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Journal articles on the topic 'Immersive visual media'
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1
Budge, Kylie. "Visitors in immersive museum spaces and Instagram: self, place-making, and play." Journal of Public Space, Vol. 3 n. 3 | 2018 | FULL ISSUE (December 31, 2018): 121–38. http://dx.doi.org/10.32891/jps.v3i3.534.
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Visitors to museums are increasingly drawn to posting images online that document and reflect their experience. Instagram, as a social media platform, has a proliferating presence in this context. Do different kinds of public spaces within the museum motivate people to share particular types of posts? What kind of posts do visitors generate from digitally immersive spaces with an interactive focus? These questions were unpacked through an exploration of data generated from a digitally immersive, interactive public space – the Immersion Room at the Cooper Hewitt, Smithsonian Design Museum in New York. Findings indicate that constructs of self, place-making, and play constitute critical components of what occurs, and these aspects are amplified in immersive spaces leaving digital traces within social media. I argue that the intersection of immersive digital environments and visual social media platforms such as Instagram offer a moment to play with and subtlety reconstruct the self with place being a significant contextual frame for this activity. Implications extend and challenge perceptions and the role of both museums as public spaces and the ways in which visual forms of social media intersect with spaces and the people who use them.
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Rodríguez-Fidalgo, María Isabel, and Adriana Paíno-Ambrosio. "Use of virtual reality and 360° video as narrative resources in the documentary genre: Towards a new immersive social documentary?" Catalan Journal of Communication & Cultural Studies 12, no. 2 (October 1, 2020): 239–53. http://dx.doi.org/10.1386/cjcs_00030_1.
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Virtual reality and 360° video are some of the latest technological developments within the media and communications industry. These technologies, which are designed to facilitate viewer immersion, are currently being used to create fictional and non-fictional content, thus giving rise to a new audio-visual narrative. On the basis of these premises, this research article analyses how immersive narratives are applied to the social documentary genre in its social dimension. To this end, qualitative content analysis was performed on a sample of 49 immersive documentaries published on the WITHIN platform. This analysis, which was completed with quantitative data, allowed us to confirm that these technologies have enabled the development of immersive narratives, which has given birth to a new type of documentary – the ‘immersive social documentary’.
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Vuk, Sonja, Tonka Tacol, and Janez Vogrinc. "Adoption of the Creative Process According to the Immersive Method." Center for Educational Policy Studies Journal 5, no. 3 (September 30, 2015): 51–71. http://dx.doi.org/10.26529/cepsj.127.
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The immersive method is a new concept of visual education that is better suited to the needs of students in contemporary post-industrial society. The features of the immersive method are: 1) it emerges from interaction with visual culture; 2) it encourages understanding of contemporary art (as an integral part of visual culture); and 3) it implements the strategies andprocesses of the dominant tendencies in contemporary art (new media art and relational art) with the goal of adopting the creative process, expressing one’s thoughts and emotions, and communicating with the environment. The immersive method transfers the creative process from art to the process of creation by the students themselves. This occurs with the mediation of an algorithmic scheme that enables students to adopt ways to solve problems, to express thoughts and emotions, to develop ideas and to transfer these ideasto form, medium and material. The immersive method uses transfer in classes, the therapeutic aspect of art and “flow state” (the optimal experience of being immersed in an activity)/aesthetic experience (a total experience that has a beginning, a process and a conclusion)/immersive experience (comprehensive immersion in the present moment). This is a state leading to the sublimative effect of creation (identification with what has been expressed), as well as to self-actualisation. The immersive method teaches one to connect the context, social relations and the artwork as a whole in which one lives as an individual. The adopted creative process is implemented in a critical manner on one’s surrounding through analysis, aesthetic interventions, and ecologically and socially aware inclusion in the life of a community. The students gain the crucial meta-competence of a creative thinking process.
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Wincott, Abigail, Jean Martin, and Ivor Richards. "Telling stories in soundspace: Placement, embodiment and authority in immersive audio journalism." Radio Journal:International Studies in Broadcast & Audio Media 19, no. 2 (October 1, 2021): 253–70. http://dx.doi.org/10.1386/rjao_00048_1.
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There has been an increase in the use of immersive or spatialized audio formats for radio and podcast journalism. Immersion is used to put audiences at the heart of a story, enable richer experiences and encourage empathy with others, but it can disrupt the ‘grammar’ of broadcast formats and the codes that structure the relationship between audience, journalist and story. Immersive journalism research has not tackled the impact on audio-only storytelling, and the lack of research by and for audio journalists means programme-makers have until now lacked a conceptual framework and terminology to describe how space is constructed in immersive audio, the creative and editorial choices available and their effects. This article, based on analysis of immersive output and interviews with those who produce it, critically examines the differences between mono/stereo space and immersive audio space and argues they are not only a matter of aesthetics or comfort, but communicate differential authority over the story and merit further attention when journalists are trained in immersive audio.
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Nikiforova, Anastasiia, and Natlia Voronova. "Immersive practices in the modern cultural space(world and domestic experience)." Философия и культура, no. 5 (May 2023): 60–73. http://dx.doi.org/10.7256/2454-0757.2023.5.40731.
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The subject of this research is the immersive artistic environments that exist in the modern cultural space. Immersive technologies are used today in educational processes, historical reconstruction, various forms of socialization, in visual arts; immersion is implemented as a special scientific approach in anthropological, ethnographic, art history studies. Interactivity and immersiveness are considered here as complex predictable processes whose algorithms are embedded in the very basis of an artistic work or cultural environment. They make it possible to intensify the entire spectrum of sensory-emotional perception, creating not only a new type of artwork, but also a new type of recipient immersed in the process of unfolding an artistic plot. The classification of functions of immersive spaces is proposed in the study. On the example of Russian and foreign art projects, the essential signs and features of immersive art are analyzed and identified. Immersive projects implemented in recent years are considered on the example of the cultural field of the north-west of Russia, as well as a comparative analysis of foreign and domestic events is carried out. The study concluded that immersive environments have both positive and negative potential: a complex effect on human feelings using special technological techniques that affect perception can lead to both the effect of complete immersion and catharsis, and to destructive hyperstimulation of the psyche. And the artistic immersions themselves are more a form of media communication than finished works.
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Ármeán, Otília. "Trust and Technologies of Sense. VR and Proprioception in Hamlet Encounters." Acta Universitatis Sapientiae, Communicatio 7, no. 1 (December 1, 2020): 1–12. http://dx.doi.org/10.2478/auscom-2020-0001.
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Abstract This paper investigates the changing role of media devices in constructing fictive worlds through senses, and the changing relation we have to our senses. The demand for immersion in a virtual visual reality has its precedents, shown for example by the popularity of the kaleidoscope, the peeping box, the Guckkasten, or the panoramas. But while the immersive effect of these illusion spaces was based on visual perception, now we have multisensory interactive spaces that trigger our proprioception (body awareness and feeling of presence). The VR experience Hamlet Encounters offers a unique experience and exemplary use of distance, dislocation, and perception of one’s own senses.
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Cho, Yoon Sung. "The Effects of Visual Characteristics of HMD on VR Contents Engagement." Korea Institute of Design Research Society 8, no. 1 (March 30, 2023): 60–69. http://dx.doi.org/10.46248/kidrs.2023.1.60.
