Subject Index

Total Page:16

File Type:pdf, Size:1020Kb

Subject Index 863 Subject Index ‘Note: Page numbers followed by “f” indicate figures, “t” indicate tables and “b” indicate boxes.’ A Affordances, 112–114 A/D conversion. See Analog to Digital conversion in virtual reality, 114–117 (A/D conversion) false affordances, 116 AAAD. See Action at a distance (AAAD) reinforcing perceived affordances, 116–117 AAR. See After-action review (AAR) After-action review (AAR), 545f, 630, 630f, 634–635, 645, Absolute input, 198–200 761 Abstract haptic representations, 439 Affordances of VR, 114–117 Abstract synthesis, 495 Agency, 162, 164, 181 Abstraction triangle, 448 Agents, 552–553, 592–593, 614, 684–685 Accelerometers, 198–199, 218 AIFF. See Audio interchange file format (AIFF) Accommodation, 140–141, 273–275, 320, 570, 804 Airfoils, 13 Action at a distance (AAAD), 557–558 AIs. See Artificial intelligences (AIs) Activation mechanism, 554–556, 583 Aladdin’s Magic Carpet Ride VR experience, 185–186, 347, Active haptic displays, 516 347f, 470, 505, 625, 735, 770–771 Active input, 193–196 Alberti, Leon Battista, 28 Active surfaces, 808 Alice system for programming education, Adaptability, 122–123 758–759 Adaptive rectangular decomposition (ARD), 502 AlloSphere, 51–52, 51f, 280 Additive sound creation techniques, 499 Allstate Impaired Driver Simulator, 625, 629f Advanced Realtime Tracking (ART), 53–54, 213f Alpha delta fiber (Aδ fiber), 149 Advanced Robotics Research Lab (ARRL), 369 Alphanumeric value selection, 591–593 Advanced systems, 11–12 Ambient sounds, 436–437, 505 Advanced texture mapping techniques, 469–473 Ambiotherm device, 372, 373f Adventure (games), 12 Ambisonics, 354 Adverse effect, 351 Ambulatory platforms, 242–243 Aestheticism, 414 American Sign Language (ASL), 552–553 Affine transformations, 486–487 Amount/type of information, 196–198 864 | SUBJECT INDEX Amplification, 349–350 ARToolKit (ARTK), 48–49, 715–716 Amplifier, 349–350, 349f Ascension Technologies, 41–44, 44f, 46–47, 86–87 Anaglyphic 3D, 270f, 7f, 30, 49, 269–270, 271f ASL. See American Sign Language (ASL) Analog to Digital conversion (A/D conversion), 198, 202–203 Assembly line trainer, 591 Analog to Digital converter (A/D converter), 492 Associability with sense displays, 293, 351–352, 365–366 Angular measurement, 131–132 Asymmetric bimanual manipulations, 563 Animated texture maps, 473 Asynchronous communication, 643–645, 710 Annotation, 642, 644–648, 644f, 648f–649f, 744 Asynchronous time warping. See Time warping Anstey, Josephine, 84–85, 84f–85f, 609f Atari, 35, 35f, 39 Aperture selection technique, 584–585 Atmospheric effects, 139 Aperture-based manipulation, 597 Atmospheric extinction effects, 468–469 App launcher, 751 Audience, 9, 68–71, 69f–70f, 73, 75–76, 82, 84, 86–87, 91, Apparatus for Exhibiting Pictures (Robert Barker), 28 97–98, 100, 111, 141–142, 300–301, 316f, 402–403, Apple Computer, 37, 51–53, 93, 331–332, 338, 800–801. 410, 506, 554, 634, 636, 677–678, 765–769 See also ARKit SDK (Apple Computer); Siri (Apple Audio compression techniques, 806 Computer) Audio displays, 805–806 Application development software, 816–819 Audio input, 252–255 Application software predictions, 819–820 Audio interchange file format (AIFF), 510–511 Applications of VR, 88, 728–730. See also Index of Media Audio signals, 606 Experiences Audition, 119–121 Aquarium VR, 18, 301–305 cochlear nerve, 143–144 AR. See Augmented reality (AR) human physiology for, 142–144 ARCore SDK (Google), 340, 796–797 inner ear, 143 ARD. See Adaptive rectangular decomposition (ARD) limits of human hearing, 144 Argonne Remote Manipulator (ARM), 375, 375f, 377–378 middle ear, 143 Aristotelian physics, 704–705 outer ear, 142–143 ARkit SDK (Apple Computer), 340, 796–797 Augmented reality (AR), 18–26, 262, 431, 551, 691, 792, 805. ARM. See