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Статті в журналах з теми "Immersive visual media"
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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.
Повний текст джерелаАнотація:
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.
Повний текст джерелаАнотація:
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.
Повний текст джерелаАнотація:
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.
Повний текст джерелаАнотація:
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.
Повний текст джерелаАнотація:
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.
Повний текст джерелаАнотація:
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.
Повний текст джерелаАнотація:
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.
Повний текст джерелаАнотація:
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.
Повний текст джерелаАнотація:
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.
Повний текст джерелаАнотація:
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.
Дисертації з теми "Immersive visual media"
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Verdaasdonk, Maria Adriana. "Living lens: exploring interdependencies between performing bodies, visual and sonic media in immersive installation." Thesis, Queensland University of Technology, 2007. https://eprints.qut.edu.au/16631/1/Maria_Adriana_Verdaasdonk_Thesis.pdf.
Повний текст джерелаАнотація:
Living Lens is a practice-led study that explores interdependencies between performing bodies, visual images and sonic elements through two main areas of investigation: the propensity for the visual mode to be dominant in an interdisciplinary performance environment; and, a compositional structure to integrate performing bodies, visual and sonic elements. To address these concerns, the study necessitated a collaborative team comprising performers, visual artists, sound designers and computer programmers. The poetic title, Living Lens, became an important interpretative device and organising principle in this study, which is weighted 70% for the creative work and 30% for the written component. Working from an experiential and emergent methodology, the research employed two iterative cycles of development. Drawing on a previous work, Patchwork in Motion (2005), the extraction of one fragment entitled Living Lens (2005-6) was selected for further development, specifically to balance the relationship between performers and visual media with a deeper focus on the sonic component. The initial creative development (June-July 2005) addressed the area of interdependencies through the concepts of "poetic felt space" and "living painting", whilst the final stage of the study (June-July 2006) adopted the concept of "worlds within worlds" to facilitate greater contrast and connectivity in the piece. The final performance made partial progress towards shifting visual dominance and the development of an integrative structure, the digital media serving to enhance tangible connections between aural, visual and kinesthetic senses. As an immersive performance installation, the study thus adapts and extends painterly and sculptural sensibilities into a contemporary and interactive arts setting. Presenting a case for the personalised position of the practitioner voice, the study also offers practical and conceptual insights and solutions, to be adopted, adapted or applied tangentially, by other practitioners and researchers working in the domains of body movement practices, visual and sonic arts and human communication technologies.
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Verdaasdonk, Maria Adriana. "Living lens: exploring interdependencies between performing bodies, visual and sonic media in immersive installation." Queensland University of Technology, 2007. http://eprints.qut.edu.au/16631/.
Повний текст джерелаАнотація:
Living Lens is a practice-led study that explores interdependencies between performing bodies, visual images and sonic elements through two main areas of investigation: the propensity for the visual mode to be dominant in an interdisciplinary performance environment; and, a compositional structure to integrate performing bodies, visual and sonic elements. To address these concerns, the study necessitated a collaborative team comprising performers, visual artists, sound designers and computer programmers. The poetic title, Living Lens, became an important interpretative device and organising principle in this study, which is weighted 70% for the creative work and 30% for the written component. Working from an experiential and emergent methodology, the research employed two iterative cycles of development. Drawing on a previous work, Patchwork in Motion (2005), the extraction of one fragment entitled Living Lens (2005-6) was selected for further development, specifically to balance the relationship between performers and visual media with a deeper focus on the sonic component. The initial creative development (June-July 2005) addressed the area of interdependencies through the concepts of "poetic felt space" and "living painting", whilst the final stage of the study (June-July 2006) adopted the concept of "worlds within worlds" to facilitate greater contrast and connectivity in the piece. The final performance made partial progress towards shifting visual dominance and the development of an integrative structure, the digital media serving to enhance tangible connections between aural, visual and kinesthetic senses. As an immersive performance installation, the study thus adapts and extends painterly and sculptural sensibilities into a contemporary and interactive arts setting. Presenting a case for the personalised position of the practitioner voice, the study also offers practical and conceptual insights and solutions, to be adopted, adapted or applied tangentially, by other practitioners and researchers working in the domains of body movement practices, visual and sonic arts and human communication technologies.