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There is a growing trend of user demand for highly immersive media that provides a sense of reality. The utility of virtual reality, which is expected to be a promising industry, arises from the interaction process of user interest, participation, and immersion. Therefore, the concept of engagement, which leads to user behavior by eliciting their experiences and interests, is crucial in determining the success of virtual reality content. Effective application of the concept of engagement is necessary at this point. This study aims to analyze the relationship between the visual characteristics of HMD, the sense of reality of virtual reality content, and media engagement to develop efficient user experience design strategies that enhance engagement in virtual reality content. Through a review of previous studies, we derived each characteristic factor and conducted a survey/statistical analysis of the relationships between them. As a result, we concluded that the visual characteristics of HMD have a significant impact on the sense of reality of virtual reality content. Additionally, it was analyzed that interactivity, media invisibility, and current event factors among the factors affecting the sense of reality in virtual reality have a significant impact on immersion, interest, and attention. In the competition of deepening sense of reality-based services, we expect virtual reality technology to actively utilize the engagement factors of virtual reality content and contribute to the development of virtual reality content that integrates various media.
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Lloren, Gregg. "Immersive Technology: Towards a Kineikonic Dialogism in Challenging the Myth of the Frame." Plaridel 16, no. 1 (2019): 25–38. http://dx.doi.org/10.52518/2020.16.1-02lloren.
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This paper contributes to the introductory study on the sociocultural impact of immersive technology or ImT, in the form of 360 video capture and virtual reality projection. A young technology in the field of visual language, ImT challenges the supremacy of the frame in cinematic mediums—TV, video, film—and, in effect, introduces new notions in visual grammar of the multimodality of moving images, aka the kineikonic mode of media theorist Andrew Burn (2013). Using the dialogic system of Mikhail Bakhtin, this paper situates the place of immersive technology in the historiography of visual language, from the proscenium of the classical theater to cinema, and to virtual reality. In doing so, this study is able to demonstrate how immersive technology becomes the newest expression of mankind’s linguistic resolve to transcend its physical limitations in the field of communication, information production and consumption, knowledge transfer, and dissemination of cultures.
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Bilchi, Nicolas. "Immersed, yet distant: Notes for an aesthetic theory of immersive travel films." Mutual Images Journal, no. 10 (December 20, 2021): 191–216. http://dx.doi.org/10.32926/2021.10.bil.immer.
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The purpose of this article is to highlight a few stylistic and aesthetic principles, common to the genre of the travel film (both documentary and fictional), as employed by immersive media and devices from the twentieth century – such as the Hale’s Tours of the World, Todd-AO, and Cinerama – up to today’s digital systems like Virtual Reality and 4D Cinema. I will discuss how the different experiences of simulated travels, proffered by those media, are all related to a broader aesthetic tendency in creating what I label as enveloping tactile images. Such images are programmed to surround the viewer from every side, thus increasing their spectacular dimension, but at the same time they strive to temper and weaken the haptic solicitations aroused in the viewer by the immersive apparatus itself. In this sense I propose that the spectator of immersive travelogue films is ‘immersed, yet distant’: she is tangled in the illusion of traversing an enveloping visual space, but the position she occupies is nonetheless a metaphysical one, not different from that of Renaissance perspective, because even if she can see everything, the possibility to interact with the images is denied, in order to preserve the realistic illusion. By analysing the stylistic techniques employed to foster the viewer’s condition of non-interactive immersion in the enveloping world presented by the medium, I will consequently address the topic of the conflict that such immersive aesthetics establish with traditional forms of audiovisual storytelling.
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Yu, Deng, and Wang Yao. "Research on holographic display and technology application of art museum based on immersive design." Journal of Physics: Conference Series 2425, no. 1 (February 1, 2023): 012048. http://dx.doi.org/10.1088/1742-6596/2425/1/012048.
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Abstract With the rapid development of science and technology, artificial intelligence digital technology has gradually entered human life and combined with art. It has become a major trend of future exhibitions to create immersive exhibitions through the intervention of digital technology and artificial intelligence in art museums. The immersive art exhibition is to change the sensory conditions of the audience through the intervention of digital media, from the original visual experience to the fusion of various senses such as “sight, hearing and touch”, so that the audience can enter a new world of works experience. the immersive exhibition composed of the combination of technology and art has become an important exhibition method to attract audiences. The creation of immersive exhibitions relies on the application of technologies such as Front-projected Holographic Display and Augmented Reality. At present, immersive exhibitions around the world are emerging in an endless stream. Under the general trend of information exhibition, how to combine works of art with digital media and endow them with connotation, and how digital technology is involved in the exhibition to form the final immersive effect, are issues worth considering at present.
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Beugnet, Martine, and Lily Hibberd. "Absorbed in experience: new perspectives on immersive media Introduction." Screen 61, no. 4 (December 1, 2020): 586–93. http://dx.doi.org/10.1093/screen/hjaa054.
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Pavlik, John V. "Drones, Augmented Reality and Virtual Reality Journalism: Mapping Their Role in Immersive News Content." Media and Communication 8, no. 3 (July 27, 2020): 137–46. http://dx.doi.org/10.17645/mac.v8i3.3031.
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Drones are shaping journalism in a variety of ways including in the production of immersive news content. This article identifies, describes and analyzes, or maps out, four areas in which drones are impacting immersive news content. These include: 1) enabling the possibility of providing aerial perspective for first-person perspective flight-based immersive journalism experiences; 2) providing geo-tagged audio and video for flight-based immersive news content; 3) providing the capacity for both volumetric and 360 video capture; and 4) generating novel content types or content based on data acquired from a broad range of sensors beyond the standard visible light captured via video cameras; these may be a central generator of unique experiential media content beyond visual flight-based news content.
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Dulic, Aleksandra, Kenneth Newby, and Martin Gotfrit. "One River (running . . .): Hybrid Space – Open Composition for an Immersive Environment." Canadian Theatre Review 129 (January 2007): 34–40. http://dx.doi.org/10.3138/ctr.129.007.
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The theoretical and practical concepts presented here pivot around the composition and design of an interactive audiovisual installation, presented at the Surrey Arts Centre in 2005: One River (running . . .). This immersive media environment is a new form of participatory documentary that reflects the contemporary Surrey community it is presented in. This open composition takes advantage of a set of braided computational media and narrative processes as a dramatic model and integrates computation as a medium for composition, expanded immersive environment, performance and improvisation. The concept of braided processes provides a model for braided conversations and provides an open frame-work for describing an integrated relationship among various independent elements that comprise the complex media braid within the One River (running . . .) environment and is discussed in detail in this paper.
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Aveyard, Karina, and Albert Moran. "Introduction: Sound Media, Sound Cultures." Media International Australia 148, no. 1 (August 2013): 79–83. http://dx.doi.org/10.1177/1329878x1314800109.
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Sound is an ever-present, ever-changing component of communication and media. It has been a central part of the dramatic developments that have occurred in recording, screen exhibition, radio and television broadcasting and telecommunications technologies since the 1800s. Yet, in relation to audio-visual media forms in particular, sound is often seen as a secondary element – something that is subordinate to the visual immediacy and the assigned textual primacy of the image. The aim of this issue of MIA is to help redress this imbalance and reassert the place of sound within wider conceptualisations of media and culture. The articles engage with the significance of the aural from a wide range of perspectives, taking in its experiential and immersive characteristics in relation to screen media as well as the commercial contexts of sound and music and its role in identity-making and social organisation.
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Li, Jun, Zhiqing Liu, Shengmei Zhang, and Xiangping Zhang. "Research on the Ways to Improve the Public's Visual-Media Literacy in the Context of Short Video Communication." International Journal of Education and Humanities 5, no. 1 (October 11, 2022): 112–16. http://dx.doi.org/10.54097/ijeh.v5i1.1950.
