Dissertations / Theses on the topic 'Virtual reality in art'
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Yoon, Sohhyoun. "VIRTUAL REALITY IN ART EDUCATION." VCU Scholars Compass, 2010. http://scholarscompass.vcu.edu/etd/2021.
Full textDrazdauskas, Laurynas. "Virtual Reality as a Phenomenon of Art." Thesis, Linköping University, Department of Philosophy, 2006. http://urn.kb.se/resolve?urn=urn:nbn:se:liu:diva-7645.
Full textIn this essay results are developed on two different levels. First, it is shown in demonstration that a phenomenological analysis on the lines of Roman’s Ingarden’s study of works in literature can be applied to Virtual Reality works, such as professional-simulators and video-games. In particular it can then be pointed out that: i) sound is separable from the scene, but using sound VR becomes enriched; ii) the main role in literature is left for the imagination, while in VR we find richness in concretization.
Second, it is argued in discussion that works in VR can be qualified as works of art. These electronic works may have all the aesthetical qualities (based on the phenomenology of Roman Ingarden) of the works of art in the traditional sense. So, that paper has two objectives: an analysis of VR and the search for the status of VR in art.
Lucas, Stephen 1985. "Virtual Stage: Merging Virtual Reality Technologies and Interactive Audio/Video." Thesis, University of North Texas, 2017. https://digital.library.unt.edu/ark:/67531/metadc984124/.
Full textLobwein, Guy A. "Consuming conflict: Militainment, desire and virtual reality in contemporary art." Thesis, Queensland University of Technology, 2020. https://eprints.qut.edu.au/180892/1/Guy_Lobwein_Thesis.pdf.
Full textKruger, Leanne. "Metapolis : virtual reality vs. real virtuality in a digital art pavillion." Diss., University of Pretoria, 2011. http://hdl.handle.net/2263/29982.
Full textDissertation (MArch(Prof))--University of Pretoria, 2011.
Architecture
unrestricted
Fletcher, Lauren Jean. "Adaptive realities : effects of merging physical and virtual entities." Thesis, Rhodes University, 2015. http://hdl.handle.net/10962/d1018557.
Full textVadruccio, Alessandro. "Mixed Reality techniques applied to a Virtual and Georeferenced tour for displaying street art content." Master's thesis, Alma Mater Studiorum - Università di Bologna, 2018. http://amslaurea.unibo.it/15144/.
Full textLeibbrandt, Tim. "Intramediary presence : body, interactivity and networked distribution in immersive virtual reality art." Master's thesis, University of Cape Town, 2013. http://hdl.handle.net/11427/14245.
Full textDolinsky, Margaret. "Facing experience : a painter's canvas in virtual reality." Thesis, University of Plymouth, 2014. http://hdl.handle.net/10026.1/3204.
Full textWiesemueller, Cornelia Francesca. "Vapour trails of imagination : the metaphysics of virtual reality : the deepest seat of creativity." Thesis, The University of Sydney, 2002. https://hdl.handle.net/2123/29234.
Full textZhao, Xinyang. "Re-presenting China in Digital Immersive Art: Virtual Reality, Imaginaries, and Cultural Presence." Thesis, Curtin University, 2022. http://hdl.handle.net/20.500.11937/89625.
Full textNechvatal, Joseph. "Immersive ideals / critical distances a study of the affinity between artistic ideologies in virtual reality and previous immersive idioms /." Newport : University of Wales College, Newport, 1999. http://www.eyewithwings.net/nechvatal/iicd.pdf.
Full textCAiiA Research Centre (Centre for Advanced Inquiry in the Interactive Arts) Thesis submitted to the University of Wales for the degree of Doctor of Philosophy. Includes bibliographical references (p. 400-456). Available in PDF via the World Wide Web.
Enros, Max. "Development of an Interactive VR Experience for an Art Museum." Thesis, Luleå tekniska universitet, Institutionen för system- och rymdteknik, 2020. http://urn.kb.se/resolve?urn=urn:nbn:se:ltu:diva-79463.
