Stroll’n’Draw, All Inclusive: Let Us Embrace Contingency to Visualise and to Reinforce the Uniqueness of Places

In this paper, I discuss the education of inclusive urbanism as the inclusion of the environmental awareness genesis, attitudes toward urban design, cognitive biases and the acceptance of contingency. How do places ‘happen’ to become what they are? What characterises their potentially unreducible singularity in light of general planning laws? I suggest educating along a didactic triangle of rules, novelty and singularity in a spatialisable tabular fashion. In addition to using the methods presented here in teaching, these approaches can also be used to create more inclusion in urban development processes as a whole. With a 3D visualisation matrix of analogue, hybrid and digital methods, I proceed to four exemplary multi-methodological teaching modes to tackle the ever-bygone status quo, to introduce research methodology and, thereby, the defeasibility of both the premises and the conclusions in all-too traditional urban design. I focus on abductive reasoning between the unique locality and the general space of possibility as trial acting and “plan-b thinking” to dialectically shuttle within didactic triangle and visualisation matrix. The curriculum allows for principal and exemplary multi-methodological cross-linkage. Open projects serve as stepping stones into the broad variety of non-algorithmic human occupations in 21st century urban planning. Let us understand our own multiple personal urbanites way beyond professional applicability

3D Negative Space Beyond Stereoscopy: Immersion into the Urban Space of Venice

This paper investigates the relationship between photography, stereoviews and visual icons in Venice, and proposes an experimental video that integrates stereoscopic representations with ambient sounds. The article opens with a historical analysis of the stereoviews made in Venice, highlighting the repertoire of subjects, technology and stylistic choices adopted by the most relevant photographers of the late nineteenth century. The second section proposes an experimental project that attempts to replace the Venetian iconic touristic photographs and stereoviews. The aim is to investigate how to help the viewer focus on depth and negative spaces in a virtual space by walking him/her through different parts of the urban layout. The author discusses which of the main features are adopted to create an immersive experience through a digital combination of stereoscopic photography and binaural ambient sounds. The result indicates that it is possible to capture the essence of the 3D experience of a typical touristic sightseeing tour by applying specific digital transformations to a stereoscopic kinematic flow

2.5d/3d models for the enhancement of architectural-urban heritage. An virtual tour of design of the fascist headquarters in Littoria

Enhancement of cultural heritage is not simply a matter of preserving material objects but comes full circle only when the heritage can be enjoyed and used by the community. This is the rationale behind this presentation: an urban Virtual Tour to explore the 1937 design of the Fascist Headquarters in Littoria, now part of Latina, by the architect Oriolo Frezzotti. Although the application is deliberately “simple”, it was part of a much broader framework of goals. One such goal was to create “friendly and perceptively meaningful” interfaces by integrating different “3D models” and so enriching. In fact, by exploiting the activation of natural mechanisms of visual perception and the ensuing emotional emphasis associated with vision, the illusionistic simulation of the scene facilitates access to the data even for “amateur” users. A second goal was to “contextualise the information” on which the concept of cultural heritage is based. In the application, communication of the heritage is linked to its physical and linguistic context; the latter is then used as a basis from which to set out to explore and understand the historical evidence. A third goal was to foster the widespread dissemination and sharing of this heritage of knowledge. On the one hand we worked to make the application usable from the Web, on the other, we established a reliable, rapid operational procedure with high quality processed data and ensuing contents. The procedure was also repeatable on a large scale

Proceedings of the International Workshop “Re-Thinking Technology in Museums: towards a new understanding of people’s experience in museums"

Proceedings of the International Workshop “Re-Thinking Technology in Museums: towards a new understanding of people’s experience in museums

Admitting Their Worlds: Reflections Of A Teacher/Researcher On The Self-Initiated Art Making Of Children

“I’m trying the least of anything to control this drawing... in fact I want it to run away with me.” says Billy, a fifth grader who reads at 13th grade level. He clears his throat and begins to sketch and his stories flood the page. This qualitative research paper looks at what free sketchbook drawing does for a group of boys ages 8-14 who participate in an after-school drawing club. The writing blends critical pedagogy with the influence of the adult media culture (e.g, war, television, movies, video games, and the internet) and my perceptions as researcher/teacher