3
He, Yin. "Immersive Storytelling for Environmental Communication." Thesis, Linköpings universitet, Institutionen för datavetenskap, 2019. http://urn.kb.se/resolve?urn=urn:nbn:se:liu:diva-158200.
Повний текст джерелаАнотація:
As one of the earliest attempts to apply immersive technology in environmental communication, this design research project tries to answer the following research question: how do we communicate the connections between food-related behaviors and environmental impacts through immersive storytelling? During the project, an immersive story called "Trik’s' Party" for dome shows and a journey map of an immersive visitor experience are created. These design outcomes and this paper are built on the knowledge of scientific findings, communication methods, content creations, and service design. To support the creation process, new sketching, storyboarding and prototyping methods were developed for dome content creations. The core message of this paper is that effective environmental communication is not just about informing the public about facts and data from scientific studies. It is also about giving individuals and communities the knowledge, tools and spaces to develop a vision of their own future. Immersive storytelling is one of the methods for creating these spaces. It has a large potential to raise public empathy with other people and their future-self when the long-term and abstract impacts of the environmental problems become more visible and comprehensible in an imaginary space.
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Ling, Suiyi. "Perceptual representations of structural and geometric information in images : bio-inspired and machine learning approaches : application to visual quality assessment of immersive media." Thesis, Nantes, 2018. http://www.theses.fr/2018NANT4061/document.
Повний текст джерелаАнотація:
Ce travail vise à mieux évaluer la qualité perceptuelle des images contenant des distorsions structurelles et géométriques notamment dans le contexte de médias immersifs. Nous proposons et explorons un cadre algorithmique hiérarchique de la perception visuelle. Inspiré par le système visuel humain, nous investiguons plusieurs niveaux de représentations des images : bas niveau (caractéristiques élémentaires comme les segments), niveau intermédiaire (motif complexe, encodage de contours), haut niveau (abstraction et reconnaissance des données visuelles). La première partie du manuscrit traite des représentations bas niveau pour la structure et texture. U n modèle basé filtre bilatéral est d’abord introduit pour qualifier les rôles respectifs de l’information texturale et structurelle dans diverses tâches d’évaluation (utilité, qualité. . . ). Une mesure de qualité d’image/vidéo est proposée pour quantifier les déformations de structure spatiales et temporelles perçues en utilisant une métrique dite élastique. La seconde partie du mémoire explore les représentations de niveaux intermédiaires. Un modèle basé « schetch token » et un autre basé sur codage d’un arbre de contexte sont présentés pour évaluer la qualité perçue. La troisième partie traite des représentations haut niveau. Deux approches d’apprentissage machine sont proposées pour apprendre ces représentations : une basée sur un technique de convolutional sparse coding, l’autre sur des réseaux profonds de type generative adversarial network. Au long du manuscrit, plusieurs expériences sont menées sur différentes bases de données pour plusieurs applications (FTV, visualisation multi-vues, images panoramiques 360. . . ) ainsi que des études utilisateursThis work aims to better evaluate the perceptual quality of image/video that contains structural and geometric related distortions in the context of immersive multimedia. We propose and explore a hierarchical framework of visual perception for image/video. Inspired by representation mechanism of the visual system, low-level (elementary visual features, e.g. edges), mid-level (intermediate visual patterns, e.g. codebook of edges), and higher-level (abstraction of visual input, e.g. category of distorted edges) image/video representations are investigated for quality assessment. The first part of this thesis addresses the low-level structure and texture related representations. A bilateral filter-based model is first introduced to qualify the respective role of structure and texture information in various assessment tasks (utility, quality . . . ). An image quality/video quality measure is proposed to quantify structure deformation spatially and temporally using new elastic metric. The second part explores mid-level structure related representations. A sketch-token based model and a context tree based model are presented in this part for the image and video quality evaluation. The third part explores higher-level structure related representations. Two machine learning approaches are proposed to learn higher-level representation: a convolutional sparse coding based and a generative adversarial network. Along the thesis, experiments an user studies have been conducted on different databases for different applications where special structure related distortions are observed (FTV, multi-view rendering, omni directional imaging . . . )
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Rice, Andrea. "Rebooting Brecht: Reimagining Epic Theatre for the 21st Century." Bowling Green State University / OhioLINK, 2019. http://rave.ohiolink.edu/etdc/view?acc_num=bgsu1555688903742283.