Full textI detta projekt utvecklades en prototyp för ett virtual reality museum. Den virtuella miljön innehåller tavlor och fåglar som användaren kan interagera med för att visa information. En textpanel eller en bild visas bredvid objektet som användaren interagerade med. Texten eller bilden som visas innehåller information om objektet. En inspelning av informationen kan spelas upp för några av bilderna och textpanelerna. Detta förbättrar museets upplevelse jämfört med att titta på ett objekt i den verkliga världen. Virtual reality-upplevelsen gör att museet kan vara mer interaktivt och roligt för besökarna. Några användartester genomfördes för att testa upplevelsens användbarhet. Testerna hittade några användbarhetsproblem som måste åtgärdas innan denna upplevelse kan vara en del av ett verkligt museum.
Bergman, John. "IMMERSIVE GALLERY OF DIGITAL ART." Thesis, KTH, Arkitektur, 2018. http://urn.kb.se/resolve?urn=urn:nbn:se:kth:diva-223228.
Full textPissini, Jessica M. "Embodied by Design: The Presence of Creativity, Art-making, and Self in Virtual Reality." The Ohio State University, 2020. http://rave.ohiolink.edu/etdc/view?acc_num=osu1594831377515567.
Full textNord, Nylund Bino. "Skolungdomars användning av virtuell verklighet : - VR som ett multimodalt gränssnitt." Thesis, Konstfack, Institutionen för Bildpedagogik (BI), 2011. http://urn.kb.se/resolve?urn=urn:nbn:se:konstfack:diva-4865.
Full textCorby, Thomas James Patrick. "The disappearing frame : a practice-based investigation into composing virtual environment artworks." Thesis, University of the Arts London, 2000. http://ualresearchonline.arts.ac.uk/6126/.
Full textBraun, David. "Astral Logistics." Kent State University / OhioLINK, 2019. http://rave.ohiolink.edu/etdc/view?acc_num=kent1556535587536971.
Full textMALTBIE, CATHERINE V. "SOCIAL AND COGNITIVE EFFECTS OF USING A VIRTUAL REALITY ENVIRONMENT IN A UNIVERSITY ART COURSE." University of Cincinnati / OhioLINK, 2000. http://rave.ohiolink.edu/etdc/view?acc_num=ucin974901387.
Full textKotwal, Kaizaad Navroze. "Variations of Virtual Reality in Theatre and Film: Truth and Illusions Via Art and Technology." The Ohio State University, 2000. http://rave.ohiolink.edu/etdc/view?acc_num=osu1392809424.
Full textKotwal, Kaizaad Navroze. "Variations of virtual reality in theatre and film : truth and illusion via art and technology /." The Ohio State University, 2000. http://rave.ohiolink.edu/etdc/view?acc_num=osu1488203552779304.
Full textFeliciano, Clayton Mendonça. "Ambientes de realidade virtual: novas possibilidades." Pontifícia Universidade Católica de São Paulo, 2018. https://tede2.pucsp.br/handle/handle/21116.
Full textMade available in DSpace on 2018-06-06T12:06:38Z (GMT). No. of bitstreams: 1 Clayton Mendonça Feliciano.pdf: 2611426 bytes, checksum: a439000bde04e6b90b53d641f6aba297 (MD5) Previous issue date: 2018-03-21
Virtual reality (VR) and the forms of interactions with this environment have evolved and advanced a great deal in recent decades. Parallel to the advance of the creation and modeling of three-dimensional (3D) environments, new possibilities arise. Assuming that the virtual environment allows creating scenarios with details and architectural richness, the proposal of this work is focused on the development of a 3D environment and its application in the Web environment, having as object of study the Square Sé, Sao Paulo City. Bibliographical surveys were made to aggregate historical and cultural knowledge, as well as visits in locus for creation of the photographic collection and three-dimensional virtual development. The elaboration of the virtual scenario was made using Sketchup and Unity3D modeling software. Within what was proposed, both the modeling part and the integration part of the Web environment were successful
A realidade virtual (RV) e as formas de interações com este ambiente evoluíram e avançaram muito nas últimas décadas. Paralelamente ao avanço da criação e modelagem de ambientes tridimensionais (3D), novas possibilidades surgem. Partindo do princípio que o ambiente virtual permite (re)criar cenários com detalhes e riquezas arquitetônicas, a proposta deste trabalho está voltada ao desenvolvimento de ambiente 3D e sua aplicação no ambiente Web, tendo como objeto de estudo a Praça da Sé, ponto turístico da cidade de São Paulo. Levantamentos bibliográficos foram feitos para agregar conhecimento histórico e cultural, visitas in locus para criação do acervo fotográfico e desenvolvimento virtual tridimensional. A elaboração do cenário virtual foi feita por meio de softwares de modelagem Sketchup e Unity3D. Dentro do que foi proposto obteve-se sucesso tanto na parte de modelagem quanto na parte de integração ao ambiente Web
Risholm, Rebecka, and Sandén Julia Toft. "Are You Ready For a Virtual Reality Take Off? : A study on Swedish Companies' Perception of Virtual Reality Marketing." Thesis, Högskolan i Halmstad, Akademin för ekonomi, teknik och naturvetenskap, 2018. http://urn.kb.se/resolve?urn=urn:nbn:se:hh:diva-37170.
