240 research outputs found
Usability of virtual reality in construction industry
Construction is a sector where new technologies are implemented slowly and are still behind western\ud
countries. The need for a transfer to newer technologies is connected to bussiness success of a company,\ud
even though new approaches increas productivity for the employees.\ud
Thesis will present implementations and technologies from a field of virtual reality (VR) that could be\ud
used in the contruction industry. Virtuality is described along with its variations that link fields between\ud
reality and virtuality. Two products will be presented, SmartReality and Microsofts HoloLens, along\ud
with their usage in the field of construction. Strong incentive is also presented to show a future\ud
development of a given sector, its strenghts and weaknesses along with their technical limitations. Both\ud
products are shown in combination with other peripheries like Oculuts rift and Moverio Smart Glasses\ud
which increase products usability
Corporeity and Virtuality
Moje tijelo je osnova i toÄka susretanja svega postojeÄeg za mene. MeÄudjelovanje i objedinjenost osjetilnih sustava u jedinstvenoj, konkretnoj svijesti o svom jastvu i o svijetu, tvore cjelovito iskustvo, koje svoj sublimirani izraz nalazi u umjetnosti. Analogije, metafore, simboli, znaÄenja i spoznaja izranjaju iz neurofizioloÅ”kih sustava svih osjetila. MeÄutim, medijska virtualna stvarnost, iskljuÄivo je audiovizualna, s dominacijom vizualnog. Ostala eksteroreceptivna osjetila (dodir, miris i okus), kao i interoreceptivna (visceralna) i proprioreceptivna osjetila (informacije iz miÅ”iÄa, osjeÄaj tijela kao āuzemljenostiā u svijetu) ostaju nestimulirana i nezaposlena. BuduÄi da je oblikovanje bogatstvo i tanano diferenciranje iskustva, stoga razvoj i realizacija kreativnih potencijala, niÄu iz raznovrsnosti i integriranosti opažajno-osjetilne osnove, pokuÅ”at Äemo dokuÄiti moguÄe posljedice redukcije osjetilnog iskustva na samo dva dominantna osjetila: vid i sluh.The center of consciousness of oneās existence and the existence of all other things and phenomena, is the experience of oneās own body. The interaction of all sensory systems and their unification in the unique, concrete awareness of oneās self and the world; form the integral experience, which finds its sublimated expression in art. Analogies, metaphors, symbols, meanings and cognition emerge from the neurophysiological systems of all our senses. However, the media virtual reality is audiovisual, with visual predominance. The other exteroceptive (touch, smell and taste), as well as interoceptive (visceral) and proprioceptive senses (information from muscles, sense of grounding) remain unstimulated and unemployed. Knowing that the formation and differentiation of experience, therefore development of creative potential is based on the richness and varietyof oneās perceptual and sensory basis, weāll try to ifigure out the possible consequences of the reduction of our sensory experienceto two dominant senses: sight and hearing
Pomen prostora in Äasa v Driadi Gregorja StrniÅ”e
Älanek obravnava prostorsko/Äasovno
konstrukcijo dramske realnosti v
StrniŔevi drami Driada. To je tekst, ki
ne upoŔteva treh enotnosti in vseskozi
niza fantastiÄne elemente ter prehaja
med zelo razliÄnimi dogajalnimi mesti
in zgodovinskimi Äasi. A StrniÅ”eva
zgodba prav s temi prehajanji in izrazito
fantastiko konstruira resniÄnost,
ki obstaja za tistim, kar je vidno na
prvi pogled. Prehajanje od velikega k
majhnemu in obratno ali od kratkotrajnega
k veÄnemu ustvarja napetost med
tragiÄnim in komiÄnim vidikom sveta.
Zato je igra groteskna. To pa ji daje tudi
izrazit etiÄni naboj, saj kaže razliko
med pesniÅ”ko resniÄnostjo sveta in malomeÅ”Äansko
Ŕtacunarsko miselnostjo,
kakor StrniŔa pravi sodobni potroŔniŔki družbi.The article analyses the space/time
construction of reality in Driada,
one of Gregor StrniÅ”aās most unusual
works. The drama does not follow the
aristotelian rules of the three unities.