Argonne Remote Manipulator (ARM) See also Virtual reality (VR) Arm flapping, 196 display, 325f ARRL. See Advanced Robotics Research Lab (ARRL) increased use, 792–795 Ars Electronica, 46–47, 47f, 393f, 677–678 Augmented Reality Toolkit (ARTK). See ARToolKit (ARTK) ART. See Advanced Realtime Tracking (ART) Aural displays, 343–357 Art/entertainment, 747–748 amplification, 349–350 Artifacts, 76, 684 associability with sense displays, 351–352 Artificial intelligences (AIs), 640 aural presentation properties, 344–350 Artificial reality, 13, 20 cost, 352–353 Artificial Reality II, 20 encumbrance, 352 Artistic worlds, 748–749 environment requirements, 351 Artists role in VR, 91–92 interface with tracking methods, 351 865 | SUBJECT INDEX latency tolerance, 350 B localization, 346–348 Background sound. See Ambient sounds logistic qualities, 350–353 Baked lighting, 470 masking, 348–349 Baking, 469 noise pollution, 350 Balance. See Vestibulation number of display channels, 348 Bandwidth, 196–198 paradigms, 353–357 Batch-mode rendering, 480–481 combining aural display systems, Bauhaus-Universitat Weimar Virtual Reality and 355–356 Visualization Research Group, 271–272, 311, 431f, hand-based aural displays, 355 590f, 628, 692f head-based aural displays, 354–355 BDI Suture Trainer, 442, 597, 795 stationary aural displays, 353–354 Beam tracing, 498 portability, 352 Beam-scan tracking, 216–217 safety, 352 “Beeping” sound, 419 sound stage, 345–346 Behavioral responses, 172–174 throughput, 352 BIBS. See Body image and body schema (BIBS) user mobility, 350 Bidirectional reflectance distributions functions (BRDFs), Aural illusions, 144–145 468 Aural localization cues, 145–148 Billboarding, 471 Aural perception, 142–148 BIM systems. See Building Information Management human physiology for audition, systems (BIM systems) 142–144 Bimanual interface, 563–565 Aural representation in VR, 432–445 Binocular monoscopic displays, 270 features of sound, 432–433 Binocular stereoscopic display, 303 sound in VR experience, 434–438 Binoculars telepresence, 26 Authorship, 80 Biological sensor technologies, 233–234, 234f Auto-enhancement techniques, 817 Biometrics, 81 Auto-stereo displays, 267–268, 803 Bladder AutoCAD, 483 actuators, 369 Autostereoscopic image, 30 bladder-based pressure rendering, 518 Avatars, 14–15, 78–79, 79f, 177 Blazing Saddles, 437, 437f full body, 79f Blender, 687–688 range of motion, 429 Blinn, Jim, 248f, 467 Avzio tool, 756 Blueprint system, 814–815 Axes of translation, 200f, 561b–563b Bluetooth AxonVR, 808 communication game controllers, 333 Azimuth, 561b–563b input device, 207 Aδ fiber. See Alpha delta fiber Body image and body schema (BIBS), 177 (Aδ fiber) Body location illusions, 179 866 | SUBJECT INDEX Body motion, 129 California Institute for Telecommunications and Information Body ownership illusion (BOI), 178–181 Technology (CALIT2), 53. See also Qualcomm Body posture and gesture recognition, 249–252 Institute Body referential zones, 251, 569, 589, 590f, 617f, 760f Caloric nystagmus illusion, 157–158 Body tracking, 226 Camera, 213 Body-based displays, 260 camera-based sensors, 193 Body-grounded system, 380 camera-based tracking technology, 800 Boeing’s wire bundle construction application, 728–729 depth of field emulation, 469 BOI. See Body ownership illusion (BOI) tracking technologies, 810 BoilerMaker visualization, 608. See also BoilerMaker in Canonical “killer app”, 799 Index of Media Experiences Canonical axis, 560 Bolas, Mark, xvii-xviii, 41–42, 48–49, 472 Cardboard phone viewer (Google), 48–49, 56–57, 204, 208, “Book problem”, 168 275, 298–299, 331–334, 332f, 629, 789f, 790–791, BOOM ((Fakespace), 40–42, 288–289, 297, 317–319, 319f, 821 678f Carrier media, 61–62 Braille, 443 Carrier/modulator frequency ratio (C/M frequency ratio), BRDFs. See Bidirectional reflectance