Повний текст джерела
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Fredriksson, Pontus, and Malin Sandred. "Game Feel Aesthetics : Finding the Fun Factor." Thesis, Blekinge Tekniska Högskola, Institutionen för teknik och estetik, 2018. http://urn.kb.se/resolve?urn=urn:nbn:se:bth-16420.
Повний текст джерелаАнотація:
Spel är något som ligger oss nära om hjärtat, och är en industri som fortsätter växa hejdlöst. Vi var nyfikna på hur man gör ett spel “roligt” att spela. Steven Swink har presenterat konceptet “game feel”, i sin bok med samma namn, och hur man kan använda det för att beskriva samarbeten som uppstår mellan de visuella och taktila komponenterna i ett spel för att skapa känslor hos spelaren. En liknande term är “immersion”, som behandlar själva spelarens påverkan av vad Swink kallar game feel. Utöver de här koncepten, tar vi i detta arbete upp hur game feel fungerar som en estetisk upplevelse, med hjälp av Graeme Kirkpatricks tankar kring ämnet. Vi går igenom hur negativa känslor kan bli en positiv spelupplevelse, med en artikel av Kristine Jørgensen, och hur ett spels tekniska begränsningar kan påverka dess visuella estetik, i en artikel av Andrew Hutchinson. Vår frågeställning är: “vad är de visuella komponenterna i game feel, och hur påverkar de en spelupplevelse?”, och vi har valt att gestalta detta genom att utveckla ett spel. Med hjälp av en kvalitativ undersökning har vi fått feedback på vad de visuella komponenterna i game feel är. Spelet inkluderade fem game feel-upplevelser som Swink diskuterar. Speltestarna fick gå igenom en 10-15 minuters speldemo, och ge svar på ett frågeformulär, baserade på sina spelupplevelser. Vi analyserade deras svar efter en “ad hoc” analysmetod. Vi kom fram till att de visuella komponenterna är svåra att separera från de taktila komponenterna, så det är svårt att prata om spel som enbart visuella. Inlevelsen i spel kommer från det kombinerade visuella med de fysiska knapptryckningarna. Vi anser att det går att undersöka vidare på detta ämne, då vi bara skrapat ytan på vad de visuella komponenterna i game feel egentligen är.Games are close to our hearts, and belong to an industry that continues to grow without an end in sight. We were curious about how you make a game “fun” to play. Steve Swink has presented the concept of “game feel”, in his book with the same name, and how it can be used to describe the collaboration between the visual and the tactile components in a game to create feelings in the player. A similar term is “immersion”, which describes the influence a game has on the players themselves — what Swink calls game feel. We also discuss game feel as an aesthetic experience, with the help of Graeme Kirkpatricks thoughts on the subject. We cover how negative feelings can become a positive game experience, with the help of an article by Kristine Jørgensen, and how a game’s technical limits can affect its visual aesthetics, with an article by Andrew Hutchinson. Our research question is: “what are the visual components in game feel, and how do they affect a gaming experience?”, and we’ve chosen to showcase this by developing a game. With the help of a qualitative study, we got some feedback of what the visual components in game feel are. The game included five game feel experiences that Swink discusses. The play testers got to go through a game demo, and answer a questionnaire, based on their gaming experiences. We analysed their answers using an “ad hoc” method of analysis. We arrived at the conclusion that the visual components are hard to separate from the tactile ones, making it hard talk about games as only visual experiences. The feeling of involvement in playing a game comes from the combination of the visual aesthetics and the physical feeling of pressing buttons. We see the possibility of continuing the research on the topic of game feel, because we’ve only scraped the surface on what the visual components of game feel truly are.
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Frankenius, Joakim. "De klingande bakgrunderna : En studie om ljudlandskaps immersiva funktioner iaudiovisuella gestaltningar." Thesis, Högskolan Dalarna, Institutionen för kultur och samhälle, 2021. http://urn.kb.se/resolve?urn=urn:nbn:se:du-37571.
