The Application of Virtual Reality in Engineering Education
Total Page:16
File Type:pdf, Size:1020Kb
Load more
Recommended publications
-
Design and Evaluation of a Perceptually Adaptive Rendering System for Immersive Virtual Reality Environments Kimberly Ann Weaver Iowa State University
Iowa State University Capstones, Theses and Retrospective Theses and Dissertations Dissertations 2007 Design and evaluation of a perceptually adaptive rendering system for immersive virtual reality environments Kimberly Ann Weaver Iowa State University Follow this and additional works at: https://lib.dr.iastate.edu/rtd Part of the Cognitive Psychology Commons, and the Computer Sciences Commons Recommended Citation Weaver, Kimberly Ann, "Design and evaluation of a perceptually adaptive rendering system for immersive virtual reality environments" (2007). Retrospective Theses and Dissertations. 14895. https://lib.dr.iastate.edu/rtd/14895 This Thesis is brought to you for free and open access by the Iowa State University Capstones, Theses and Dissertations at Iowa State University Digital Repository. It has been accepted for inclusion in Retrospective Theses and Dissertations by an authorized administrator of Iowa State University Digital Repository. For more information, please contact [email protected]. Design and evaluation of a perceptually adaptive rendering system for immersive virtual reality environments by Kimberly Ann Weaver A thesis submitted to the graduate faculty in partial fulfillment of the requirements for the degree of MASTER OF SCIENCE Major: Human Computer Interaction Program of Study Committee: Derrick Parkhurst (Major Professor) Chris Harding Shana Smith Iowa State University Ames, Iowa 2007 Copyright © Kimberly Ann Weaver, 2007. All rights reserved. UMI Number: 1449653 Copyright 2007 by Weaver, Kimberly Ann All rights reserved. UMI Microform 1449653 Copyright 2008 by ProQuest Information and Learning Company. All rights reserved. This microform edition is protected against unauthorized copying under Title 17, United States Code. ProQuest Information and Learning Company 300 North Zeeb Road P.O. -
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. -
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. -
Lightdb: a DBMS for Virtual Reality Video
LightDB: A DBMS for Virtual Reality Video Brandon Haynes, Amrita Mazumdar, Armin Alaghi, Magdalena Balazinska, Luis Ceze, Alvin Cheung Paul G. Allen School of Computer Science & Engineering University of Washington, Seattle, Washington, USA {bhaynes, amrita, armin, magda, luisceze, akcheung}@cs.washington.edu http://lightdb.uwdb.io ABSTRACT spherical panoramic VR videos (a.k.a. 360◦ videos), encoding one We present the data model, architecture, and evaluation of stereoscopic frame of video can involve processing up to 18× more LightDB, a database management system designed to efficiently bytes than an ordinary 2D video [30]. manage virtual, augmented, and mixed reality (VAMR) video con- AR and MR video applications, on the other hand, often mix tent. VAMR video differs from its two-dimensional counterpart smaller amounts of synthetic video with the world around a user. in that it is spherical with periodic angular dimensions, is nonuni- Similar to VR, however, these applications have extremely de- formly and continuously sampled, and applications that consume manding latency and throughput requirements since they must react such videos often have demanding latency and throughput require- to the real world in real time. ments. To address these challenges, LightDB treats VAMR video To address these challenges, various specialized VAMR sys- data as a logically-continuous six-dimensional light field. Further- tems have been introduced for preparing and serving VAMR video more, LightDB supports a rich set of operations over light fields, data (e.g., VRView [71], Facebook Surround 360 [20], YouTube and automatically transforms declarative queries into executable VR [75], Google Poly [25], Lytro VR [41], Magic Leap Cre- physical plans. -
The Missing Link Between Information Visualization and Art
Visualization Criticism – The Missing Link Between Information Visualization and Art Robert Kosara The University of North Carolina at Charlotte [email protected] Abstract of what constitutes visualization and a foundational theory are still missing. Even for the practical work that is be- Classifications of visualization are often based on tech- ing done, there is very little discussion of approaches, with nical criteria, and leave out artistic ways of visualizing in- many techniques being developed ad hoc or as incremental formation. Understanding the differences between informa- improvements of previous work. tion visualization and other forms of visual communication Since this is not a technical problem, a purely techni- provides important insights into the way the field works, cal approach cannot solve it. We therefore propose a third though, and also shows the path to new approaches. way of doing information visualization that not only takes We propose a classification of several types of informa- ideas from both artistic and pragmatic visualization, but uni- tion visualization based on aesthetic criteria. The notions fies them through the common concepts of critical thinking of artistic and pragmatic visualization are introduced, and and criticism. Visualization criticism can be applied to both their properties discussed. Finally, the idea of visualiza- artistic and pragmatic visualization, and will help to develop tion criticism is proposed, and its rules are laid out. Visu- the tools to build a bridge between them. alization criticism bridges the gap between design, art, and technical/pragmatic information visualization. It guides the view away from implementation details and single mouse 2 Related Work clicks to the meaning of a visualization. -