distributions functions 499 (BRDFs) Cartesian coordinate system, 486, 559–560 Bread crumbs, 607 Cartography, 402–403 Breaking the frame, 280–281, 281f, 301 Cartoon physics, 703–704, 704f Brightness, 139, 266 CastAR HMPD system, 55–56, 335 British ITC television network, 168 Caterpillar Inc. Brooks, Frederick P. Jr., xxi, 34, 388, 767, 769 Virtual Prototyping System, 567, 625. See also Brown University, 594–595 Caterpillar’s Virtual Prototyping System (VPS) in the Building Information Management systems (BIM systems), Index of Media Experiences 793, 820 VR work of, 246f, 434 Built-in object and travel constraints, 557 Cathode ray tubes (CRTs), 34, 263–264 Bump-mapping, 467 CAVE (CAVE Automatic Virtual Environment), 199, 293–294, Burton Box, 36 293f, 295f, 570 Button inputs, 202 application, 623 CAVE2 systems, 18, 54–55 C environment, 440 C fiber, 149 licensee Pyramid Systems, 47–48 C-reps, 413–414 style, 47–48, 96, 140–141, 263, 269, 337, 642–643 C/M frequency ratio. See Carrier/modulator frequency ratio system, 17–18, 41–42, 47f (C/M frequency ratio) Cave of Lascaux experience, 679–680 CAE Healthcare “LapVR” laproscopic simulator, 563–564, Cave paintings, 5, 5f–6f 597 CAVElib VR integration library, 94, 715–716 Café Wall Illusion, 134–135, 135f Celiac Plexus Block Simulator, 442, 597 867 | SUBJECT INDEX Celsius scale, 424 Collaborative interaction, 640–651 CFF frequency. See Critical flicker fusion frequency annotation, 645–648 (CFF frequency) communication among people, 641–643 Change blindness, 125–127, 126f floor control, 648–649 redirection, 127f, 667, 669–670 synchronous and asynchronous communication, 643–645 Channel capacity, 196 world congruity, 649–651 “Chaperone” system, 320–321, 321f Collada Digital Asset Exchange (DAE), 483 for HTC Vive, 694 Collision interaction, 709 Chemoreceptors, 121 Color field sequential displays, 265 CHI. See Human–computer interaction (HCI) Colors, 132, 264 Choreographed physics, 706–707 Columbia University, 736f, 748f Chorusing,
Recommended publications
  • The Theme Park As "De Sprookjessprokkelaar," the Gatherer and Teller of Stories
    University of Central Florida STARS Electronic Theses and Dissertations, 2004-2019 2018 Exploring a Three-Dimensional Narrative Medium: The Theme Park as "De Sprookjessprokkelaar," The Gatherer and Teller of Stories Carissa Baker University of Central Florida, [email protected] Part of the Rhetoric Commons, and the Tourism and Travel Commons Find similar works at: https://stars.library.ucf.edu/etd University of Central Florida Libraries http://library.ucf.edu This Doctoral Dissertation (Open Access) is brought to you for free and open access by STARS. It has been accepted for inclusion in Electronic Theses and Dissertations, 2004-2019 by an authorized administrator of STARS. For more information, please contact [email protected]. STARS Citation Baker, Carissa, "Exploring a Three-Dimensional Narrative Medium: The Theme Park as "De Sprookjessprokkelaar," The Gatherer and Teller of Stories" (2018). Electronic Theses and Dissertations, 2004-2019. 5795. https://stars.library.ucf.edu/etd/5795 EXPLORING A THREE-DIMENSIONAL NARRATIVE MEDIUM: THE THEME PARK AS “DE SPROOKJESSPROKKELAAR,” THE GATHERER AND TELLER OF STORIES by CARISSA ANN BAKER B.A. Chapman University, 2006 M.A. University of Central Florida, 2008 A dissertation submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy in the College of Arts and Humanities at the University of Central Florida Orlando, FL Spring Term 2018 Major Professor: Rudy McDaniel © 2018 Carissa Ann Baker ii ABSTRACT This dissertation examines the pervasiveness of storytelling in theme parks and establishes the theme park as a distinct narrative medium. It traces the characteristics of theme park storytelling, how it has changed over time, and what makes the medium unique.