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Short video communication is popular with the public because of its low threshold of participation, short playing time, massive content, immersive browsing and other characteristics. The wide participation of the public has also made short video communication one of the important forms of online information communication in China. However, while the volume of short video communication is increasing rapidly, there is still much room for the public to improve their visual media literacy. In order to better promote the development of short video, the public needs to constantly improve their visual-media literacy from four aspects: video awareness, video knowledge, video skills, and video ethics. This requires the joint efforts of the government, traditional mainstream media, short video platform and the public to build a path to improve the public's visual media literacy.
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Freitas, Pedro Garcia, Rafael Diniz, and Mylene Christine Queiroz De Farias. "Assessing the quality of 3D point clouds using descriptors for color and geometry texture." Brazilian Journal of Development 9, no. 05 (May 23, 2023): 17415–31. http://dx.doi.org/10.34117/bjdv9n5-196.
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Since the mid-20th century, the use of digital formats for visual content has revolutionized communication in society. The Internet and digital broadcasting systems, which became widely available in the 1990s, led to an incredible expansion of multimedia consumption among the public. As a result, telecommunication networks and providers were pushed to their limits to meet the growing demand for multimedia content. Traditional electronic imaging systems, such as TV broadcasting systems, were designed based on subjective quality analysis for defining parameters like the number of lines in a video. However, with the emergence of new digital visual content services that require faster and more affordable methods of evaluating human perceived quality, there has been a need for automatic quality assessment. In the past few decades, numerous visual quality models based on algorithms running on digital computers have been proposed. While these existing models are highly advanced for 2D digital imagery, a new generation of immersive media has emerged with different data structures that are not applicable to traditional 2D methods and require novel quality assessment metrics. These emerging immersive media formats provide a 3D visual representation of real objects and scenes. In this new visual format, objects can be captured, compressed, transmitted, an visualized in real-time as 3D content, allowing consumers to select free-viewpoints to view such media. One of the most popular formats for immersive media is Point Cloud (PC), which is composed of points with 3D geometry coordinates and color information, and sometimes other attributes such as reflectance and transparency. This research focuses on the quality assessment of 3D Point Clouds using novel color and geometric texture statistics. Since distortions in both color and geometry attributes of 3D visual content can affect the perceived visual quality, this work proposes using both color-based and geometry-based texture descriptors for Point Clouds to obtain visual degradation information through their statistics. Four novel Point Cloud texture descriptors are introduced in this work, three of which are color-based and one which is geometry-based. Additionally, a new voxelization method is proposed, which converts points to voxels (volume elements), and improves the performance of the color-based texture descriptors. The proposed Point Cloud quality assessment method demonstrates high performance, comparable to the state-of-the-art methods, while also being flexible and extensible to adapt to different types of distortions.
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Abdelmessih, Marie Thérèse. "Intermediating Aural and Visual Divides in Ahmed Shafie’s Print Literary Media and Hassan Khan’s New Media Art." Middle East Journal of Culture and Communication 15, no. 1-2 (June 15, 2022): 173–92. http://dx.doi.org/10.1163/18739865-01501012.
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Abstract New literary media in print has changed its paradigms by converging with new media art; likewise, new media art draws on narrative techniques and poetic images. These paradigm transmutations have generated collaborative links binding distinct creative practices, intensifying the reading engagement and/or immersive experience. The mutual interpenetrations of print literary media and new media art challenges traditional understandings of literary, visual and acoustic practices, urging us to rethink mainstream/popular and local/global divides. This paper draws on new literary writing in print by Ahmed Shafie (b. 1977), a Cairo-based writer, poet and translator, along with new media art by Hassan Khan (b. 1975), a Cairo-based writer, composer, and new media artist, both informed by regional and worldwide cultures. By intermediating their visual, verbal and/or aural experiences, this paper addresses the convergent strategies used to produce signification in a worldwide rapidly changing cultural context. The intensity of the reader’s/viewer’s/user’s engagement with the literary or visual experience will be explored to reconsider intermediation as an act of intervention.
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Gingrich, Oliver, Evgenia Emets, Alain Renaud, Sean Soraghan, and Dario Villanueva Ablanedo. "KIMA: The Wheel–Voice Turned into Vision: A Participatory, Immersive Visual Soundscape Installation." Leonardo 53, no. 5 (October 2020): 479–84. http://dx.doi.org/10.1162/leon_a_01698.
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Over the last five years, KIMA, an art and research project on sound and vision, has investigated visual properties of sound. Previous iterations of KIMA focused on digital representations of cymatics—physical sound patterns—as media for performance. The most recent development incorporated neural networks and machine learning strategies to explore visual expressions of sound in participatory music creation. The project, displayed on a 360-degree canvas at the London Roundhouse, prompted the audience to explore their own voice as intelligent, real-time visual representation. Machine learning algorithms played a key role in meaningful interpretation of sound as visual form. The resulting immersive performance turned the audience into cocreators of the piece.
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Hebbel-Seeger, Andreas, Philipp Riehm, André Kopischke, and Marianna Baranovskaa. "LectureCast as 360 Degree Video: What Impact do Immersion and Presence Experience have on Learning Performance?" ATHENS JOURNAL OF EDUCATION 8, no. 1 (January 15, 2020): 23–36. http://dx.doi.org/10.30958/aje.8-1-2.
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In times of PodCast and MOOC's, a rebirth of the "classical" academic lecture in the form of modern technology-mediated communication as video-conserve can be observed. Current technological developments in the field of audiovisual media reduce the distance between a recorded action and its reception. By using high immersive technologies presence experiences can introduc new qualities of communication. In a study undertaken with freshmen we first explored the everyday use of video technologies by students and their experiences and expectations with regard to their use in formal learning contexts. I addition we investigated the question whether and how learning abilities of the recipients are impacted by immersive technologies (360-degree video on Head Mounted Display/VR headset) compared to classical LectureCast technologies (16:9 Video via Desktop). All things considered, it can be stated that an immersive media format alone does not generate added value: there is no increase of attention that further enhances learning, which can be derived from the feeling (of presence) of sitting in a lecture room, even beyond the possibly initial distraction of the appeal of novelty. Furthermore, the teacher-centered mode is unsuitable for a spherical projection due to its spatial setting, where only one direction is being employed. In order to exploit possible media-specific values of 360-degree video in the context of LectureCasts, it is consequently necessary to work either with a modified concept of a teacher-centered lecture, using the entire space, or to set a focus on the content by combining the recorded lecture with additional visual elements. Keywords: LectureCast, Immersion, Sense of Presence, 360-degree video, VR headset, Video-Learning
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Lewis, Sarah, Robb Lindgren, Shuai Wang, and Roy D. Pea. "Learning With Media." Journal of Media Psychology 31, no. 3 (July 2019): 128–36. http://dx.doi.org/10.1027/1864-1105/a000235.
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Abstract. Digital media, such as interactive video, games, and immersive worlds, offer rich visual perspectives, often allowing one to experience events through another’s eyes. While prior research indicates that considering alternative perspectives facilitates understanding, little is known about how media-enhanced perspectives affect learning processes for higher-order concepts that require synthesis of ideas and making inferences such as reasoning about problems in science. Two experiments used digital video of a science instructional event to investigate features of visual perspective on engagement and knowledge construction. Study 1 showed that an embodied first-person viewpoint achieved using a head-mounted camera better supported learning than a traditional third-person view of the same event. In Study 2, applying a motion algorithm to both a first-person and third-person video allowed us to isolate the effects of viewpoint and camera motion. While the addition of artificial motion benefited learning for third-person viewers, only motion that is aligned with the actor’s actions and affect enhances first-person viewing. Findings are considered in terms of how certain media position learners in relation to educational content. Specifically, we argue that media features such as viewpoint and motion can be configured in ways to create “fields of potential action” that engage viewers and optimize conditions for learning.
