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Digital Humanities Pedagogy: Practices, Principles and Politics
To access digital resources including: blog posts videos online appendices and to purchase copies of this book in: hardback paperback ebook editions Go to: https://www.openbookpublishers.com/product/161 Open Book Publishers is a non-profit independent initiative. We rely on sales and donations to continue publishing high-quality academic works. Digital Humanities Pedagogy: Practices, Principles and Politics Edited by Brett D. Hirsch http://www.openbookpublishers.com © 2012 Brett D. Hirsch et al. (contributors retain copyright of their work). Some rights are reserved. The articles of this book are licensed under a Creative Commons Attribution-NonCommercial-NoDerivs 3.0 Unported Licence. This license allows for copying any part of the work for personal and non-commercial use, providing author attribution is clearly stated. Details of allowances and restrictions are available at: http://creativecommons.org/licenses/by-nc-nd/3.0/ As with all Open Book Publishers titles, digital material and resources associated with this volume are available from our website at: http://www.openbookpublishers.com/product/161 ISBN Hardback: 978-1-909254-26-8 ISBN Paperback: 978-1-909254-25-1 ISBN Digital (pdf): 978-1-909254-27-5 ISBN Digital ebook (epub): 978-1-909254-28-2 ISBN Digital ebook (mobi): 978-1-909254-29-9 Typesetting by www.bookgenie.in Cover image: © Daniel Rohr, ‘Brain and Microchip’, product designs first exhibited as prototypes in January 2009. Image used with kind permission of the designer. For more information about Daniel and his work, see http://www.danielrohr.com/ All paper used by Open Book Publishers is SFI (Sustainable Forestry Initiative), and PEFC (Programme for the Endorsement of Forest Certification Schemes) Certified. -
Indoor Fireworks: the Pleasures of Digital Game Pyrotechnics
Indoor Fireworks: the Pleasures of Digital Game Pyrotechnics Simon Niedenthal Malmö University, School of Arts and Communication Malmö, Sweden [email protected] Abstract: Fireworks in games translate the sensory power of a real-world aesthetic form to the realm of digital simulation and gameplay. Understanding the role of fireworks in games can best be pursued through through a threefold aesthetic perspective that focuses on the senses, on art, and on the aesthetic experience that gives pleasure through the player’s participation in the simulation, gameplay and narrative potentials of fireworks. In games ranging from Wii Sports and Fantavision, to Okami and Assassin’s Creed II, digital fireworks are employed as a light effect, and are also the site for gameplay pleasures that include design and performance, timing and rhythm, and power and awe. Fireworks also gain narrative significance in game forms through association with specific sequences and characters. Ultimately, understanding the role of fireworks in games provokes us to reverse the scrutiny, and to consider games as fireworks, through which we experience ludic festivity and voluptuous panic. Keywords: Fireworks, Pyrotechnics, Digital Games, Game Aesthetics 1. Introduction: On March 9th, 2000, Sony released the fireworks-themed Fantavision (Sony Computer Entertainment 2000) in Japan as one of the very first titles for its then new Playstation 2. Fantavision exhibits many of the desirable qualities for good launch title: simulation properties that show off new graphic capabilities, established gameplay that is quick to grasp, a broad appeal. Though the critical reception for the game was ultimately lukewarm (a 72 rating from Metacritic.com), it is notable that Sony launched its new console with a fireworks game. -
„Child of Eden“-Steuerung: Körperbewegung Statt Knopfdruck
„Child of Eden“-Steuerung: Körperbewegung statt Knopfdruck 14 2/ 2011 KulturSPIEGEL Was würde Kandinsky tun? Wedeln, streicheln, klatschen: Tetsuya Mizuguchis Computer - spiel „Child of Eden“ muss man tanzen. VON CARSTEN GÖRIG FOTOS: GUNTER GLÜCKLICH „Hoffnung und Glück, das sind die Themen von ,Child of Eden‘“, sagt Tetsuya Mizuguchi, 45. Sanft redet der Japaner, kaum hörbar über dem Summen der Geräte, die in den vollgepackten Räumen seines Studios Q Entertainment im Meguro-Bezirk von Tokio arbeiten. Der Spieleentwickler versucht, inmitten von Sofas, Computern, Fernsehern und Musikinstrumenten Platz zu finden. Platz braucht er für seine neueste Erfindung. Denn „Child of Eden“ kann mit Gesten gespielt werden, ganz ohne Tasten oder Knöpfe. Sanft, fast wie ein Masseur streichelt Mizuguchi die Luft, öffnet die Arme, klatscht. Die Frau auf dem Bildschirm, bleich wie ein Geist, reagiert sofort auf den Befehl des Meisters, amöbenartige Wesen werden beschossen, lösen sich auf, Farben flackern psyche - delisch. Die Frau bewegt sich durch die Welt der abstrakten Formen, der schwimmenden und tanzenden Strukturen, singt zu der euphorisierenden Musik, gesteuert von Mizuguchis Händen. „Child of Eden“ ist das erste Spiel, das die Kinect-Technologie der Xbox-360-Konsole von Microsoft für mehr als alberne kleine Spielchen oder für Fitnessübungen nutzt. Die Kinect-Kamera fängt Bewegungen des Spielers ein. Handbewegungen, die an meditatives Tafelwischen erinnern, ersetzen den Knopfdruck. Für Mizuguchi ist die Kinect-Technik ein Geschenk, denn er arbeitet wie kein anderer daran, mit seinen Spielen alle Sinne KulturSPIEGEL 2/ 2011 15 mer 1998 verabschiedete. Nach einem Besuch bei Opel in Rüsselsheim und Mercedes Benz in Stutt - gart fuhr er nach Zürich, besuchte die Stadt am Wochenende der Street Parade, der Schweizer Ent - sprechung zur Love Parade. -
Estudios Sega Europe