Virtual enactment effect on memory in young and aged populations: a systematic review

Background: Spatial cognition is a critical aspect of episodic memory, as it provides the scaffold for events and enables successful retrieval. Virtual enactment (sensorimotor and cognitive interaction) by means of input devices within virtual environments provides an excellent opportunity to enhance encoding and to support memory retrieval with useful traces in the brain compared to passive observation. Methods: We conducted a systematic review with Preferred Reporting Items for Systematic Reviews and Meta-Analysis (PRISMA) guidelines concerning the virtual enactment effect on spatial and episodic memory in young and aged populations. We aim at giving guidelines for virtual enactment studies, especially in the context of aging, where spatial and episodic memory decline. Results: Our findings reveal a positive effect on spatial and episodic memory in the young population and promising outcomes in aging. Several cognitive factors (e.g., executive function, decision-making, and visual components) mediate memory performances. Findings should be taken into account for future interventions in aging. Conclusions: The present review sheds light on the key role of the sensorimotor and cognitive systems for memory rehabilitation by means of a more ecological tool such as virtual reality and stresses the importance of the body for cognition, endorsing the view of an embodied mind

Perception of space through representation media: a comparison between 2D representation techniques and 3D virtual environments

Thesis (Master)--İzmir Institute of Technology, Architecture, İzmir, 2005Includes bibliographical references (leaves: 109-113)Text in English; Abstract: Turkish and Englishxii, 122 leavesFor centuries, 2D drawing techniques such as plans, sections and elevations have been the main communication media for the profession of architecture. Addition to these techniques, for two decades, computer based representation techniques and 3D virtual environments (VE) have also entered to the profession of architecture. Effects of these computer based techniques on perception of space have always been interrogated by several researches.Although these researches generally regarded these computerized techniques as better and proper than conventional techniques, in some cases conventional techniques can be more effective to depict architectural space. Main aim of this thesis is to compare and evaluate the positive effects and shortcomings of 3D virtual environments and 2D conventional representation techniques in the context of perception of architectural space. Parallel to this objective, the thesis also aims to show the differentiation in perception of space with the change of representation media. To show these differences, a comparative method is used. As the main step of the application of this method, an experimental case study and survey has been constituted for comparing 2D conventional techniques and 3D computer based techniques. In this survey, 38 first yearstudents from Izmir Institute of technology have taken place as test subject.According to the results of this comparative case study, contributions and shortcomings of 2D conventional representation techniques and 3D computer based techniques on improving the capability of architects on perception of the space have been determined

Richard Carlyon: A Retrospective

Published in conjunction with the multisite exhibition Richard Carlyon: A Retrospective, which opened on September 11, 2009, and was organized by the Anderson Gallery, School of the Arts, Virginia Commonwealth University; Reynolds Gallery; 1708 Gallery; and Visual Arts Center of Richmond, all in Richmond, Va.https://scholarscompass.vcu.edu/anderson_gallery/1001/thumbnail.jp

Spartan Daily, October 18, 1993

Volume 101, Issue 35https://scholarworks.sjsu.edu/spartandaily/8463/thumbnail.jp

Animators of Atlanta: Layering Authenticity in the Creative Industries

This dissertation explores post-authentic neoliberal animation production culture, tracing the ways authenticity is used as a resource to garner professional autonomy and security during precarious times. Animators engage in two modes of production, the first in creating animated content, and the other in constructing a professional identity. Analyzing animator discourse allows for a nuanced exploration of how these processes interact and congeal into common sense. The use of digital software impacts the animator’s capacity to legitimize themselves as creatives and experts, traditional tools become vital for signifying creative authenticity in a professional environment. The practice of decorating one’s desk functions as a tactic to layer creative authenticity, but the meaning of this ritual is changing now that studios shift to open spaces while many animators work from home. Layering authenticity on-screen often requires blending techniques from classical Hollywood cinema into animated performance, concomitant with a bid to legitimate the role of the authentic interlocutor for the character. Increasingly animators feel pressure to layer authenticity online, establishing an audience as a means to hedge against precarity. The recombined self must balance the many methods for layering creative and professional authenticity with the constraints and affordances of their tools, along with the demands of the studio, to yield cultural capital vital for an animator’s survival in an industry defined at once by its limitless expressive potential and economic uncertainty