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Agulló, Belén, and Anna Matamala. "Subtitles in virtual reality: Guidelines for the integration of subtitles in 360º content." Íkala 25, no. 3 (September 12, 2020): 643–61. http://dx.doi.org/10.17533/udea.ikala.v25n03a03.
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Immersive content has become a popular medium for storytelling. This type of content is typically accessed via a head-mounted visual display within which the viewer is located at the center of the action with the freedom to look around and explore the scene. The criteria for subtitle position for immersive media still need to be defined. Guiding mechanisms are necessary for circumstances in which the speakers are not visible and viewers, lacking an audio cue, require visual information to guide them through the virtual scene. The aim of this reception study is to compare different subtitling strategies: always-visible position to fixed-position and arrows to radar. To do this, feedback on preferences, immersion (using the ipq questionnaire) and head movements was gathered from 40 participants (20 hearing and 20 hard of hearing). Results show that always-visible subtitles with arrows are the preferred option. Always-visible and arrows achieved higher scores in the ipq questionnaire than fixed-position and radar. Head-movement patterns show that participants move more freely when the subtitles are always-visible than when they are in a fixed position, meaning that with always-visible subtitles the experience is more realistic, because the viewers do not feel constrained by the implementation of subtitles.
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Boothroyd, Dave. "Touch, Time and Technics." Theory, Culture & Society 26, no. 2-3 (March 2009): 330–45. http://dx.doi.org/10.1177/0263276409103123.
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The development of immersive media-communication environments, and their theorization in terms of the `haptic', calls for a reconsideration of the relationship between sensuality and the ethics of contact. For the most part, the cultural theorization of the virtual which remains preoccupied with the visual has tended to limit its scope to the paradoxes, politics and ethics of representation. Much of media and cultural studies work, for instance, has adopted, directly or indirectly, the traditional visual and ocularcentric paradigm in its analyses of cultural forms and technologies as these have become integrated into contemporary life. Whilst it has been argued, for instance by Mark Hansen in his recent books, that this paradigm is inadequate to digital media and the developments of human-machine interactions the digital introduces, few comentators have addressed how new developments in immersive sensory media environments bear on the ethics of communication. By way of a reflection on the themes of the tactility of contact and the ethics of touch in the work of Emmanuel Levinas, this article critically evaluates the ethical significance of the `sensory extension' haptic media represent. It identifies and argues against the neo-positivist tendency of Hansen's reliance on the empiricism of the neurosciences whilst locating the resources for an ethics of touch in Levinas' concept of time as `diachrony'.
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Zhang, Ying. "Immersive Multimedia Art Design Based on Deep Learning Intelligent VR Technology." Wireless Communications and Mobile Computing 2023 (May 12, 2023): 1–8. http://dx.doi.org/10.1155/2023/9266522.
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The rapid development of computer science has led to the rapid development of new media technology. Among them, VR technology is sought after by the vast market for its multidimensional experience and immersive model. VR technology plays an important role in today’s art exhibition and presentation. However, in the process of transforming 2D images into 3D models, traditional VR technology has some problems, such as long loading time, low model decision-making efficiency, and chaotic operation process, which often lead to visual interference when viewers watch art. Based on this background and the interactive page algorithm based on traditional VR technology, this paper studies and improves the visual interference in immersive multimedia art design by using task technology perception matching model (TTF). The results show that the improved task technology perception matching model reduces the visual and auditory interference by 10% in the process of virtual reality art display and viewing, and the model layout is more reasonable, and the utilization rate is higher.
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Mohammad Alzubi, Ahmad. "Impact of New Digital Media on Conventional Media and Visual Communication in Jordan." Journal of Engineering, Technology, and Applied Science 4, no. 3 (December 23, 2022): 105–13. http://dx.doi.org/10.36079/lamintang.jetas-0403.383.
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The purpose of the present research was to assess the impact of new digital media on conventional media and visual communication has been significant. Digital media has transformed how information is created, distributed, and consumed, and has profoundly affected traditional forms of media such as print newspapers, magazines, and television. One of the main ways that new digital media has affected traditional media is through the emergence of online platforms and social media. These platforms have allowed individuals and organizations to publish and share content with a global audience, often bypassing traditional gatekeepers such as editors and broadcasters. This has led to the democratization of media, as anyone with an internet connection can now potentially reach a large audience. Digital media has also led to the rise of new forms of visual communication, such as digital graphics, video, and animation. These forms of media allow for more interactive and immersive experiences and have become increasingly popular with audiences. In addition, digital media has also had an impact on the business models of traditional media organizations. Many have struggled to adapt to the shift towards digital advertising and subscriptions, leading to a decline in revenues and layoffs in some cases. It may be the case that the impact of new digital media on conventional media and visual communication has been significant and wide-reaching and will likely continue to shape the media landscape for years to come.
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Hadzi, Adnan. "Interdisciplinary Immersive Experiences within Artistic Research, Social and Cognitive Sciences." Electronic Imaging 2021, no. 13 (January 18, 2021): 167–1. http://dx.doi.org/10.2352/issn.2470-1173.2021.13.ervr-167.
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This paper analyses the use of Immersive Experiences (IX) within artistic research, as an interdisciplinary environment between artistic, practice based research, visual pedagogies, social and cognitive sciences. This paper examines IX in the context of social shared spaces. It presents the Immersive Lab University of Malta (ILUM) interdisciplinary research project. ILUM has a dedicated, specific room, located at the Department of Digital Arts, Faculty of Media & Knowledge Sciences, at University of Malta, appropriately set-up with life size surround projection and surround sound so as to provide a number of viewers (located within the set-up) with an IX virtual reality environment.
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Wien, Mathias. "MPEG Visual Quality Assessment Advisory Group." ACM SIGMultimedia Records 13, no. 3 (September 2021): 1. http://dx.doi.org/10.1145/3578495.3578498.
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The perceived visual quality is of utmost importance in the context of visual media compression, such as 2D, 3D, immersive video, and point clouds. The trade-off between compression efficiency and computational/implementation complexity has a crucial impact on the success of a compression scheme. This specifically holds for the development of visual media compression standards which typically aims at maximum compression efficiency using state-of-the-art coding technology. In MPEG, the subjective and objective assessment of visual quality has always been an integral part of the standards development process. Due to the significant effort of formal subjective evaluations, the standardization process typically relies on such formal tests in the starting phase and for verification while in the development phase objective metrics are used. In the new MPEG structure, established in 2020, a dedicated advisory group has been installed for the purpose of providing, maintaining, and developing visual quality assessment methods suitable for use in the standardization process. This column lays out the scope and tasks of this advisory group and reports on its first achievements and developments. After a brief overview of the organizational structure, current projects are presented, and initial results are presented.
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Lee, Hyeopwoo, Jinki Jung, Heung-Kyu Lee, and Hyun Seung Yang. "Discipline vs guidance: comparison of visual engagement approaches in immersive virtual environments." Multimedia Tools and Applications 80, no. 20 (January 10, 2021): 31239–61. http://dx.doi.org/10.1007/s11042-020-10267-z.
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Zhang, Peng, Tao Zhuo, Yanning Zhang, Hanqiao Huang, and Kangli Chen. "Bayesian tracking fusion framework with online classifier ensemble for immersive visual applications." Multimedia Tools and Applications 75, no. 9 (August 4, 2015): 5075–92. http://dx.doi.org/10.1007/s11042-015-2827-7.
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Milz, Manfred. "Revisiting Huxley’s Dystopic Vision of Future Cinema, The Feelies: Immersive Experiences through Contemporary Multisensory Media." AM Journal of Art and Media Studies, no. 20 (October 15, 2019): 27. http://dx.doi.org/10.25038/am.v0i20.325.