    [Show full text]
  • The University of Chicago Looking at Cartoons
    THE UNIVERSITY OF CHICAGO LOOKING AT CARTOONS: THE ART, LABOR, AND TECHNOLOGY OF AMERICAN CEL ANIMATION A DISSERTATION SUBMITTED TO THE FACULTY OF THE DIVISION OF THE HUMANITIES IN CANDIDACY FOR THE DEGREE OF DOCTOR OF PHILOSOPHY DEPARTMENT OF CINEMA AND MEDIA STUDIES BY HANNAH MAITLAND FRANK CHICAGO, ILLINOIS AUGUST 2016 FOR MY FAMILY IN MEMORY OF MY FATHER Apparently he had examined them patiently picture by picture and imagined that they would be screened in the same way, failing at that time to grasp the principle of the cinematograph. —Flann O’Brien CONTENTS LIST OF FIGURES...............................................................................................................................v ABSTRACT.......................................................................................................................................vii ACKNOWLEDGMENTS....................................................................................................................viii INTRODUCTION LOOKING AT LABOR......................................................................................1 CHAPTER 1 ANIMATION AND MONTAGE; or, Photographic Records of Documents...................................................22 CHAPTER 2 A VIEW OF THE WORLD Toward a Photographic Theory of Cel Animation ...................................72 CHAPTER 3 PARS PRO TOTO Character Animation and the Work of the Anonymous Artist................121 CHAPTER 4 THE MULTIPLICATION OF TRACES Xerographic Reproduction and One Hundred and One Dalmatians.......174
    [Show full text]
  • The Application of Virtual Reality in Engineering Education
    applied sciences Review The Application of Virtual Reality in Engineering Education Maged Soliman 1 , Apostolos Pesyridis 2,3, Damon Dalaymani-Zad 1,*, Mohammed Gronfula 2 and Miltiadis Kourmpetis 2 1 College of Engineering, Design and Physical Sciences, Brunel University London, London UB3 3PH, UK; [email protected] 2 College of Engineering, Alasala University, King Fahad Bin Abdulaziz Rd., Dammam 31483, Saudi Arabia; [email protected] (A.P.); [email protected] (M.G.); [email protected] (M.K.) 3 Metapower Limited, Northwood, London HA6 2NP, UK * Correspondence: [email protected] Abstract: The advancement of VR technology through the increase in its processing power and decrease in its cost and form factor induced the research and market interest away from the gaming industry and towards education and training. In this paper, we argue and present evidence from vast research that VR is an excellent tool in engineering education. Through our review, we deduced that VR has positive cognitive and pedagogical benefits in engineering education, which ultimately improves the students’ understanding of the subjects, performance and grades, and education experience. In addition, the benefits extend to the university/institution in terms of reduced liability, infrastructure, and cost through the use of VR as a replacement to physical laboratories. There are added benefits of equal educational experience for the students with special needs as well as distance learning students who have no access to physical labs. Furthermore, recent reviews identified that VR applications for education currently lack learning theories and objectives integration in their design.
    [Show full text]
  • Animation:Then,Now,Next
    Fall 2020 FYI, section 093 is a 2nd half of the semester course. If you wish to enroll in the full-semester version please email instructor FILM1600 : Then|Now|Next [email protected] for permission code. (August 17,2020) What you need to know! Designed to be online (asynchronous – anytime during the week) since 2016. It is not a zoom/IVC adaptation because of COVID. The course incorporates extensive visual media that make up the majority of the course content (no required book to purchase). It is now 99% Closed Captioned (spring 2020). Updated each semester with newest advances in the field. This course is 8 weeks long, which means things move a bit faster to fit everything in but is very manageable with good organization. What is different about this course… this is not a history course but reveals the people, processes and future changes in how animation is used in digital media. The content of the course draws directly from the professor’s experience and insights working at Disney Feature Animation and Electronic Arts (games). Weekly Modules are structured to emulate regular in-person classes. The modules contain each week's opening animations, lectures, readings, and quizzes. You can access the material several weeks before due dates. Course Content Animation techniques have evolved from simple cartoon drawings to 3D VFX. Today this evolution continues as it is Link to Sample Lecture Class rapidly being integrated into XR. From Animation's beginnings, (2 lectures per week) each new technological innovation extended the creative possibilities for storytelling (e.g.