Full textBowman, Michael R. "Creating the Elsewhere: Virtual Reality in the Ancient Roman World." The Ohio State University, 2015. http://rave.ohiolink.edu/etdc/view?acc_num=osu1429644077.
Full textREYES, REDONDO MARIA CECILIA. "Interactive Fiction in Cinematic Virtual Reality: Epistemology, Creation and Evaluation." Doctoral thesis, Università degli studi di Genova, 2019. http://hdl.handle.net/11567/945937.
Full textLe, Roux Leandré. "New media art : immersion and the sacrifice of the body." Diss., University of Pretoria, 2016. http://hdl.handle.net/2263/60375.
Full textDissertation (MA)--University of Pretoria, 2016.
Visual Arts
MA
Unrestricted
Chiu, Hsiao-Chen. "Une évolution permanente : nouveaux essais artistiques et nouveaux médias - Études de Mons 2015 et du Festival d’Art Numérique de Taipei." Thesis, Sorbonne Paris Cité, 2016. http://www.theses.fr/2016USPCA098.
Full textThis research is a meditation between digital art and perception of real-life, which hopes to offer a comprehensive look on these issues. Technology developments, such as the fire of Prometheus, not only bring the lights and changes in nature’s way into our daily life, but also the Principles and criteria of art. In addition, the new media bring us into unimaginable and hyper-sensations world. Science and technology are deployed and infiltrated in all area, the development of man-machine interaction flooded with digital devices and media every day, and make us rely on virtual worlds unconsciously. This research explores the interactions between digital art, digital art creation and exhibition environments.Two case studies are made here is related to: The Taipei Digital Art Festival and Mons 2015, and highlight a report art-science-society as problematic definition. From sociological point of view, digital art represents a microcosm of the virtual society and a macrocosm of the real world, by creating an invisible virtual community.Technological science embodies the human spirit and the space-time, because the relationship between man and technology marks contemporary society, where the scientist and the artist can create imaginary worlds while crossing dichotomous oppositions between reality and virtuality. This work allows us to explore the intersection between the viewer and the work, between intelligible and sensible worlds, real and virtual, visible and invisible
Gomiero, Federica <1997>. "L'oltreverso artistico dei Millenials. La Virtual Reality come mezzo di espressione e rivoluzione dei giovani artisti." Master's Degree Thesis, Università Ca' Foscari Venezia, 2022. http://hdl.handle.net/10579/21192.
Full textMiatto, Elena <1995>. "Virtual Reality: sviluppi e prospettive della narrazione. Studio sull’utilizzo della VR nel settore artistico e cinematografico." Master's Degree Thesis, Università Ca' Foscari Venezia, 2021. http://hdl.handle.net/10579/19078.
Full textWaller, James. "Un/Grounded: Representing the Experience of Contemporary Space." Thesis, Griffith University, 2011. http://hdl.handle.net/10072/367571.
Full textThesis (Professional Doctorate)
Doctor of Visual Arts (DVA)
Queensland College of Art
Arts, Education and Law
Full Text
Dupont, de Dinechin Grégoire. "Towards comfortable virtual reality viewing of virtual environments created from photographs of the real world." Thesis, Université Paris sciences et lettres, 2020. http://www.theses.fr/2020UPSLM049.