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Aldous Huxley’s concern with media, and in particular with cinema, is one of the most conspicuous components of his work as a social critic and as a novelist. Evaluating its potential societal functions, as an artistic genre, a didactic cultural tool for documentaries or as a mass entertainment venue, determined his critical relationship towards the medium. Due to his impaired eyesight, Huxley’s attention to perception, intertwined with advancing cinema-technologies, was not restricted to the visual, but extended to all of the human senses, as he demonstrated in the Feelies of his novel Brave New World (1932). Primarily with regard to mechanomorphic reflexes of human conditioning, this cinematic concept is interpreted by drawing from articles and essays of evolutionary, psychological, political, and aesthetic perspectives that Huxley developed on a parallel writing track in popular print media during the 1920s/30s. In confronting modes of multisensory immersion around 1900 with some of the 20th/21st centuries, this contribution reevaluates Huxley’s vision of future cinema. Article received: June 10, 2019; Article accepted: July 6, 2019; Published online: October 15, 2019; Original scholarly paperHow to cite this article: Milz, Manfred. "Revisiting Huxley’s Dystopic Vision of Future Cinema, The Feelies: Immersive Experiences through Contemporary Multisensory Media." AM Journal of Art and Media Studies 20 (2019): 27-42. doi: 10.25038/am.v0i20.325
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Mondloch, Kate. "The Influencers: Van Gogh Immersive Experiences and the Attention-Experience Economy." Arts 11, no. 5 (September 20, 2022): 90. http://dx.doi.org/10.3390/arts11050090.
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Van Gogh immersive exhibitions—multi-sited, branded multimedia environments inspired by the artist’s life and paintings—are seemingly ubiquitous in 2022. These itinerant digital spectacles bundle reproductions of Vincent Van Gogh’s most recognizable artistic motifs with tropes of fin-de-siècle madness, bathing their visitors in an artistic wonderland of projected images and soundscapes spread throughout cavernous exhibition venues. The popularity of these commercial juggernauts is unmatched. At present, at least five different companies are staging competing versions of digital Van Gogh art exhibitions in dozens of cities worldwide, with a particular emphasis at present on sites throughout North America. How are we as art critics to make sense of these exhibitions as well as their influence within the institutional context of the visual arts? Taking the digital Van Gogh phenomenon as its central case study, this article investigates the emerging art-themed immersive exhibition model and explores the specific mode of spectatorship it promotes. Situating these projects within the broader framework of the contemporaneous attention and experience economies, and with an eye toward the crucial role of social media, I propose that art-themed immersive exhibitions such as the Van Gogh immersive experiences exemplify habits of digitally-mediated, 24/7 immersive attention and consumption in art and in everyday life.
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Rossouw, Martin P. "‘Compression makes every movie a melodrama’: A conversation with Laura U. Marks on the Small File Media Festival." Short Film Studies 13, no. 1 (March 1, 2023): 11–20. http://dx.doi.org/10.1386/sfs_00088_7.
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This article presents a conversation with Laura U. Marks, a distinguished scholar of film and new media who launched the Small File Media Festival in 2020. Marks’ message is that large-file streaming is harmful to the planet and that we need to act against its growing yet under-the-radar carbon footprint. The festival’s goal is to demonstrate that movies can be captivating and immersive even if they are not large in file size, and encourages creators to experiment with low-energy technologies and techniques. Given the high stakes, the festival’s organizers hope that small-file media will become increasingly influential as an aesthetic movement.
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Grillotti, Richard, Andy DiLallo, and Angus G. Forbes. "Resonant Waves: Immersed in Geometry." Leonardo 53, no. 4 (July 2020): 401–7. http://dx.doi.org/10.1162/leon_a_01926.
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This article introduces Resonant Waves, a work of interactive new media art that incorporates cymatic patterns into an immersive installation. The authors describe their research and design process in creating Resonant Waves, and they discuss technical details about the installation, highlighting innovative aspects of the project and contextualizing the project in terms of previous cymatics research and related artistic explorations of complex phenomena. Finally, the authors discuss audience reaction to different installations of the project and identify directions for future research in immersive cymatics.
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Ardiyan, Ardiyan, Melki Sadekh Mansuan, and Juni Putra. "SINEMATOGRAFI ANIMASI DALAM MEDIA VIRTUAL REALITY BERMUATAN HANTU LOKAL INDONESIA." Jurnal Dimensi DKV Seni Rupa dan Desain 4, no. 1 (April 1, 2019): 87. http://dx.doi.org/10.25105/jdd.v4i1.4563.
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<strong>Abstract</strong><br />Animation Cinematography in Virtual Reality Media with Indonesian Local Ghost Content. This research objective is to search local potential in visual communication design especially animation cinematography field in context of Virtual Reality (VR) usage that contained Indonesian local ghost stories as entertainment yet informational message. The development of VR media as short animation movie media is affecting visual communication design especially animation cinematography because of the variety and optional camera view is not only determined by movie maker. Interactivity through VR media makes user is immersive with the environment. The immersive aspect can be more attractive when affecting user such as in horror ghost stories through VR media that caused audience feels horror through simulation or fantasy. But the quantity<br />and quality of VR media is not use enough and through this research this problem is analyzed in descriptive qualitative method to explore understanding and content in VR design especially local ghost stories that can be entertainment yet informational. The usage of animation cinematography will transform in VR media especially in 360 VR<br />animation movie.<br /><div> </div><div> </div><strong>Abstrak</strong><br />Sinematografi Animasi dalam Media Virtual Reality Bermuatan Hantu Lokal<br />Indonesia. Penelitian ini bertujuan untuk menggali potensi lokal dalam sudut pandang keilmuan Desain Komunikasi Visual terutama dalam rumpun sinematografi animasi yang berkaitan dengan pemanfaatan medium Virtual Reality (VR) dengan konten hantu lokal Indonesia sebagai sarana hiburan ataupun dapat dimanfaatkan lebih lanjut sebagai<br />media untuk menyampaikan informasi. Perkembangan media VR mempengaruhi perkembangan keilmuan, terutama sinematografi animasi dari sudut pandang kamera yang memberikan opsi dalam pembingkaian gambar yang sudah tidak dipilihkan oleh perancang film. Interaktivitas melalui media VR mengakibatkan seolah-olah kita merasa imersif dengan lingkungan. Aspek imersif yang terjadi sangat mempengaruhi<br />penggunanya, sebagai contoh VR yang bertemakan horror hantu sehingga pengguna bereaksi ketakutan dan mendapatkan pengalaman yang bersifat simulasi bahkan fantasi.<br />Namun sangat disayangkan secara kuantitas dan kualitas media VR ini belum maksimal dimanfaatkan, sehingga dalam penelitian ini melalui analisis kualitatif deskriptif mencoba memberi pemahaman dan menggali konten yang dapat menjadi masukan untuk dimunculkan dalam karya desain VR, khususnya kekayaan budaya hantu lokal yang dapat dijadikan sarana hiburan ataupun informasi. Tidak hanya itu penerapan<br />sinematografi animasi diharapkan bertransformasi dalam medium VR khususnya dalam 360 film animasi VR.<br /><br />
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Bernico, Matt. "The European Topos." Media-N 14, no. 1 (September 26, 2018): 38–45. http://dx.doi.org/10.21900/j.median.v14i1.56.