    [Show full text]
  • Design Architecture in Virtual Reality
    Design Architecture in Virtual Reality by Anisha Sankar A thesis presented to the University of Waterloo in fulfillment of the thesis requirement for the degree of Master of Architecture Waterloo, Ontario, Canada, 2019 © Anisha Sankar 2019 Author’s Declaration I hereby declare that I am the sole author of this thesis. This is a true copy of the thesis, including any required final revisions, as accepted by my examiners. I understand that my thesis may be made electronically available to the public. - iii - Abstract Architectural representation has newly been introduced to Virtual Real- ity (VR) technology, which provides architects with a medium to show- case unbuilt designs as immersive experiences. Designers can use specialized VR headsets and equipment to provide a client or member of their design team with the illusion of being within the digital space they are presented on screen. This mode of representation is unprec- edented to the architectural field, as VR is able to create the sensation of being encompassed in an environment at full scale, potentially elic- iting a visceral response from users, similar to the response physical architecture produces. While this premise makes the technology highly applicable towards the architectural practice, it might not be the most practical medium to communicate design intent. Since VR’s conception, the primary software to facilitate VR content creation has been geared towards programmers rather than architects. The practicality of inte- grating virtual reality within a traditional architectural design workflow is often overlooked in the discussion surrounding the use of VR to rep- resent design projects. This thesis aims to investigate the practicality of VR as part of a de- sign methodology, through the assessment of efficacy and efficiency, while studying the integration of VR into the architectural workflow.
    [Show full text]
  • Learn More: Windows Mixed Reality Platform + Steamvr
    NOT FOR USE IN INDIA FAQ HP REVERB VR HEADSET PROFESSIONAL EDITION, STEAMVR & WINDOWS MIXED REALITY 2 1.0 STEAMVR 3 2.0 HP REVERB VR HEADSET PRO EDITION 6 3.0 WINDOWS MIXED REALITY 7 LEARN MORE: WINDOWS MIXED 4.0 GENERAL VR REALITY PLATFORM + STEAMVR Frequently asked questions about HP’s professional head-mounted display (HMD) - built on the Windows Mixed Reality (WMR) platform - and integration with SteamVR. The HP Reverb Virtual Reality Headset - Professional Edition offers stunning immersive computing with significant ease of setup and use in a cost effective solution. This solution is well suited for Engineering Product Dev and design reviews, AEC (Architecture, Engineering & Construction) reviews, location-based entertainment, and MRO (Maintenance, Repair and Overhaul) training use environments. HIGHLIGHT: Take advantage of the complete Windows 10 Mixed Reality and SteamVR ecosystems. The HP Reverb VR Headset Pro HP Reverb Virtual Reality Headset - Professional Edition is not recommended for children under the age of Edition is built on the Windows IMPORTANT NOTE: 13. All users should read the HP Reverb Virtual Reality Headset - Professional Edition User Guide to reduce the risk of personal Mixed Reality platform. injury, discomfort, property damage, and other potential hazards and for important information related to your health and Integration with SteamVR safety when using the headset. Windows Mixed Reality requires Windows 10 October 2018 Update installed on the workstation requires the Windows Mixed or PC. Features may require software or other 3rd-party applications to provide the described functionality. To minimize the Reality bridge app. possibility of experiencing discomfort using a VR application, ensure that the PC system is equipped with the appropriate graphics and CPU for the VR application.
    [Show full text]
  • Recommendations for Integrating a P300-Based Brain–Computer Interface in Virtual Reality Environments for Gaming: an Update
    computers Review Recommendations for Integrating a P300-Based Brain–Computer Interface in Virtual Reality Environments for Gaming: An Update Grégoire Cattan 1,* , Anton Andreev 2 and Etienne Visinoni 3 1 IBM, Cloud and Cognitive Software, Department of SaferPayment, 30-150 Krakow, Poland 2 GIPSA-lab, CNRS, Department of Platforms and Project, 38402 Saint Martin d’Hères, France; [email protected] 3 SputySoft, 75004 Paris, France; [email protected] * Correspondence: [email protected] Received: 19 September 2020; Accepted: 12 November 2020; Published: 14 November 2020 Abstract: The integration of a P300-based brain–computer interface (BCI) into virtual reality (VR) environments is promising for the video games industry. However, it faces several limitations, mainly due to hardware constraints and limitations engendered by the stimulation needed by the BCI. The main restriction is still the low transfer rate that can be achieved by current BCI technology, preventing movement while using VR. The goal of this paper is to review current limitations and to provide application creators with design recommendations to overcome them, thus significantly reducing the development time and making the domain of BCI more accessible to developers. We review the design of video games from the perspective of BCI and VR with the objective of enhancing the user experience. An essential recommendation is to use the BCI only for non-complex and non-critical tasks in the game. Also, the BCI should be used to control actions that are naturally integrated into the virtual world. Finally, adventure and simulation games, especially if cooperative (multi-user), appear to be the best candidates for designing an effective VR game enriched by BCI technology.