Повний текст джерелаАнотація:
Ljudlandskap återfinns i såväl natur som film, både naturligt och syntetiskt. Dessa ljudlandskaps effekter har länge studeras ur ekologiska perspektiv och ibland med samband i taktila upplevelser. De har även studerats ur ett perspektiv med narrativt fokus. Den här studien svarar däremot på hur ljudlandskap skapar en immersiv funktion i audiovisuella gestaltningar och hur användare av dessa uppfattar den. Ett inläst manus av Ronja Rövardotter har skickats ut tillsammans med en enkät och kompletterande intervjuer. Dessa frågar informanterna om ljudlandskapens immersiva funktioner. Resultat visar på att ljudlandskapens närvaro är vad som är immersionsskapande, med förutsättningen att de håller en hög modalitet.
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Nordqvist, Filip, and Erik Sahlbom. "Visual Narrative Game Design : Ett narrativ utan konversation." Thesis, Blekinge Tekniska Högskola, 2018. http://urn.kb.se/resolve?urn=urn:nbn:se:bth-16516.
Повний текст джерелаАнотація:
Vi undersöker den narrativa stilen som Flower och Journey använder sig av. I denna narrativastil finns det varken dialog och text. Utifrån Flower och Journey skapade vi en designmetodsom ska finnas till som inspiration för utvecklare som vill testa denna stilen. Resultatet avundersökningen ger upphov till en designmetod som vi applicerar på vår gestaltning för atttesta den i en annan spel genre. Mycket av metoden är fokuserad på hur Flower och Journeygör då vi bara undersöker de två spelen. Vi skulle vilja göra en mer generell undersökning dåvi undersöker mer spel som också har ett narrativ utan dialog och text.We study the narrative style that Flower and Journey uses. In this narrative style, there is nodialogue and text. Based on Flower and Journey, we created a design method that will be aninspiration for developers who want to test this style. The result of this bachelor thesis givesrise to a design method that we apply to our game idea this applies the method to anothergame genre. Much of the method is very focused on what Flower and Journey do when weonly examine these two games. We would like to do a more general study when we examinemore games that also have a narrative without dialogue and text.
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Gillespie, Alexandra Dermott. "Australian media arts : in this place." Phd thesis, 2014. http://hdl.handle.net/1885/100197.
Повний текст джерелаАнотація:
Australian Media Arts: in this place examines themes of relationships to place, and loss of
place within an Australian context. A series of academic accounts of national media arts practice, trace the evolution of the field and explore a particular period, the technologies that emerged, artists who explored these technologies and their works that articulate this exploration. What is common in these recent accounts of media art histories is a tracing of the relationship between the artists and the technologies that afforded their explorations within a national framework. What I aim to do is something different; I intend to locate a small subset of Australian media art works that talk about key issues pertinent to Australian cultural identity, namely colonisation, the displacement of the First Australians and the ongoing effects of loss
of place also experienced in a broader sense through migration. The dissertation examines three collaborative works by artists, Krzysztof Wodiczko and Ian de Gruchy, Janet Laurence and Fiona Foley, and Lynette Wallworth that explore aspects of Australia’s colonial, Indigenous and
migrant histories.
The aim of my studio work and its account in the exegesis has been to examine how issues
of place and loss of place can be addressed through my visual and media arts practice.
My work has formed around the interrelationship of terms such as location/dislocation, memory/site, identity/loss of identity and what is visible/invisible. I have explored the intersections of personal and cultural histories, a sense of home and belonging as an individual and with particular Australian communities through media arts installation, site specific performance, video and photographic works.
Книги з теми "Immersive visual media"
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Immersion in the Visual Arts and Media. BRILL, 2015.
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Weinel, Jonathan. Abstractions. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780190671181.003.0009.