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There is an unexplored synergy between the ways media archaeology and decolonial theory handle the notion of modernity. Both consider modernity as happening at different places and at different times: modernity is an event that is larger than Europe or the United States. Using this resonance, this article will make a media archaeological reading of the decolonial theorists, Walter Mignolo and Santiago Castro-Gomez’s concept, the zero point. The zero point will be read as a media topos present throughout the immersive media that grounds much western media history and visual culture. Finally, based on these criticisms, this article will offer an alternative starting point based in the imaginary media of Adolfo Bioy Casares’ novel, The Invention of Morel. The goal of this intervention is to demonstrate the way the western paradigm of technology has imperialized the imaginations of the world and to offer another place for media artists and technologists to begin from.
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Arango, Julián Jaramillo. "Esmog Data: Interpreting Air Quality Through Media Art and Design." Leonardo 51, no. 2 (April 2018): 183. http://dx.doi.org/10.1162/leon_a_01515.
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The article presents Esmog Data, an immersive installation exhibited in the Balance-Unbalance International Conference held in Manizales, Colombia in 2016. The piece explores the visualization and sonification of urban environmental data. Esmog Data works transforming sensor readings of different toxic gases into perceptible stimuli (audio and computer graphics). While air quality is a local everyday community issue, the goal of the project is enhancing environmental awareness. In this regard, the work aims to create a meaningful context for interpreting scientific data of the urban territory.
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Rizky Pratiwi, Widya. "COMMUNICATIVE VISUAL MEDIA-BASED SPEAKING INSTRUCTIONAL METHODS AT PEACE KAMPUNG INGGRIS PARE." KLASIKAL : JOURNAL OF EDUCATION, LANGUAGE TEACHING AND SCIENCE 3, no. 1 (October 2, 2021): 31–40. http://dx.doi.org/10.52208/klasikal.v3i1.91.
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Behind the problems faced in the implementation of teaching English in schools, on the contrary, learning activities in Kampung Inggris Pare are reported as having exciting and enjoyable in terms of topics and exercises they do in the classroom. The teaching methods are varied, broad, and challenging. The variation of the topics avoids boredom in the learning. Therefore, this study investigated the teaching methods conducted in this immersive environment. This qualitative study was conducted in Peace, Kampung Inggris Pare, Kediri, East Java, Indonesia. Six participants participated in this study. The data were collected through observations, interviews, documents, and visual photos. The data shows that, in teaching speaking, tutors in English Village Pare utilize a variety of media and integrated language skills, for example, by using visual media in the form of images. Five phases will be trained to achieve communicative goals in language learning, namely: pay attention to the pictures to store the concept in mind, construct the ideas about the photos (perception), regulate the way to express the ideas (mind mapping), speak up (describing the picture or anything to talk), communicative comprehension (speaking and listening session as a speaker or listener), and after review and practice the phases or activities many times, the students finally will reach the speaking fluency (ignoring filler and stuck), respect to the time, and communicative skills. This method can lead students to become successful language learners
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Kim, Jihoon. "Synthetic Vision in Virtual Reality Documentaries." Film-Philosophy 25, no. 3 (October 2021): 321–45. http://dx.doi.org/10.3366/film.2021.0178.
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Based on a nuanced understanding of immersion and sense of presence (SoP) as two key aesthetic effects that the application of virtual reality (VR) to cinema is believed to innovate, this paper develops the concept of synthetic vision as fundamental to understanding the visual experience of VR media, particularly VR documentaries. The concept contends that viewers’ experience in VR is based on two visions that seemingly contradict each other: first, a disembodied vision that transports them to a simulated world, and second, an embodied vision guaranteed by the freedom to control kinesthetic movement and direction of gaze. This serves to advance the idea that immersion and SoP are not unified but rather multifaceted concepts premised on a nuanced understanding of the varying relationships between the technological system of VR, its media content, and its user. For the concept of synthetic vision points to the paradoxical coexistence of viewers’ presence in the virtual world and their structural absence from the world that lays the groundwork for their immersive experience. By classifying three generic categories of contemporary VR documentaries (humanitarian and journalism documentaries, documentaries about nature, travel, and museum visits, and documentaries based on the reenactment of conscious or mnemonic realities), and by examining the aesthetic and ethical underpinnings VR brings to each of them, I argue that it hinges upon what kind of cinematic conventions and genres are remediated to determine the effective synthesis of the two visions. The varying effects of synthetic vision in the three subgenres of VR documentary stress that immersion and SoP have different political and ethical consequences of media witnessing. In the conclusion, I recapitulate multiple implications that the concept of synthetic vision has in regards to both the studies on VR and the recently flourishing investigation into cinematic VR artifacts.
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LEE, Jung Hyun. "A Study on the Development of Immersive Content of Exhibition Spaces using VR Technology." Korea Institute of Design Research Society 7, no. 3 (September 30, 2022): 9–18. http://dx.doi.org/10.46248/kidrs.2022.3.9.
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As the digital transformation accelerates due to the global pandemic, the untact environment has become a daily routine. A virtual world called metaverse has also been created, and new technologies such as platform space, avatars, media content, VR are being used to implement it. In line with this social change, even in cultural spaces such as museums, virtual museums and smart museums that apply various technologies are emerging. Recently, museums are developing contents for special experiences that allow visitors to experience the real thing in addition to providing simple exhibitions. Therefore, this study focuses on the case of developing Immersive content for visitors of the National Museum of korea to empathize with the theme and intention of the exhibition and to understand the history. It examines the visual media elements necessary for the development of Immersive content, and proposes based on actual application cases such as the development of content elements using interaction, spatial motifs, and relics, and storytelling. In addition, VR technology will be applied to maximize the experience and the direction of the differentiated exhibition of the National Museum of Korea will be discussed in the future.
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Chepelyk, Oksana. "Immersive Environments, VR, AR in Ukrainian Contemporary Art of The Recent Years." Contemporary Art, no. 17 (November 30, 2021): 23–40. http://dx.doi.org/10.31500/2309-8813.17.2021.248423.
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The article is devoted to the scientific problem of theoretical elaboration and contextualization of immersive environment realized in the physical space of a gallery or museum, in VR and on the new virtual platforms on the Internet, as well as in hybrid space, in the augmented and mixed reality of the 21st century. The aim of the research is to identify the peculiarities of the formation of the immersive environment and of the practices of VR and AR projects creation in Ukrainian contemporary art in recent years. The task is to elaborate the theoretical bases of the development of immersive environments and VR, review and analysis of projects that use the digital technologies in order to create an immersion and AR. The methodology of the study consists in theoretical and field research of immersivity and in the author’s experiments development. The main method is a comprehensive and systematic approach to the development of the theory of virtuality, visual and photometric methods, analysis of concepts, spatial structure and technological features of online VR platforms and artistic realizations. The concept of sensorium is involved, which describes the feeling, perception and interpretation of information about the world around. The peculiarities of creating immersive environments in physical space in the projects «MetaPhysical Time-Space», «Refraction of Reality», «Living Energy» were explored (to be included into the national art discourse), as well as in VR in the frame of VR-festivals, such, as Carbon Media Art Festival, «Frontier» and «Virtuality» that serve as a testing ground for the development of new technological art. The possibilities of new online VR platforms, such as Mozilla Hubs, WebXR, AltspaceVR, artspaces.kunstmatrix, Cryptovoxels, Transmadatac Virtual Museum, are analyzed. The practice of creating VR projects on platforms on the Internet: Artefact Chornobyl 33 and Artefact Chornobyl + MADATAC, «VR Collider» and «Genesis» are considered as case study. Drift from immersive environments in physical space to virtual reality has been detected. The multi-vector nature of AR projects and different types of connection with book publishing, public art objects, contemporary sculpture and urban practice have been revealed.
