Virtual Reality

This analysis paper provides a brief survey of the sector of computer game, application domains, technological demand and presently accessible resolution. It additionally presents the background and motivation of virtual surroundings analysis and identifies typical application domains. It additionally surveys current input/output devices of computer game

Exploring Oculus Rift: A Historical Analysis of the ‘Virtual Reality’ Paradigm

This paper will first provide background information about Virtual Reality in order to better analyze its development throughout history and into the future. Next, this essay begins an in-depth historical analysis of how virtual reality has developed prior to 1970, a pivotal year in Virtual Reality history, followed by an exploration of how this development paradigm shifted between the 1970\u27s and the turn of the century. The historical analysis of virtual reality is concluded by covering the modern period from 2000-present. Finally, this paper examines the layout of the virtual reality field in respect to he history and innovations presented

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

The concept of strong and weak virtual reality

We approach the virtual reality phenomenon by studying its relationship to set theory, and we investigate the case where this is done using the wellfoundedness property of sets. Our hypothesis is that non-wellfounded sets (hypersets) give rise to a different quality of virtual reality than do familiar wellfounded sets. We initially provide an alternative approach to virtual reality based on Sommerhoff's idea of first and second order self-awareness; both categories of self-awareness are considered as necessary conditions for consciousness in terms of higher cognitive functions. We then introduce a representation of first and second order self-awareness through sets, and assume that these sets, which we call events, originally form a collection of wellfounded sets. Strong virtual reality characterizes virtual reality environments which have the limited capacity to create only events associated with wellfounded sets. In contrast, the more general concept of weak virtual reality characterizes collections of virtual reality mediated events altogether forming an entirety larger than any collection of wellfounded sets. By giving reference to Aczel's hyperset theory we indicate that this definition is not empty, because hypersets encompass wellfounded sets already. Moreover, we argue that weak virtual reality could be realized in human history through continued progress in computer technology. Finally, we reformulate our characterization into a more general framework, and use Baltag's Structural Theory of Sets (STS) to show that within this general hyperset theory Sommerhoff's first and second order self-awareness as well as both concepts of virtual reality admit a consistent mathematical representation.Comment: 17 pages; several edits in v

Virtual Reality Rhythm Game

Virtual reality headsets such as the HTC Vive and Oculus Rift bring robust virtual reality technology in the hands of consumers. However, virtual reality technology is still a very new and unexplored domain with a dearth of compelling software that takes advantage of what virtual reality has to offer. Current rhythm games on the virtual reality platform lack a sense of immersion for the player. These games also require players to remain stationary during gameplay. Our solution is a game where players have to hit musical notes that appear in a trail around them. The trail will move in different directions and players have to move and turn around accordingly in order to hit every note and pass a song

Virtual Institutes: Between Immersion and Communication

In the two expressions "virtual reality" and "virtual community", the term "virtual" has different meanings. A virtual reality is a depiction or, more generally speaking, a sensuous representation of reality that allows - mainly by means of interactivity - to experience various features of reality without actually being in contact with the reality depicted. Therefore, any interactive depiction that is able to imitate reality to such an extent that a high degree of sensory-motor immersion becomes possible is called a virtual reality (Heim 1998, 6f). Since reality is always much more complex than its depiction and full of unpredictable surprises, hardly ever a user has doubts about the difference between the depiction and the thing depicted. Nevertheless, there are good reasons for preferring the imitation to the reality: at least, the imitation is usually not as dangerous as reality sometimes turns out to be. Accordingly, quite different platforms for virtual institutes may be used emphasizing either the immersion aspect or the communication aspect. The decision for a platform depends on the goals pursued with the institute: text-based chat systems allow virtual communities to flourish, single-user VRML scenes convey a highly immersive 3D impression to its users. This is particularly true for virtual institutes realized as a 3D environment, as well as for corresponding virtual communities since 3D environments are adequate for certain tasks only. As an overall framework for the evaluation it is helpful to distinguish three major application areas: research, presentation, and communicative work. The Virtual Institute for Image Science (VIB), which we would like to describe in the following (3) as a case study, is almost exclusively designed for the third task: communicative working. It intends to provide a working space persons can share for joint projects despite being physically separated. Before describing the VIB in more detail we would like to give an overview of virtual institutes between the poles of realistic immersion and of communication in a community (2). The discussion of the case study leads to some more general considerations about the balance virtual institutes must find along that bi-polar dimension (4). In the concluding remarks we focus on the technical tools for virtual communities in 3D presently available