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The concluding chapter of Inner Sound: Altered States of Consciousness in Electronic Music and Audio-Visual Media consolidates the main arguments of the book. The journey taken is recapitulated, from shamanic rituals to psychedelic rock shows and raves; and from outdoor electroacoustic concerts to synaesthetic films and hallucinatory video games. Across these examples, similar underlying principles can be identified, revealing a continuity from ancient shamanism to modern ‘technoshamanism’. Yet while some imperatives have remained consistent, the technologies have evolved, yielding ever-more accurate and sophisticated representations of altered states in electronic music and audio-visual media. This finds us on the brink of ‘Altered States of Consciousness Simulations’, which replicate the sensory experience of altered states using immersive technologies such as fulldomes and virtual reality headsets. Looking forwards, the possible uses and ethical implications of these simulations are explored, at the frontiers of electronic music and art.
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What does a chameleon look like?: Topographies of immersion. Köln: Halem, 2011.
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Williams, Keith. James Joyce and Cinematicity. Edinburgh University Press, 2020. http://dx.doi.org/10.3366/edinburgh/9781474402484.001.0001.
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This book investigates how the cinematic tendency of Joyce’s writing developed from popular media predating film. It explores Victorian culture’s emergent 'cinematicity' as a key creative driver of Joyce’s experimental fiction, showing how his style and themes share the cinematograph’s roots in Victorian optical entertainment and science. The book’s scope reveals and elucidates Joyce's references to optical toys, shadowgraphs, magic lanterns, panoramas, photographic analysis and film peepshows; while abundant close analysis shows how his techniques elaborated and critiqued their effects on modernity’s ‘media-cultural imaginary’, making Joyce’s writing appear in advance of the narrative forms of early film itself. The introduction historicises the visual culture during Joyce’s youth, as well as optical science, Dublin’s first screenings and the context of his Volta Cinematograph. Chapter 1 focuses on the key role of magic lantern themes and techniques in Dubliners’ breakthrough into Modernist style and form. Chapter 2 how experiments in photographic analysis and reanimation of movement furnished a model for Joyce’s representation of the dynamic development of consciousness through the three versions of A Portrait of the Artist. Chapter 3 demonstrates how Joyce created a literary equivalent to the moving panorama in Ulysses, providing an influential template for immersive representations of the city in both Modernist fiction and film. Finally, a Coda qualifies ‘radiophonic’ readings of Finnegans Wake arguing instead that it extends Joyce’s interest in the history and future of cinematicity, through ‘verbal dissolves’ and engaging with the emergent medium of television.
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Havelková, Tereza. Opera as Hypermedium. Oxford University Press, 2021. http://dx.doi.org/10.1093/oso/9780190091262.001.0001.
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This book deals with contemporary relationships between opera and the media. It is concerned with both the use of media on stage and opera on screen. Drawing on the concept of hypermediacy from media studies, it situates opera within the larger context of contemporary media practices, and particularly those that play up the multiplicity, awareness, and enjoyment of media. The discussion is driven by the underlying question of what politics of representation and perception opera performs within this context. This entails approaching operas as audiovisual events (rather than works or texts) and paying attention to what they do by visual means, along with the operatic music and singing. The book concentrates on events that foreground their use of media and technology, drawing attention to opera’s inherently hypermedial aspects. It works with the recognition that such events nevertheless engender powerful effects of immediacy, which are not contingent on illusionism or the seeming transparency of the medium. It analyzes how effects like presence, liveness, and immersion are produced, contesting some critical claims attached to them. It also sheds light on how these effects, often perceived as visceral or material in nature, are related to the production of meaning in opera. The discussion pertains to contemporary pieces such as Louis Andriessen and Peter Greenaway’s Rosa and Writing to Vermeer, as well as productions of the canonical repertory such as Wagner’s Ring Cycle by Robert Lepage at the Met and La Fura dels Baus in Valencia.
Частини книг з теми "Immersive visual media"
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Tenneriello, Susan. "Immersive Scenes: Visual Media, Painted Panoramas, and Landscape Narratives." In Spectacle Culture and American Identity, 15–50. New York: Palgrave Macmillan US, 2013. http://dx.doi.org/10.1057/9781137360625_2.
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Tanimoto, Masayuki. "International Standardization of FTV." In Proceedings e report, 92–99. Florence: Firenze University Press, 2018. http://dx.doi.org/10.36253/978-88-6453-707-8.23.
