level of performance has been achieved in a VE. Behavioral data indicates that both translational and rotational body-based information are required to accurately update one's position during navigation, and participants who walked tended to avoid obstacles, even though collision detection was not implemented and feedback not provided. A walking interface would bring immediate benefits to a number of VE applications

Motion in place: a case study of archaeological reconstruction using motion capture

Human movement constitutes a fundamental part of the archaeological process, and of any interpretationof a site’s usage; yet there has to date been little or no consideration of how movement observed (incontemporary situations) and inferred (in archaeological reconstruction) can be documented. This paper reports on the Motion in Place Platform project, which seeks to use motion capture hardware and data totest human responses to Virtual Reality (VR) environments and their real-world equivalents using round houses of the Southern British Iron Age which have been both modelled in 3D and reconstructed in the present day as a case study. This allows us to frame questions about the assumptions which are implicitlyhardwired into VR presentations of archaeology and cultural heritage in new ways. In the future, this will lead to new insights into how VR models can be constructed, used and transmitted

Understanding the Impact of the New Aesthetics and New Media Works on Future Curatorial Resource Responsibilities for Research Collections

The author examines the emerging impact of the works of the “New Aesthetic,” along with other works that have their genesis in the rapid technological changes of the last fifty-plus years. Consideration is given to the history of digital audio/visual works that will eventually be held by repositories of cultural heritage and how this history has, or has not, been documented. These creations have developed out of an environment of networked, shared, re-usable and re-purposed data. The article briefly examines how these works are utilized while looking at the future impact of the growing creation and use of complex, compound multimedia digital re- search and cultural collections as evidenced by augmented and virtual reality environments such as smartphone apps and Second Life.Ye

Experimental archeology and serious games: challenges of inhabiting virtual heritage

Experimental archaeology has long yielded valuable insights into the tools and techniques that featured in past peoples’ relationship with the material world around them. However, experimental archaeology has, hitherto, confined itself to rigid, empirical and quantitative questions. This paper applies principles of experimental archaeology and serious gaming tools in the reconstructions of a British Iron Age Roundhouse. The paper explains a number of experiments conducted to look for quantitative differences in movement in virtual vs material environments using both “virtual” studio reconstruction as well as material reconstruction. The data from these experiments was then analysed to look for differences in movement which could be attributed to artefacts and/or environments. The paper explains the structure of the experiments, how the data was generated, what theories may make sense of the data, what conclusions have been drawn and how serious gaming tools can support the creation of new experimental heritage environments

A short history off-line

Emerging technologies for learning report - Article exploring the history of ICT in education and the lessons we can learn from the pas

Spartan Daily, October 22, 2009

Volume 133, Issue 28https://scholarworks.sjsu.edu/spartandaily/2101/thumbnail.jp

Bill Viola’s 'Nantes Triptych': Unearthing the sources of its condensed temporality

In this text we intend to analyze Bill Viola’s video installation Nantes Triptych (1992) as an example of the richness which lies in the liminal spaces between arts. We defend the thesis that the utilization of the traditional pictorial structure of the triptych in this particular work, along with the powerful audiovisual material, renders a kairological event available to the viewer. This temporal experience makes possible an existential experience when in front of this video installation. To discuss this assumption we will use classical art theory texts about the triptychs, as well as, among others, Deleuze’s texts about time image and the triptych structure, Agamben’s concept of kairos, the concept of kairological artwork coined by David Chan and the philosophy of temporality developed by Merleau-Ponty

There's No Place Like Home: Dwelling and Being at Home in Digital Games

This chapter considers the presence, in digital games, of experiences of dwelling. Starting with an engagement with the philosopher Edward S. Casey's distinction between hestial and hermetic spatial modes, the chapter argues that the player's spatial engagement with digital game worlds has tended to align with the hermetic pole, emphasizing movement, traversal and exploration. By contrast, hestial spatial practices, characterized by centrality, lingering and return, are far less prevalent both in digital games themselves and in discussions on spatiality in the game studies discourse. To counter this lack, this chapter draws upon philosophical work on space by Casey, Martin Heidegger, Yi-Fu Tuan and Christian Norberg-Schulz, using these as a conceptual lens to identify spatial structures and practices in digital games that diverge from the hermetic mode. Attention is paid to games that invite pausing and lingering in place, games where the player's relation to place is structured around practices of building, the phenomenology of home and dwelling in games, and familiarity and identity as experiential characteristics of being at home. Minecraft and Animal Crossing: New Leaf are examined in detail as case studies, though the chapter also refers to examples from other games