    [Show full text]
  • Animating Race the Production and Ascription of Asian-Ness in the Animation of Avatar: the Last Airbender and the Legend of Korra
    Animating Race The Production and Ascription of Asian-ness in the Animation of Avatar: The Last Airbender and The Legend of Korra Francis M. Agnoli Submitted for the degree of Doctor of Philosophy (PhD) University of East Anglia School of Art, Media and American Studies April 2020 This copy of the thesis has been supplied on condition that anyone who consults it is understood to recognise that its copyright rests with the author and that use of any information derived there from must be in accordance with current UK Copyright Law. In addition, any quotation or extract must include full attribution. 2 Abstract How and by what means is race ascribed to an animated body? My thesis addresses this question by reconstructing the production narratives around the Nickelodeon television series Avatar: The Last Airbender (2005-08) and its sequel The Legend of Korra (2012-14). Through original and preexisting interviews, I determine how the ascription of race occurs at every stage of production. To do so, I triangulate theories related to race as a social construct, using a definition composed by sociologists Matthew Desmond and Mustafa Emirbayer; re-presentations of the body in animation, drawing upon art historian Nicholas Mirzoeff’s concept of the bodyscape; and the cinematic voice as described by film scholars Rick Altman, Mary Ann Doane, Michel Chion, and Gianluca Sergi. Even production processes not directly related to character design, animation, or performance contribute to the ascription of race. Therefore, this thesis also references writings on culture, such as those on cultural appropriation, cultural flow/traffic, and transculturation; fantasy, an impulse to break away from mimesis; and realist animation conventions, which relates to Paul Wells’ concept of hyper-realism.
    [Show full text]
  • Perceptual Evaluation of Cartoon Physics: Accuracy, Attention, Appeal
    Perceptual Evaluation of Cartoon Physics: Accuracy, Attention, Appeal Marcos Garcia∗ John Dingliana† Carol O’Sullivan‡ Graphics Vision and Visualisation Group, Trinity College Dublin Abstract deformations to real-time interactive physics simulations e.g. Cel Damage by Pseudo Interactive R and Electronic Arts R . A num- People have been using stylistic methods in classical animation for ber of papers have been published on simulating cartoon physics many years and such methods have also been recently applied in 3D using a range of different approaches from simple geometrical de- Computer Graphics. We have developed a method to apply squash formations to complex physically based models of elasticity. In this and stretch cartoon stylisations to physically based simulations in paper we present the results of a number of experiments that were real-time. In this paper, we present a perceptual evaluation of this performed to address the question of whether and to what degree approach in a series of experiments. Our hypotheses were: that styl- stylisation contributes to the quality of a real-time interactive simu- ised motion would improve user Accuracy (trajectory prediction); lation. that user Attention would be drawn more to objects with cartoon physics; and that animations with cartoon physics would have more 1.1 Contributions Appeal. In a task that required users to accurately predict the tra- jectories of bouncing objects with a range of elasticities and vary- Our main contribution in this paper is to validate some well known ing degrees of information, we found that stylisation significantly assumptions that stylised behaviour has the potential to signifi- improved user accuracy, especially for high elasticities and low in- cantly affect a user’s perception and response to a scene.
    [Show full text]
  • The Virtual Reality Renaissance Is Here, but Are We Ready? 2.2K SHARES WHAT's THIS?