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FTV (Free-viewpoint Television) is visual media that transmits all ray information of a 3D space and enables immersive 3D viewing. The international standardization of FTV has been conducted in MPEG. The first phase of FTV is multiview video coding (MVC), and the second phase is 3D video (3DV). The third phase of FTV is MPEG-FTV, which targets revolutionized viewing of 3D scenes via super multiview, free navigation, and 360-degree 3D. After the success of exploration experiments and Call for Evidence, MPEG-FTV moved MPEG Immersive project (MPEG-I), where it is in charge of video part as MPEG-I Visual. MPEG-I will create standards for immersive audio-visual services.
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Jin, Jiabao. "Research on Visual Design in the Context of Immersive New Media." In Advances in Social Science, Education and Humanities Research, 78–83. Paris: Atlantis Press SARL, 2023. http://dx.doi.org/10.2991/978-2-38476-094-7_11.
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Christaki, Kyriaki, Emmanouil Christakis, Petros Drakoulis, Alexandros Doumanoglou, Nikolaos Zioulis, Dimitrios Zarpalas, and Petros Daras. "Subjective Visual Quality Assessment of Immersive 3D Media Compressed by Open-Source Static 3D Mesh Codecs." In MultiMedia Modeling, 80–91. Cham: Springer International Publishing, 2018. http://dx.doi.org/10.1007/978-3-030-05710-7_7.
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"Visual media compression." In Virtual Reality and Light Field Immersive Video Technologies for Real-World Applications, 331–66. Institution of Engineering and Technology, 2021. http://dx.doi.org/10.1049/pbpc021e_ch15.
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Korani, Tina. "Visual Journalism and the Future of News Consumption." In Advances in Media, Entertainment, and the Arts, 160–67. IGI Global, 2022. http://dx.doi.org/10.4018/978-1-7998-3844-9.ch015.
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This chapter reviews the rise of immersive technologies, with a particular emphasis on visually immersive forms that have only begun to be implemented in newsrooms and social media platforms over the past decade. The road leading to today's technology has been a long and winding one, and it will likely take a while before the public views news as an immersive experience. This chapter will also serve to introduce the customization and personalization of new technologies in the future, as well as the problems that may accompany them over the next 20 to 40 years and beyond.
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"Immersive Exhibition Design: Titanic Belfast and the Concept of Scenography." In Immersion in the Visual Arts and Media, 344–82. Brill | Rodopi, 2016. http://dx.doi.org/10.1163/9789004308237_016.
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Jordan, Randolph. "Immersive Reflexivity." In Acoustic Profiles, 61—C2P119. Oxford University PressNew York, 2023. http://dx.doi.org/10.1093/oso/9780190226077.003.0003.
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Abstract This chapter examines Peter Mettler’s film Picture of Light (1994) as an exploration of what is at stake in the debates about the documentary recording practices essential to soundscape research. Mettler and his crew travel to Churchill, Manitoba, and attempt to capture the aurora borealis on film. They take an overtly reflexive strategy that foregrounds the filmmaking process while continually questioning if our experience of the lights on film could be anything like being there in person. Asking what it might mean to hear the lights, they stage the soundscape of Churchill in ways that continually challenge the limits of documentary representation while meditating upon the role of media in shaping our engagement with the world they seek to document. This chapter argues that Mettler’s use of sound calls attention to how we perform with our media as the very basis of our engagement with the world, a strategy the author calls immersive reflexivity: the foregrounding of mediality as a tool for engagement rather than distanciation. This chapter situates Mettler’s strategy within the long history of experimental film, particularly visual music, and its attempts at generating more holistic experiences through self-conscious means, particularly with respect to sound/image relationships. By framing Picture of Light through the discourses of documentary and experimental film, this chapter demonstrates how Mettler’s film teaches us to address the practice of field recording in soundscape research as highly staged material that can, nevertheless, provide faithful means of engaging with the world that presents itself to the microphones.
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"Projection Rooms: Film as an Immersive Medium in the Architecture of Jean Nouvel." In Immersion in the Visual Arts and Media, 279–98. Brill | Rodopi, 2016. http://dx.doi.org/10.1163/9789004308237_013.
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"From the Unchained to the Ubiquitous Motion-Picture Camera: Camera Innovations and Immersive Effects." In Immersion in the Visual Arts and Media, 137–63. Brill | Rodopi, 2016. http://dx.doi.org/10.1163/9789004308237_008.