Furthermore, it easily changes
between different historical periods
and places and therefore constructs
a virtual reality, which exists behind
what can be seen through limited
human experience of the world. The
transitions from the biggest to the
smallest and from the past to the
future are distinguished features ot
the grotesque image of reality. The
grotesqe character of the play gives
rise to an ethic dimension, which sees
the contradiction between the poetic
comprehension of the world and its
everyday consumer logic
Features of Social Interactions in the Age of Real Virtuality from a Sociological Perspective
Cilj je ovog rada prije svega razmotriti neke osnovne pojmove i njihova znaÄenja, vezane uz suvremene druÅ”tvene interakcije, polazeÄi od klasiÄnih socioloÅ”kih pojmova druÅ”tveni odnos i druÅ”tvena interakcija te sagledati Å”to se mijenja, a Å”to je isto u doba umrežavanja i Ā»preseljenjaĀ« u virtualni prostor. Drugim rijeÄima, želimo preispitati formu i sadržaj istih u dobu bez nužnosti dimenzije prostora u nekom odnosu, pri Äemu nastaju nove forme i pojmovi kao Å”to su mreža, umreženost, virtualnost i sl. U prvom poglavlju prikazat Äe se znaÄenje pojmova druÅ”tveni odnos i druÅ”tvena interakcija koji podrazumijevaju one dru- Å”tvene odnose u kojima su prisutni kontakt/susret ili komunikacija te koji nas vode prema pojmu druÅ”tvena interakcija u istom prostoru i istom vremenu. Tema drugog poglavlja je druÅ”tvena interakcija u istom vremenu bez prostora, kada pojavom informacijske tehnologije pojedinci i druÅ”tva ulaze u cyber prostor nove virtualne stvarnosti. To nas pak dovodi do razvoja razliÄitih oblika interakcija na druÅ”tvenim mrežama, Å”to je tema treÄeg poglavlja. U Äetvrtom poglavlju razmatraju se neki rizici i neke pozitivne moguÄnosti virtualnih interakcija u odnosu na realne.The aim of this paper is primarily to consider some basic concepts and their meanings related to contemporary social interactions, starting from the classical sociological concepts of social relationship and social interaction, and to see what is changing and what remains the same in the age of networking and āmovingā to virtual space. In other words, we want to re-examine their form and content in an age without the necessity of the spatial dimension for a relationship, in which new forms and concepts occur, such as network, networking, virtuality, etc. The first chapter will show the meaning of social relations and social interaction, which imply those social relations in which contact/encounter or communication is present and which leads us to the concept of social interaction in the same space and at the same time. The topic of the second chapter is social interaction at the same time without space, when, with the application of information technology, individuals and societies enter the cyberspace of a new virtual reality. This leads us to the development of various forms of interaction on social networks, which is the topic of the third chapter. The fourth chapter discusses some of the risks and positive possibilities of virtual interactions over real ones
The Printed Book in Global Media Environment
Tiskana knjiga u digitalnom medijskom okruženju zavrÅ”ni je rad koji za cilj ima pojasniti digitalno medijsko okruženje i položaj tiskane knjige kao medija, unutar tog okruženja. Kako bi se bolje razumjelo digitalno medijsko okruženje, u ovom je radu prvo definirano klasiÄno medijsko okruženje te okruženje novih medija. Definirana je i sama tiskana knjiga kao medij. Kako bi se bolje pojasnio utjecaj medija na druÅ”tvo i pojedinca, prema literaturi Marshalla McLuhana, u radu se spominju i njegove teorije koje je primjenjivao na razumijevanje tradicionalnih medija. Prema tim su metodama definirani i novi mediji te Äe one poslužiti kako bi se na kraju rada, tiskana knjiga kao tradicionalni medij, mogla definirati unutar digitalnog medijskog okruženja. Dio rada dotiÄe se teme e-knjige kao produžetka tiskane knjige te se istiÄu prednosti i nedostaci te vrste knjige nad klasiÄnim medijem tiskane knjige
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