    MUST READS SOCIAL MEDIA TECH BUSINESS ENTERTAINMENT US & WORLD WATERCOOLER JOBS MORE The Virtual Reality Renaissance Is Here, But Are We Ready? 2.2k SHARES WHAT'S THIS? IMAGE: MASHABLE, BOB AL-GREENE BY LANCE ULANOFF / 2014-04-20 21:19:32 UTC This piece is part of Mashable Spotlight, which presents in-depth looks at the people, concepts and issues shaping our digital world. I'm flapping my wings. Not hard, but slowly and smoothly. At 25 feet across, my wingspan is so great I don't need to exert much energy to achieve lift. In the distance, I see an island under an azure sky. This is my home. Off to my west, the sun is setting and the sky glows with warm, orange light. Spotting movement in the ocean below, I bend my body slightly to the left and begin a gentle dive. As I approach the shore, I spot my prey splashing in the shallows. I lean back, keeping my wings fully extended so I can glide just above the water. I'm right over the fish. I pull in my wings, bend forward sharply and dive into the water. I emerge with a fish in my mouth. Success. Better yet, I did all this without ever leaving the ground or getting wet. Lance Ulanoff trying out the American Museum of Natural History's Pterosaur flight simulator. IMAGE: MASHABLE This is virtual reality, or at least the American Museum of Natural History’s (AMNH) brand of semi-immersive virtual reality. With a large projection screen, Microsoft Kinect V1 and a gaming PC, the setup lets you control the flight of a virtual pterosaur by standing in front of the Kinect sensor, flapping your arms and bending.
    [Show full text]
  • Incongruous Surrealism Within Narrative Animated Film
    University of Central Florida STARS Electronic Theses and Dissertations, 2020- 2021 Incongruous Surrealism within Narrative Animated Film Daniel McCabe University of Central Florida Part of the Film and Media Studies Commons Find similar works at: https://stars.library.ucf.edu/etd2020 University of Central Florida Libraries http://library.ucf.edu This Masters Thesis (Open Access) is brought to you for free and open access by STARS. It has been accepted for inclusion in Electronic Theses and Dissertations, 2020- by an authorized administrator of STARS. For more information, please contact [email protected]. STARS Citation McCabe, Daniel, "Incongruous Surrealism within Narrative Animated Film" (2021). Electronic Theses and Dissertations, 2020-. 529. https://stars.library.ucf.edu/etd2020/529 INCONGRUOUS SURREALISM WITHIN NARRATIVE ANIMATED FILM by DANIEL MCCABE B.A. University of Central Florida, 2018 B.S.B.A. University of Central Florida, 2018 A thesis submitted in partial fulfillment of the requirements for the degree of Masters of Fine Arts in the School of Visual Arts and Design in the College of Arts and Humanities at the University of Central Florida Orlando, Florida Spring Term 2021 © Daniel Francis McCabe 2021 ii ABSTRACT A pop music video is a form of media containing incongruous surrealistic imagery with a narrative structure supplied by song lyrics. The lyrics’ presence allows filmmakers to digress from sequential imagery through introduction of nonlinear visual elements. I will analyze these surrealist film elements through several post-modern philosophies to better understand how this animated audio-visual synthesis resides in the larger world of art theory and its relationship to the popular music video.
    [Show full text]
  • Immersive Virtual Reality Attacks and the Human Joystick Peter Casey University of New Haven
    University of New Haven Masthead Logo Digital Commons @ New Haven Electrical & Computer Engineering and Computer Electrical & Computer Engineering and Computer Science Faculty Publications Science 3-27-2019 Immersive Virtual Reality Attacks and the Human Joystick Peter Casey University of New Haven Ibrahim Baggili University of New Haven, [email protected] Ananya Yarramreddy University of New Haven Follow this and additional works at: https://digitalcommons.newhaven.edu/ electricalcomputerengineering-facpubs Part of the Computer Engineering Commons, Electrical and Computer Engineering Commons, Forensic Science and Technology Commons, and the Information Security Commons Publisher Citation Casey, P., Baggili, I., & Yarramreddy, A. (2019). Immersive Virtual Reality Attacks and the Human Joystick. IEEE Transactions on Dependable and Secure Computing. doi:10.1109/TDSC.2019.2907942 Comments This material is based upon work supported by the National Science Foundation under Grant No. 1748950. © © 2019 IEEE. Personal use of this material is permitted. Permission from IEEE must be obtained for all other uses, in any current or future media, including reprinting/republishing this material for advertising or promotional purposes, creating new collective works, for resale or redistribution to servers or lists, or reuse of any copyrighted component of this work in other works. The ev rsion of record may be found at http://dx.doi.org/10.1109/ TDSC.2019.2907942. Dr. Baggili was appointed to the University of New Haven's Elder Family Endowed Chair in 2015. 1 Immersive Virtual Reality Attacks and the Human Joystick Peter Casey, Ibrahim Baggili, and Ananya Yarramreddy Abstract—This is one of the first accounts for the security analysis of consumer immersive Virtual Reality (VR) systems.
    [Show full text]