Повний текст джерелаТези доповідей конференцій з теми "Immersive visual media"
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Dindar, N., A. M. Tekalp, and C. Basdogan. "Immersive haptic interaction with media." In Visual Communications and Image Processing 2010, edited by Pascal Frossard, Houqiang Li, Feng Wu, Bernd Girod, Shipeng Li, and Guo Wei. SPIE, 2010. http://dx.doi.org/10.1117/12.863387.
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Cheung, Gene, Antonio Ortega, Ngai-Man Cheung, and Bernd Girod. "On media data structures for interactive streaming in immersive applications." In Visual Communications and Image Processing 2010, edited by Pascal Frossard, Houqiang Li, Feng Wu, Bernd Girod, Shipeng Li, and Guo Wei. SPIE, 2010. http://dx.doi.org/10.1117/12.863532.
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Davies, Steven, Stuart Cunningham, and Mike Wright. "Immersive RGB+D zoetropic projection for touchscreens and HMDs/wearables." In CVMP 2015: 12th International Conference on Visual Media Production. New York, NY, USA: ACM, 2015. http://dx.doi.org/10.1145/2824840.2824852.
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Diehl, Alexandra, Michael Hundt, Johannes Haussler, Daniel Seebacher, Siming Chen, Nida Cilasun, Daniel Keim, and Tobias Shreck. "SocialOcean: Visual Analysis and Characterization of Social Media Bubbles." In 2018 International Symposium on Big Data Visual and Immersive Analytics (BDVA). IEEE, 2018. http://dx.doi.org/10.1109/bdva.2018.8534023.
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Gudumasu, Srinivas, Gireg Maury, Ariel Glasroth, and Ahmed Hamza. "Adaptive Streaming of Visual Volumetric Video-based Coding Media." In MMVE '23: 15th International Workshop on Immersive Mixed and Virtual Environment Systems. New York, NY, USA: ACM, 2023. http://dx.doi.org/10.1145/3592834.3592876.
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Domanski, Marek, Olgierd Stankiewicz, Krzysztof Wegner, and Tomasz Grajek. "Immersive visual media — MPEG-I: 360 video, virtual navigation and beyond." In 2017 International Conference on Systems, Signals and Image Processing (IWSSIP). IEEE, 2017. http://dx.doi.org/10.1109/iwssip.2017.7965623.
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Schreer, O., I. Feldmann, N. Atzpadin, P. Eisert, P. Kauff, and H. J. W. Belt. "3D presence - a system concept for multi-user and multi-party immersive 3D video conferencing." In IET 5th European Conference on Visual Media Production (CVMP 2008). IEE, 2008. http://dx.doi.org/10.1049/cp:20081083.
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Mendonça, Catarina, and Victoria Korshunova. "Surround sound spreads visual attention and increases cognitive effort in immersive media reproductions." In AM'20: Audio Mostly 2020. New York, NY, USA: ACM, 2020. http://dx.doi.org/10.1145/3411109.3411118.
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Erdoǧan Ford, Sedef. "Hypermodels: An Exploration of New Media Environments and Expansive Representation of Architecture." In AIA/ACSA Intersections Conference. ACSA Press, 2017. http://dx.doi.org/10.35483/acsa.aia.inter.17.5.
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With the advent of new digital media technologies offering immersive virtual environments have emerged new modes of architectural representation. How, in turn, can these technologies shape the less visible, and visual, aspects of architectural production? This paper considers such digital, immersive technologies as Mixed, Virtual, and Augmented Reality within the historical and theoretical context of digital media to better understand their function in charting a frontier for the three dimensional representation of architecture. I propose the notion of the hypermodel, a “hypertext version” of digital models that contains and “opens up” to more than the physical parts of a building. Hyper model is a connector of digital space and the physical world— represented via multiple forms of media—revealing the temporal expanse and informational depth of the virtual beyond the bounds of an architectural artifact. In this sense, the new medium also hints at and allows for novel collaborative methods. The new language of design and communication at work in the mixed reality medium is itself interconnected — it reflects and reinforces the inter-disciplinary and inter-media nature of architectural production today.