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Nedzinskaitė-Mitkė, Vaida. "HISTORICAL COMIC’S SUPERPOWERS: THE CREATIVE POWER TO COMMUNICATE VISUALLY HISTORICAL EPICS." Creativity Studies 15, no. 2 (August 29, 2022): 577–89. http://dx.doi.org/10.3846/cs.2022.15325.
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Comics are an indisputable part of popular culture. But compared to any other audiovisual media products, the production of this form of entertainment is relatively cheap. Thus, on this fact alone comic book artform could be used to fill the demand for local historical genre in popular culture and, in turn, to contribute significantly to the formation of a modern national identity among the youngest generations of the country. However, that is not the only or even the best superpower of the medium when it comes to production of fictional historical epics for entertainment purposes. In this article, the author explores comic medium’s creative aspects that could be used to effectively communicate the various visual aspects of the past. Findings suggest that the most important visual medium’s communicative tool that creates a unique and immersive experience is stylisation, in tandem with spatial and temporal systems. Additionally, the author discusses the challenges and opportunities for comic media to emerge in an educational context.
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Geng, Yunshan. "Virtual Reality (VR) Advertising Communication Design Based on 3D Wireless Active Visual Sensing." Journal of Sensors 2022 (February 7, 2022): 1–9. http://dx.doi.org/10.1155/2022/1551118.
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With the vigorous development of the advertising industry, advertising in the era of intelligent media fills all aspects of our lives, and more and more intelligent media are applied to the advertising industry. The current three-dimensional advertising and interactive advertising are too fragmented in form, with three-dimensional advertising having a strong sense of three-dimensionality but lacking interactivity and interactive advertising having strong interactivity but lacking visual attraction. How to integrate 3D advertising and interactive advertising in order to make advertising in the future has greater development potential and market, whether in the visual or interactive experience can attract the target consumers becomes very necessary. It is found that VR technology has a wide range of application prospects, and intelligent media advertising mediated by VR technology follows the trend of advertising industry development. This thesis uses VR (virtual reality) technology as a medium to study the integration of 3D advertising and interactive advertising in the smart media era. In the second phase, the development direction of VR as an advertising medium in the era of intelligent media is identified. The research on the integration of 3D animated ads and interactive ads under VR technology is launched, and the research on 3D stereoscopic and interactive design of advertisements in the era of smart media is a reflection and exploration of the future language of advertising design. And through the comparison with traditional advertising, it is concluded that the aesthetic subject of VR advertising is “polycentric,” the aesthetic object. Then, we analyze the theoretical roots of the formation of the aesthetic characteristics of VR advertising from three levels: media technology, communication theory, and audience psychology. Finally, we return to the general environment of visual culture and explore the deconstruction of visual culture by the aesthetic characteristics of VR advertising in three levels: “symbol collapse,” “audience reshaping,” and “immersive communication.”
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KOLOTVINA, OLGA V. "IMMERSIVE TECHNOLOGIES OF J. VAL DEL OMAR’S MEDIA ART (“APANORAMIC IMAGE OVERFLOW”, “DIAPHONY”, “TACTILE VISION”) AS AN EXPRESSION OF HIS CONCEPT OF “MECHANICAL MYSTICISM”." ART AND SCIENCE OF TELEVISION 17, no. 1 (2021): 51–71. http://dx.doi.org/10.30628/1994-9529-2021-17.1-51-71.
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The article analyzes three media technologies for creating an immersive polysensory environment, developed back in 1940–1960s by the Spanish film director and engineer Jose Val del Omar. The technologies are considered in the context of the director’s key concept, which he called “mechanical mysticism”. It was aimed at creating a cinematic analogy of mystical experience by transforming the mysticism of Spanish culture into cinematic technologies. The author reveals how the conversion of the suggestive artistic potential of Spanish mysticism into the immersiveness of film technologies allowed J. Val del Omar to create art spaces that took the system of illusions beyond the visual into special modes of psychological experiences. On the example of his films (Water- Mirror of Granada, 1955, and Fire in Castile, 1961), the author analyzes the originality of the engineering solutions of J. Val del Omar’s technologies, defines the strategies of immersiveness and their rootedness in Spanish mysticism, qualifies the aesthetic impact of these media technologies on viewers. The article demonstrates that immersiveness is achieved by using a shock strategy of interlacing the effects of suggestiveness and defamiliarization (“ostranenie”), as well as through the expansion of the range of the viewer’s sensory perception and the effect of synesthesia. The suggestive impression effect is enhanced by visual poetic metaphors that reveal to the viewers the historically formed sensual imagery of Spanish mysticism. With the help of optical and light technologies, the semantic field of a film is not only visualized, but also illusively materialized as a three-dimensional image. НАУКА ТЕЛЕВИДЕНИЯ № 17.1, 2021 54 THE ART AND SCIENCE OF TELEVISION In general, the strategies reproduce the sensual immersiveness, which is inherent in the Spanish Catholic cultural experience. Such strategies block the viewers’ psychological distancing mechanisms and cause affective states and emotional involvement in the art spaces. Such technological innovations for creation of immersive spectacular audio-visual environments brought the J. Val del Omar’s cinema into the field of multi-media, and therefore he could rightfully be considered the forerunner of media art, the creator of art spaces, which later became known as sound and video installations.
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Fryer, Louise, Linda Pring, and Jonathan Freeman. "Audio Drama and the Imagination." Journal of Media Psychology 25, no. 2 (January 2013): 65–71. http://dx.doi.org/10.1027/1864-1105/a000084.
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Presence describes immersion in a mediated environment such that it seems unmediated. For people with visual impairment, audio description replaces missing visual information with a verbal commentary, transforming an audiovisual medium into audio. Media forms are more or less immersive, with audio-only at the bottom of the scale. Anecdotally, however, pictures are said to be better on radio. Sound effects may contribute by triggering vivid mental images. Yet the role of sound effects on presence has been little explored. The aim of this study was to test the influence of sound effects and visual experience on presence. Participants (N = 73) with full, some, or no sight reported presence levels for a scene from an audio drama presented with or without sound effects. Participants with full vision reported higher levels of ecological and spatial presence for dialogue and sound effects than for dialogue alone. For participants with impaired vision, sound effects made no significant difference to presence levels. This was a small, exploratory study. Sound effects increased two dimensions of presence for those with sight. For blind people, words alone provided a rich imaginative experience. This has positive implications for audio description, which necessitates dipping the soundtrack to insert descriptive commentary. It suggests sound effects have a key role in stimulating presence, but this is dependent on the sensory characteristics of the listener.
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Frilot, Shari, and Homay King. "Virtual Reality in Real Time: A Conversation." Film Quarterly 71, no. 1 (2017): 51–58. http://dx.doi.org/10.1525/fq.2017.71.1.51.
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On May 2, 2017, at the University of California at Santa Cruz, Shari Frilot, Sundance Film Festival's Senior Programmer and Chief Curator for New Frontier, spoke with Homay King, Professor of History of Art and Film Studies at Bryn Mawr College. They talked about the state of Virtual Reality today and discussed the VR and immersive media works that Frilot had curated for the 2017 edition of Sundance, as well as the platform's implications for the future of storytelling. The video of their conversation can be found on www.filmquarterly.org.
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Atkins, Stephen. "Interactive Media: Virtual Reality and the Actual Performer." Canadian Theatre Review 81 (December 1994): 16–19. http://dx.doi.org/10.3138/ctr.81.003.