Virtual Reality and Audiovisual Experience in the Audiovirtualizer Adinda Van ’T Klooster1* & Nick Collins2
EAI Endorsed Transactions on Creative Technologies Research Article Virtual Reality and Audiovisual Experience in the AudioVirtualizer Adinda van ’t Klooster1* & Nick Collins2 1Durham University (2019) and independent artist, UK 2 Durham University Music Department, UK Abstract INTRODUCTION: Virtual Reality (VR) provides new possibilities for interaction, immersiveness, and audiovisual combination, potentially facilitating novel aesthetic experiences. OBJECTIVES: In this project we created a VR AudioVirtualizer able to generate graphics in response to any sound input in a visual style similar to a body of drawings by the first author. METHODS: In order to be able to make the system able to respond to any given musical input we developed a Unity plugin that employs real-time machine listening on low level and medium-level audio features. The VR deployment utilized SteamVR to allow the use of HTC Vive Pro and Oculus Rift headsets. RESULTS: We presented our system to a small audience at PROTO in Gateshead in September 2019 and observed people’s preferred ways of interacting with the system. Although our system can respond to any sound input, for ease of interaction we chose four previously created audio compositions by the authors of this paper and microphone input as a restricted set of sound input options for the user to explore. CONCLUSION: We found that people’s previous experience with VR or gaming influenced how much interaction they used in the system. Whilst it was possible to navigate within the scenes and jump to different scenes by selecting a 3D sculpture in the scene, people with no previous VR or gaming experience often preferred to just let the visuals surprise them. -
Biological Agency in Art
1 Vol 16 Issue 2 – 3 Biological Agency in Art Allison N. Kudla Artist, PhD Student Center for Digital Arts and Experimental Media: DXARTS, University of Washington 207 Raitt Hall Seattle, WA 98195 USA allisonx[at]u[dot]washington[dot]edu Keywords Agency, Semiotics, Biology, Technology, Emulation, Behavioral, Emergent, Earth Art, Systems Art, Bio-Tech Art Abstract This paper will discuss how the pictorial dilemma guided traditional art towards formalism and again guides new media art away from the screen and towards the generation of physical, phenomenologically based and often bio-technological artistic systems. This takes art into experiential territories, as it is no longer an illusory representation of an idea but an actual instantiation of its beauty and significance. Thus the process of making art is reinstated as a marker to physically manifest and accentuate an experience that takes the perceivers to their own edges so as to see themselves as open systems within a vast and interweaving non-linear network. Introduction “The artist is a positive force in perceiving how technology can be translated to new environments to serve needs and provide variety and enrichment of life.” Billy Klüver, Pavilion ([13] p x). “Art is not a mirror held up to reality, but a hammer with which to shape it.” Bertolt Brecht [2] When looking at the history of art through the lens of a new media artist engaged in several disciplines that interlace fields as varying as biology, algorithmic programming and signal processing, a fairly recent paradigm for art emerges that takes artistic practice away from depiction and towards a more systems based and biologically driven approach. -
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. -
Chapter 7 Visual Rendering
Chapter 7 Visual Rendering Steven M. LaValle University of Oulu Copyright Steven M. LaValle 2019 Available for downloading at http://vr.cs.uiuc.edu/ 186 S. M. LaValle: Virtual Reality screen (this was depicted in Figure 3.13). The next steps are to determine which screen pixels are covered by the transformed triangle and then illuminate them according to the physics of the virtual world. An important condition must also be checked: For each pixel, is the triangle even visible to the eye, or will it be blocked by part of another triangle? This classic visibility computation problem dramatically complicates the rendering pro- Chapter 7 cess. The general problem is to determine for any pair of points in the virtual world, whether the line segment that connects them intersects with any objects (triangles). If an intersection occurs, then the line-of-sight visibility between the Visual Rendering two points is blocked. The main difference between the two major families of rendering methods is how visibility is handled. This chapter addresses visual rendering, which specifies what the visual display Object-order versus image-order rendering For rendering, we need to con- should show through an interface to the virtual world generator (VWG). Chapter sider all combinations of objects and pixels. This suggests a nested loop. One 3 already provided the mathematical parts, which express where the objects in way to resolve the visibility is to iterate over the list of all triangles and attempt the virtual world should appear on the screen. This was based on geometric to render each one to the screen. -