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Diniz, Rafael, Pedro Garcia Freitas, and Mylène C. Q. Farias. "3D Point-Cloud Quality Assessment Using Color and Geometry Texture Descriptors." In Anais Estendidos da Conference on Graphics, Patterns and Images. Sociedade Brasileira de Computação - SBC, 2022. http://dx.doi.org/10.5753/sibgrapi.est.2022.23254.
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Since the mid-20th century, the use of digital formats for visual content allowed a great evolution in how society communicates. The Internet and digital broadcast systems introduced in the decade 90 to the wider public allowed an incredible expansion of multimedia consumption by the people, while the telecommunication networks and providers were pushed to their limits to address the growing multimedia content demand. Older electronic imaging systems, notably TV broadcasting systems, were designed after long subjective quality analysis for the definition of parameters like the number of lines of the video. But recent digital visual content services need faster and more affordable ways of evaluating the human perceived quality of the always-evolving multimedia systems. To address the need for automatic quality assessment, in the past decades many visual quality models based on algorithms that run on digital computers have been proposed. While the existing models are remarkably advanced for 2D digital imagery, a new set of immersive media is dawning, with different data structures, to which the 2D methods are not applicable, and need novel quality assessment metrics. These novel dawning immersive media formats provide a 3D visual representation of real objects and scenes. In this new visual format, objects can be captured, compressed, transmitted, and visualized in real-time not anymore as a flat 2D image, but as 3D content, allowing free-viewpoint selection by a consumer of such media. One of the most popular formats for immersive media is Point Cloud (PC), which is composed of points with 3 geometry coordinates plus color information, and sometimes, other information like reflectance and transparency. This work presents a research on the quality assessment of 3D PC based on novel color and geometric texture statistics. Considering that distortions to both color and geometry attributes of 3D visual content affect the perceived visual quality, it is proposed in this work to use both color-based and geometry-based texture descriptors for PC to obtain the visual degradation through their statistics. This work introduces 4 novels PC texture descriptors, 3 of them color-based, while 1 is geometry-based. Also, a new voxelization method is proposed, which converts points to voxels (volume elements), and improves the performance of the color-based texture descriptors. The performance of the proposed PC quality assessment method is among the best of the state-of-the-art PC quality assessment methods while being flexible and extensible to adapt to different types of distortions.
Звіти організацій з теми "Immersive visual media"
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Baluk, Nadia, Natalia Basij, Larysa Buk, and Olha Vovchanska. VR/AR-TECHNOLOGIES – NEW CONTENT OF THE NEW MEDIA. Ivan Franko National University of Lviv, February 2021. http://dx.doi.org/10.30970/vjo.2021.49.11074.
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The article analyzes the peculiarities of the media content shaping and transformation in the convergent dimension of cross-media, taking into account the possibilities of augmented reality. With the help of the principles of objectivity, complexity and reliability in scientific research, a number of general scientific and special methods are used: method of analysis, synthesis, generalization, method of monitoring, observation, problem-thematic, typological and discursive methods. According to the form of information presentation, such types of media content as visual, audio, verbal and combined are defined and characterized. The most important in journalism is verbal content, it is the one that carries the main information load. The dynamic development of converged media leads to the dominance of image and video content; the likelihood of increasing the secondary content of the text increases. Given the market situation, the effective information product is a combined content that combines text with images, spreadsheets with video, animation with infographics, etc. Increasing number of new media are using applications and website platforms to interact with recipients. To proceed, the peculiarities of the new content of new media with the involvement of augmented reality are determined. Examples of successful interactive communication between recipients, the leading news agencies and commercial structures are provided. The conditions for effective use of VR / AR-technologies in the media content of new media, the involvement of viewers in changing stories with augmented reality are determined. The so-called immersive effect with the use of VR / AR-technologies involves complete immersion, immersion of the interested audience in the essence of the event being relayed. This interaction can be achieved through different types of VR video interactivity. One of the most important results of using VR content is the spatio-temporal and emotional immersion of viewers in the plot. The recipient turns from an external observer into an internal one; but his constant participation requires that the user preferences are taken into account. Factors such as satisfaction, positive reinforcement, empathy, and value influence the choice of VR / AR content by viewers.