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What is the first thing you think of when someone says Virtual Reality and Interactive Media? Chances are that you flashed upon an image of people strapped head-first into a computer-generated reality wearing a control glove on one hand and a head-mounted, video display unit over their eyes, people gesturing and turning their heads with the odd, haunted quality of the somnambulant or demonically possessed. This is the image of interactive technology that, in my observation, is shared by a large number of Canadian theatre artists. Much of the popular media given interactive computer environments focuses on an immersive Virtual Reality and how it will change our lives; that our work and play will not be limited by the confines of space and our “meat bodies”, as William Gibson calls them.1 At first appearance, the principles behind interactive media are at odds with theatre on almost every level. Theatre is very much about the presence of body as well as mind. VR seems to be a toy for a culture in love with gadgetry, one whose narcissistic envy of ideal, supermodel bodies causes it pain every time it looks into a mirror. Theatre artists are probably very wise to be cautious of a technology that threatens to bring not only electronic colonization of the body from the machine, but also cultural colonization from Silicon Valley.
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Jo, Young Hoon, Jikio Kim, Yong Hyun Yun, Nam Chul Cho, and Chan Hee Lee. "Developing Experiential Exhibitions Based on Conservation Science Content of Bronze Mirror." Journal of Conservation Science 37, no. 4 (August 31, 2021): 362–69. http://dx.doi.org/10.12654/jcs.2021.37.4.05.
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In museums, exhibition content focuses mostly on cultural heritage’s historical values and functions, but doing so tends to limit visitors’ interest and immersion. To counter this limitation, the study developed an experiential media art exhibition fusing bronze mirrors’ traditional production technology and modern conservation science. First, for the exhibition system, scientific cultural heritage contents were projected on the three-dimensional (3D) printed bronze mirror through interactions between motion recognition digital information display (DID) and the projector. Then, a scenario of 17 missions in four stages (production process, corrosion mechanism, scientific analysis and diagnosis, and conservation treatment and restoration) was prepared according to the temporal spectrum. Additionally, various media art effects and interaction technologies were developed, so visitors could understand and become immersed in bronze mirrors’ scientific content. A user test was evaluated through the living lab, reflecting generally high levels of satisfaction (90.2 points). Qualitative evaluation was generally positive, with comments such as “easy to understand and useful as the esoteric science exhibition was combined with media art” (16.7%), “wonderful and interesting” (11.7%), and “firsthand experience was good” (9.2%). By combining an esoteric science exhibition centered on principles and theories with visual media art and by developing an immersive directing method to provide high-level exhibition technology, the exhibition induced visitors’ active participation. This exhibition’s content can become an important platform for expanding universal museum exhibitions on archaeology, history, and art into conservation science.
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Cabrera, Andrés, JoAnn Kuchera-Morin, and Curtis Roads. "The Evolution of Spatial Audio in the AlloSphere." Computer Music Journal 40, no. 4 (December 2016): 47–61. http://dx.doi.org/10.1162/comj_a_00382.
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Spatial audio has been at the core of the multimodal experience at the AlloSphere, a unique instrument for data discovery and exploration through interactive immersive display, since its conception. The AlloSphere multichannel spatial audio design has direct roots in the history of electroacoustic spatial audio and is the result of previous activities in spatial audio at the University of California at Santa Barbara. A concise technical description of the AlloSphere, its architectural and acoustic features, its unique 3-D visual projection system, and the current 54.1 Meyer Sound audio infrastructure is presented, with details of the audio software architecture and the immersive sound capabilities it supports. As part of the process of realizing scientific and artistic projects for the AlloSphere, spatial audio research has been conducted, including the use of decorrelation of audio signals to supplement spatialization and tackling the thorny problem of interactive up-mixing through the Sound Element Spatializer and the Zirkonium Chords project. The latter uses the metaphor of geometric spatial chords as a high-level means of spatial up-mixing in performance. Other developments relating to spatial audio are presented, such as Ryan McGee's Spatial Modulation Synthesis, which simultaneously explores the synthesis of space and timbre.
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Liu, Xiaoyu, Hongming Zhou, and Junwei Liu. "Deep Learning-Based Analysis of the Influence of Illustration Design on Emotions in Immersive Art." Mobile Information Systems 2022 (July 30, 2022): 1–10. http://dx.doi.org/10.1155/2022/3120955.
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With the rapid development of information technology, art has become the most widely used form of visual art in the media. It is not only expressive but also closely related to the traditional art of painting. Excellent hand-drawn illustrations not only have stronger image expression and effect but also have an impact on people’s emotions. Therefore, this paper first examines immersive art in contemporary art, including the research on the concept of “immersion art,” the “immersion” embodied in art, and the “projection mechanism” in “immersion art,” and second, the research is based on deep learning. However, in view of the limitation of personal professional direction and the lack of understanding of the contents of psychology, semiotics, anthropology, and other multidisciplinary fields, the research direction of this paper mainly focuses on the preliminary identification and selection of material semantics, focusing on planning, selection, and construction The atmosphere of illustration, the interpretation of psychology, and the study of semiotics are shallow. In addition, teachers conduct teaching evaluation when the concept of teaching evaluation is not clear; there are defects in teaching evaluation objectives; there are many problems in the relationship between ability evaluation and knowledge evaluation; in the process of illustration teaching evaluation, summative evaluation is used instead of procedural evaluation. The phenomenon is serious. Finally, based on deep learning illustration design and emotional research, analyze the “healing” illustration cognitive visual case and compare deep learning and shallow learning illustrations. It is concluded that the assessment of in-depth teaching can provide students with more learning opportunities, access to more learning-related materials, and more transparency and freedom in questions. Interpret illustrations from a semiotic perspective, extract emotional semantic symbols from illustrations, compare them with emotional semantic maps of extended materials, locate and quickly create desired materials and colors. The emotional semantic symbols expressed in the works confirm the accuracy of the Guangcai emotional semantic map and also show that “healing” illustrations can effectively alleviate people’s negative emotions.
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Pamenang, Muhammad Unggul, Achmad Basuki, and Riyanto Sigit. "An Augmented Reality Application for the Community Learning about the Risk of Earthquake in a Multi-storey Building Area." EMITTER International Journal of Engineering Technology 5, no. 2 (January 13, 2018): 192–208. http://dx.doi.org/10.24003/emitter.v5i2.142.
Full textAbstract:
The earthquake comes with great risks, especially in urban areas where many multi-storey buildings exist. These risks have not been understood well yet by the people of the urban area. Socialization, simulation, and learning media need to be provided continuously to improve people awareness on the importance of knowledge about the earthquake risks. An interesting learning media is not only contain informations but also a 3D animation and an interaction with the user. For a more immersive interaction, this application is equipped with augmented reality technology that gives more real visual representation like the actual condition. The evaluation result shows that 82% respondent appreciates this application, at first common users do not know the risk of earthquakes on multi-storey building, with this application users can understand the importance of earthquake risk in buildings.
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Bruni, Luis Emilio, and Sarune Baceviciute. "On the embedded cognition of non-verbal narratives." Sign Systems Studies 42, no. 2/3 (December 5, 2014): 359–75. http://dx.doi.org/10.12697/sss.2014.42.2-3.09.
Full textAbstract:
Acknowledging that narratives are an important resource in human communication and cognition, the focus of this article is on the cognitive aspects of involvement with visual and auditory non-verbal narratives, particularly in relation to the newest immersive media and digital interactive representational technologies. We consider three relevant trends in narrative studies that have emerged in the 60 years of cognitive and digital revolution. The issue at hand could have implications for developmental psychology, pedagogics, cognitive science, cognitive psychology, ethology and evolutionary studies of language. In particular, it is of great importance for narratology in relation to interactive media and new representational technologies. Therefore we outline a research agenda for a bio-cognitive semiotic interdisciplinary investigation into how people understand, react to, and interact with narratives that are communicated through non-verbal modalities.