Full textThere are many applications to capturing and digitally recreating real-world people and places for virtual reality (VR), such as preserving and promoting cultural heritage sites, placing users face-to-face with faraway family and friends, and creating photorealistic replicas of specific locations for therapy and training. This is typically done by transforming sets of input images, i.e. photographs and videos, into immersive 360° scenes and interactive 3D objects. However, such image-based virtual environments are often flawed such that they fail to provide users with a comfortable viewing experience. In particular, accurately recovering the scene's 3D geometry is a difficult task, causing many existing approaches to make approximations that are likely to cause discomfort, e.g. as the scene appears distorted or seems to move with the viewer during head motion. In the same way, existing solutions most often fail to accurately render the scene's visual appearance in a comfortable fashion. Standard 3D reconstruction pipelines thus commonly average out captured view-dependent effects such as specular reflections, whereas complex image-based rendering algorithms often fail to achieve VR-compatible framerates, and are likely to cause distracting visual artifacts outside of a small range of head motion. Finally, further complications arise when the goal is to virtually recreate people, as inaccuracies in the appearance of the displayed 3D characters or unconvincing responsive behavior may be additional sources of unease. Therefore, in this thesis, we investigate the extent to which users can be made more comfortable when viewing digital replicas of the real world in VR, by enhancing, combining, and designing new solutions for creating virtual environments from input sets of photographs. We thus demonstrate and evaluate solutions for (1) providing motion parallax during the viewing of 360° images, using a VR interface for estimating depth information, (2) automatically generating responsive 3D virtual agents from 360° videos, by combining pre-trained deep learning networks, and (3) rendering captured view-dependent effects at high framerates in a game engine widely used for VR development, which we apply to digitally recreate a museum's mineralogy collection. We evaluate and discuss each approach by way of user studies, and make our codebase available as an open-source toolkit
Nechvatal, Jospeh. "Immersive ideals/critical distances : a study of the affinity between artistic ideologies based in virtual reality and previous immersive idioms." Thesis, University of South Wales, 1999. https://pure.southwales.ac.uk/en/studentthesis/immersive-ideals--critical-distances(da015b14-2ee9-4d37-ad31-0b3f8ab7dda5).html.
Full textMcGeachy, Heather Losey. "My life as Sistina Smiles." Pullman, Wash. : Washington State University, 2009. http://www.dissertations.wsu.edu/Thesis/Spring2009/H_Mcgeachy_041509.pdf.
Full textVoruganti, Lavanya. "An Analysis of Motivational Cues in Virtual Environments." Thesis, University of North Texas, 2003. https://digital.library.unt.edu/ark:/67531/metadc4352/.
Full textPreusse, David N. "Studying the Impact of a Summer Training Course on Teacher Ability to Use and Integrate an Innovative Online Museum Curriculum in Secondary Schools." Thesis, University of North Texas, 2018. https://digital.library.unt.edu/ark:/67531/metadc1248522/.
Full textSchaaf, Andrea J. "Tilt Brush: The Utilization of a Virtual Reality Intervention for Evaluating Self-Reported Anxiety, Depression, & Stress." University of Cincinnati / OhioLINK, 2019. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1563525498257936.
Full textChen, Wei. "Effects of navigation velocities in fore-and-aft, lateral, yaw axes on cybersickness caused by exposure to a virtual environment /." View abstract or full-text, 2006. http://library.ust.hk/cgi/db/thesis.pl?IELM%202006%20CHEN.
Full textStewart, Austin M. "The Militant Gardener." The Ohio State University, 2012. http://rave.ohiolink.edu/etdc/view?acc_num=osu1339586615.
Full textAumeerally, Manisah, and n/a. "Analytic Model Derivation Of Microfluidic Flow For MEMS Virtual-Reality CAD." Griffith University. School of Information and Communication Technology, 2006. http://www4.gu.edu.au:8080/adt-root/public/adt-QGU20061106.095352.
Full textHetsel, Gene A. (Gene Arthur). "Virtual Reality for Scientific Visualization: an Exploratory Analysis of Presentation Methods." Thesis, University of North Texas, 1997. https://digital.library.unt.edu/ark:/67531/metadc500890/.