A Review of Extended Reality (XR) Technologies for Manufacturing Training
technologies Article A Review of Extended Reality (XR) Technologies for Manufacturing Training Sanika Doolani * , Callen Wessels, Varun Kanal, Christos Sevastopoulos, Ashish Jaiswal and Harish Nambiappan and Fillia Makedon * Department of Computer Science and Engineering, The University of Texas at Arlington, Arlington, TX 76019, USA; [email protected] (C.W.); [email protected] (V.K.); [email protected] (C.S.); [email protected] (A.J.); [email protected] (H.N.) * Correspondence: [email protected] (S.D.); [email protected] (F.M.) Received: 30 October 2020; Accepted: 5 December 2020; Published: 10 December 2020 Abstract: Recently, the use of extended reality (XR) systems has been on the rise, to tackle various domains such as training, education, safety, etc. With the recent advances in augmented reality (AR), virtual reality (VR) and mixed reality (MR) technologies and ease of availability of high-end, commercially available hardware, the manufacturing industry has seen a rise in the use of advanced XR technologies to train its workforce. While several research publications exist on applications of XR in manufacturing training, a comprehensive review of recent works and applications is lacking to present a clear progress in using such advance technologies. To this end, we present a review of the current state-of-the-art of use of XR technologies in training personnel in the field of manufacturing. First, we put forth the need of XR in manufacturing. We then present several key application domains where XR is being currently applied, notably in maintenance training and in performing assembly task. -
Self Representation and Interaction in Immersive Virtual Reality
Self Representation and Interaction in Immersive Virtual Reality Eros Viola a, Fabio Solari b and Manuela Chessa c Dept. of Informatics, Bioengineering, Robotics, and Systems Engineering, University of Genoa, Italy Keywords: Virtual Reality, Self Representation, Intel Realsense D435, Interaction, Leap Motion, Manus Prime Haptic Gloves, Alignment, Rigid Transformation, Live Correction. Abstract: Inserting a self-representation in Virtual Reality is an open problem with several implications for both the sense of presence and interaction in virtual environments. To cope the problem with low cost devices, we de- vise a framework to align the measurements of different acquisition devices used while wearing a tracked VR head-mounted display (HMD). Specifically, we use the skeletal tracking features of an RGB-D sensor (Intel Realsense d435) to build the user’s avatar, and compare different interaction technologies: a Leap Motion, the Manus Prime haptic gloves, and the Oculus Controllers. The effectiveness of the proposed systems is assessed through an experimental session, where an assembly task is proposed with the three different interaction medi- ums, with and without the self-representation. Users reported their feeling by answering the User Experience and Igroup Presence Questionnaires, and we analyze the total time to completion and the error rate. 1 INTRODUCTION The focus is to develop a framework that is compat- ible with the most common head-mounted displays In current Virtual Reality (VR) applications, the vi- (HMDs), and that can also be extended to other track- sual feedback of the user’s body is often missing, de- ing devices, both for the body tracking and for the spite the abundance of enabling technologies, which hands and fingers tracking. -
Analysis of Immersive Virtual Reality Vs. Desktop 3D Games
ANALYSIS OF IMMERSIVE VIRTUAL REALITY VS. DESKTOP 3D GAMES Thesis Presented by Prasad Raut to The College of Arts, Media and Design In partial fulfillment of the requirement for the Degree of Master of Science in Game Science and Design Northeastern University Boston, Massachusetts December, 2018 ANALYSIS OF IMMERSIVE VIRTUAL REALITY VS. DESKTOP 3D GAMES by Prasad Raut ABSTRACT Virtual Reality(VR) has become popular in the past few years. Due to this, besides video games, VR is now being used in applications designed in fields of education, fitness, healthcare, etc. to improve the effectiveness of those applications. In this research, a comparative study between immersive virtual reality and desktop real-time 3D was made to determine the various attributes and which medium of game was more effective. An analysis of quantitative and qualitative data, gathered by means of mixed methods, was performed on the responses of participants playing these immersive and non-immersive versions of the game and the results are discussed in the paper. Keywords: Virtual Reality, Desktop 3D, Think-Aloud Protocol, Video Analysis, Sentiment Analysis Submitted in partial fulfillment of the requirements for the degree of Master of Science in Game Science and Design in the Graduate School of the College of Arts, Media and Design of Northeastern University December, 2018 2 ACKNOWLEDGMENTS I would first like to thank my thesis advisor Dr. Celia Pearce for helping me with the qualitative analysis of the study and giving me feedback that helped me extensively with this research. I would next like to thank my thesis instructor Christoffer Holmgård Pedersen for the insightful feedback, words of encouragement, and being available when I needed your help.