Full textKhundam, Chaowanan. "Evaluation de l'usage de la réalité virtuelle pour la promotion de patrimoine historique." Thesis, Université Grenoble Alpes (ComUE), 2019. http://www.theses.fr/2019GREAI017/document.
Full textDigital heritage applications have been widely developed through Virtual Reality (VR) technologies as known as Virtual Museum (VM). Devices and digital contents are significantly increasing which support interaction system to immerse users into VM. In order to develop interactive application, interaction is always defined before creating application up to selected platform. It depends on a given content and devices which is limited when considering switching devices. Nowadays VR technologies is rapid changing, a platform to develop application should support devices changing and also to optimize interaction system to be used in VM. However, both devices organization and contents structure on a platform is still lacking efficient management to support alternative interaction in general.We proposed a novel method for developing a VM application providing digital storytelling template to create interactive content and adaptive interaction system where an application is exportable into any device. We provide flexible editing tools for developer to manage the content structure. The interaction usage will be interpreted into a high-level abstraction and run on a low-level hardware device where interactions have been adapted. Storytelling will specify interaction behavior which can drive interaction in a virtual scene even device may be switched. Our adaptive interaction system supports to identify devices capabilities and storytelling expectation which could be selected for efficiency learning system and improve level of immersion. This implementation is useful to deploy not only for the development of digital heritage applications, but also for industrial engineering where interactive content and collaborative working are required
Galvane, Quentin. "Automatic Cinematography and Editing in Virtual Environments." Thesis, Université Grenoble Alpes (ComUE), 2015. http://www.theses.fr/2015GREAM033/document.
Full textThe wide availability of high-resolution 3D models and the facility to create new geometrical and animated content, using low-cost input devices, open to many the possibility of becoming digital 3D storytellers. To date there is however a clear lack of accessible tools to easily create the cinematography (positioning and moving the cameras to create shots) and perform the editing of such stories (selecting appropriate cuts between the shots created by the cameras). Creating a movie requires the knowledge of a significant amount of empirical rules and established conventions. Most 3D animation packages do not encompass this expertise, calling the need for automatic approaches that would, at least partially, support users in their creative process. In this thesis we address both challenges of automating cinematography and editing in virtual environments.Using cameras to convey events and actions in dynamic environments is a major concern in many CG applications.In the context of crowd simulation, we present a novel approach to address the challenge of controlling multiple cameras tracking groups of targets. In this first contribution we propose a system that relies on Reynolds' model of steering behaviors to control and locally coordinate a collection of autonomous camera agents evolving in the dynamic 3D environments to shot multi-scale events.Editing a movie is a complex and tedious endeavor that requires a lot of expertise in the field. Therefore, automating the process calls for a formalization of this knowledge. Using continuity editing -- the predominant style of editing -- as a benchmark for evaluating edits, we introduce a novel optimization-based approach for automatically creating well-edited movies from a 3D animation. We propose an efficient solution through dynamic programming, by relying on a plausible semi-Markov assumption.Building upon our first contribution we then propose a novel importance-driven approach to cinematic replay that exploits both the narrative and geometric information in games to automatically compute camera paths. Combined with our editing framework, our solution generates coherent cinematic replays of game sessions.Finally, drawing inspiration from standard practices in the movie industry, we introduce a novel approach to camera path planning. This solution ensures realistic trajectories by constraining camera motion on a virtual rail. The camera position and orientation are optimized in time along the rail to best satisfy visual properties. The computed shots constitute relevant inputs for the editing framework which then generates compelling cinematographic content
Berntsdotter, Vallgren Diana. "I den virtuella verkligehtens rum för konst : En fenomenologisk undersökning av applikationen Acute Art X utifrån rum och plats." Thesis, Uppsala universitet, Konstvetenskapliga institutionen, 2021. http://urn.kb.se/resolve?urn=urn:nbn:se:uu:diva-446053.
Full textSilveira, Greice Antolini. "IMERSÃO: SENSAÇÃO REDIMENSIONADA PELAS TECNOLOGIAS DIGITAIS NA ARTE CONTEMPORÂNEA." Universidade Federal de Santa Maria, 2011. http://repositorio.ufsm.br/handle/1/5199.
Full textThis Master Thesis goals the comprehension of the enlargement that digital images add to the art field, specially the immersion feeling. It is thought that the feeling that the observer is inside the images is intensified by artistic experiences with digital technology, in this way it seems to be important to discuss such subject in a contemporary context, searching for some differences of the idea of immersion into images before and after digital technologies. To understand this transition from analog to digital image, that could be talks to as the production of image, considering the difference of being in front of, amid or in the image, besides explaining about the passage from observation to interaction between the art work and the interactor. Being within an ambient or not depends primarily on the comprehension of reality, so it is presented in this study discussions on reality, some questions on virtual and virtual reality Some devices are approached, so their contribution to the thinking of the feeling of immersion in artistic images relating it with current trend and getting in digital devices aside from showing some immersion levels suggested by researchers. For some detailed forthcoming the following art works will be analyzed: Osmose (2005) by Chair Davies and VRAquarium (2005) by Diana Domingues and Artecno team. Images that fullfil 360 grades from the observer sight can be found among all the Art History; some of them were made in order to cause in the spectator an immersion feeling in the presented scene. Therefore the attempt to comprehend the possible modifications that digital imaging provide to the Arts, especially the feeling of immersion, demonstrates itself as pertinent to understand how images can be presented at contemporary times.
Esta dissertação tem como objetivo compreender o redimensionamento que as imagens digitais dão ao campo da arte, sobretudo a sensação de imersão. Acredita-se que a sensação do observador estar na imagem intensifica-se a partir das experimentações artísticas com tecnologias digitais, de modo que é importante discutir este tema no contexto contemporâneo, buscando identificar algumas diferenças da ideia de imersão nas imagens antes e depois das tecnologias digitais. Para entender esta passagem da imagem analógica à digital discorre-se como ocorre a produção da imagem, ponderando sobre a diferença de estar diante, em meio ou na imagem, além de explanar sobre a passagem da observação à interatividade entre obra e interator. Estar ou não imerso em outro ambiente depende primeiramente da compreensão que se tem da realidade, assim também se apresentam neste estudo uma discussão acerca da realidade, algumas questões sobre o virtual e a realidade virtual. Abordam-se alguns dispositivos que contribuem para pensar a sensação de imersão em imagens artísticas, relacionando-os com propostas atuais, chegando até os dispositivos digitais, além de apresentar alguns níveis de imersão propostos por diferentes pesquisadores. Para uma aproximação mais aprofundada, analisa-se as obras Osmose (1995) de Char Davies e VRAquarium (2005), de Diana Domingues e Grupo Artecno. Imagens que compreendem 360 graus da visão do observador podem ser encontradas durante toda história da arte, de modo que, algumas vezes elas são realizadas com o intuito de causar a sensação de imersão na cena apresentada. Assim, tentar compreender as possíveis modificações que a imagem digital proporciona ao campo da arte, sobretudo a sensação de imersão, mostra-se pertinente para entender como as imagens podem ser apresentadas na contemporaneidade.
Thompson, Paul. "An examination of the physical and temporal parameters of post-physical printmaking practice : exploring new modes of collaboration, distribution and consumption resulting from digital processes and networked participation." Thesis, Robert Gordon University, 2014. http://hdl.handle.net/10059/999.
Full textMumbi, Chanda Kabungo. "An investigation of the role of trust in virtual project management success /." Access via Murdoch University Digital Theses Project, 2007. http://wwwlib.murdoch.edu.au/adt/browse/view/adt-MU20071213.92259.
Full textGuez, Judith. "Illusions entre le réel et le virtuel (IRV) comme nouvelles formes artistiques : présence et émerveillement." Electronic Thesis or Diss., Paris 8, 2015. http://www.theses.fr/2015PA080109.
Full textIllusions surprise, amuse and amaze. If among the aesthetic intentions of the creator is the objective of raising questions in the spectator's mind about her own perception of everyday reality, then illusions can become an essential asset of artistic creation. Furthermore, we observe that the field of virtual and mixed reality, with its digital technologies of immersion and interaction, provides new possibilities to "transport" the spectator in unusual worlds, imagined by the artists. Thus, from my double interest in illusions and virtual and mixed reality, I was led to develop a research-creation on new artistic forms of illusion. Inspired from Edgard Morin's method of complexity, I theoretically and practically explored the space of illusions between the real and the virtual (IRV), to identify and create these new art forms emerging from the synergy of the relationship between the spectator, the artistic work and the artist. I composed my own palette for the creation of IRV, which covers the three borders: the one between the real and the virtual, the one between the virtual ant the illusion, and finally the one between the virtual and the illusion. I thus clarified my artistic approach emerging from this research: aiming at the development of experiments nesting several levels of illusions of reality, with the help of real and virtual apparatuses, and striving to explore illusions unique to the virtual, to achieve deeper illusion and presence in the experience offered to the spectator. I can then go closer to what I call the survirtuality, the virtual being a wonderful way to imagine, to dream worlds of nested illusions
Guez, Judith. "Illusions entre le réel et le virtuel (IRV) comme nouvelles formes artistiques : présence et émerveillement." Thesis, Paris 8, 2015. http://www.theses.fr/2015PA080109/document.
Full textIllusions surprise, amuse and amaze. If among the aesthetic intentions of the creator is the objective of raising questions in the spectator's mind about her own perception of everyday reality, then illusions can become an essential asset of artistic creation. Furthermore, we observe that the field of virtual and mixed reality, with its digital technologies of immersion and interaction, provides new possibilities to "transport" the spectator in unusual worlds, imagined by the artists. Thus, from my double interest in illusions and virtual and mixed reality, I was led to develop a research-creation on new artistic forms of illusion. Inspired from Edgard Morin's method of complexity, I theoretically and practically explored the space of illusions between the real and the virtual (IRV), to identify and create these new art forms emerging from the synergy of the relationship between the spectator, the artistic work and the artist. I composed my own palette for the creation of IRV, which covers the three borders: the one between the real and the virtual, the one between the virtual ant the illusion, and finally the one between the virtual and the illusion. I thus clarified my artistic approach emerging from this research: aiming at the development of experiments nesting several levels of illusions of reality, with the help of real and virtual apparatuses, and striving to explore illusions unique to the virtual, to achieve deeper illusion and presence in the experience offered to the spectator. I can then go closer to what I call the survirtuality, the virtual being a wonderful way to imagine, to dream worlds of nested illusions
Dreifaldt, Ulrika, and Erik Lövquist. "The construction of a Haptic application in a Virtual Environment as a post-Stroke arm Rehabilitation exercise." Thesis, Linköping University, Department of Science and Technology, 2006. http://urn.kb.se/resolve?urn=urn:nbn:se:liu:diva-6155.
Full textThis thesis describes a six-month project based on stroke rehabilitation and involves designing with medical doctors, a physiotherapist and an occupational therapist, prototyping and evaluating with both stroke patients and other users. Our project involves the construction of a rehabilitation exercise system, based on virtual environments (VE) and haptics, designed for stroke patients. Our system uses a commercially available haptic device called the PHANTOM Omni, which has the possibility of being used as a rehabilitation tool to interact with virtual environments. The PHANTOM Omni is used in combination with our own developed software based on the platform H3D API. Our goal is to construct an application which will motivate the stroke patient to start using their arm again.
We give a review of the different aspects of stroke, rehabilitation, VE and haptics and how these have previously been combined. We describe our findings from our literature studies and from informal interviews with medical personnel. From these conclusions we attempt to take the research area further by suggesting and evaluating designs of different games/genres that can be used with the PHANTOM Omni as possible haptic exercises for post-stroke arm rehabilitation. We then present two different implementations to show how haptic games can be constructed. We mainly focus on an application we built, a game, using an iterative design process based on studies conducted during the project, called "The Labyrinth". The game is used to show many of the different aspects that have to be taken into account when designing haptic games for stroke patients. From a study with three stroke patients we have seen that "The Labyrinth" has the potential of being a stimulating, encouraging and fun exercise complement to the traditional rehabilitation. Through the design process and knowledge we acquired during this thesis we have created a set of general design guidelines that we believe can help in the future software development of haptic games for post-stroke arm rehabilitation.
Alvarez, Guido Esteban. "Soul Hunting." VCU Scholars Compass, 2004. http://scholarscompass.vcu.edu/etd/1069.
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