ESTUDIOS SEGA EUROPE UNITED GAME ARTISTS Ya sea con carreras de rallies o con ritmos de rock, United Game Artists (antes AM9) toca todos los terrenos. Desde sus orígenes como uno de los mejores equipos de Sega en el campo de los juegos de carreras (con títulos como Sega Rally Championship) hasta su nuevo interés por marchosos juegos musicales (con, por ejemplo, Space Channel 5), UGA ha demostrado que nadie les supera a la hora de hacer las cosas con estilo. AM9 se transformó en United Game Artists el 27 de abril de 2000 y su sede, que da cabida a 55 empleados presididos por Tetsuya Mizuguchi, se encuentra en el moderno distrito de Shibuya, en Tokio. Mizuguchi nació en Sapporo y asistió a la Facultad de Bellas de Artes de la Nihon University, para luego entrar en Sega en 1990. Su primer trabajo fue Megalopolice, película japonesa de carreras con gráficos creados por ordenador. A continuación, puso sus miras en los simuladores deportivos y en 1995 creó una obra maestra de las salas recreativas, Sega Rally Championship. Simulando el siempre resbaladizo y todoterreno mundo del rally, el juego de Sega destacó por un estilo de conducción del todo innovador para cualquier aficionado a los arcades. Entre las características de Sega Rally estaba la posibilidad de escoger 2 coches y competir en 3 pistas distintas, unos gráficos sorprendentes gracias a la placa Model 2, un sencillo sistema de control y un modo de competición. Además, se creó incluso una versión de la máquina que traía una réplica de un coche con sistema hidráulico.. -
Music Video Games in Live Performance
Music Video Games in Live Performance: Catachresis or an emergent approach? Francisco Bernardo Research Centre for Science and Technology of the Arts (C.I.T.A.R.) Catholic University of Portugal, R. Diogo Botelho, 1327, 4169-005 Porto, Portugal [email protected] ABSTRACT broadly accessible. And games have been embraced by a This paper argues that music video games, given the public that has otherwise been unimpressed by much of characteristics of the genre, may constitute an alternative what passes for digital art’ [7]. and viable approach to music and audiovisual performance. In ‘Digital Art’, Christiane Paul provides a survey of digital Building on a music performance in 2013, in which the art from its inception in the 1980s until the present. author participated and used a video game as a musical According to the author, digital art is a genre that instrument, we analyze some of the aspects that have encompasses artistic works and practices that use digital emerged and support our argument. We contextualize video technology as part of the creative process, and/or as the games within new media art and provide a brief analysis of presentation medium, being “placed under the larger the music video game genre. We also identify some of the umbrella term ‘new media art’” [13]. New media art is in latest research efforts concerning conceptual and technical turn a general term that refers to artwork forms like film, approaches, design features and frameworks that may assist video, sound art and their hybrids, and that differentiates the analysis and development of music video games from cultural objects deriving from the traditional visual suitable for performance. -
New Musical Organology: the Audio-Games
New musical organology : the audio-games Hervé Zénouda To cite this version: Hervé Zénouda. New musical organology : the audio-games : The question of ”a-musical” interfaces. MISSI’12 - International Conference on Multimedia & Network Information Systems, MISSI, Wroclaw University, 2012, Wroclaw, Poland. sic_01759274 HAL Id: sic_01759274 https://archivesic.ccsd.cnrs.fr/sic_01759274 Submitted on 5 Apr 2018 HAL is a multi-disciplinary open access L’archive ouverte pluridisciplinaire HAL, est archive for the deposit and dissemination of sci- destinée au dépôt et à la diffusion de documents entific research documents, whether they are pub- scientifiques de niveau recherche, publiés ou non, lished or not. The documents may come from émanant des établissements d’enseignement et de teaching and research institutions in France or recherche français ou étrangers, des laboratoires abroad, or from public or private research centers. publics ou privés. NEW MUSICAL ORGANOLOGY: THE AUDIO GAMES THE QUESTION OF “A-MUSICOLOGICAL” INTERFACES Hervé Zénouda I3M Research Laboratory, UFR Ingémédia, Université du Sud Toulon-Var [email protected] SUMMARY: This article aims to shed light on a new and emerging creative field: “Audio Games,” a crossroad between video games and computer music. Today, a plethora of tiny applications, which propose entertaining audio-visual experiences with a preponderant sound dimension, are available for game consoles, computers, and mobile phones. These experiences represent a new universe where the gameplay of video games is applied to musical composition, hence creating new links between these two fields. In proposing to manipulate what we refer to as “a-musicological”1 representations (i.e. using symbols not normally associated with traditional musicology to manipulate and produce sound), this creative aspect raises new questions about representations of sound and musical structures and requires new instrumental gestures and approaches to composing music which will be examined. -
The Dreamcast, Console of the Avant-Garde
Loading… The Journal of the Canadian Game Studies Association Vol 6(9): 82-99 http://loading.gamestudies.ca The Dreamcast, Console of the Avant-Garde Nick Montfort Mia Consalvo Massachusetts Institute of Technology Concordia University [email protected] [email protected] Abstract We argue that the Dreamcast hosted a remarkable amount of videogame development that went beyond the odd and unusual and is interesting when considered as avant-garde. After characterizing the avant-garde, we investigate reasons that Sega's position within the industry and their policies may have facilitated development that expressed itself in this way and was received by gamers using terms that are associated with avant-garde work. We describe five Dreamcast games (Jet Grind Radio, Space Channel 5, Rez, Seaman, and SGGG) and explain how the advances made by these industrially productions are related to the 20th century avant- garde's lesser advances in the arts. We conclude by considering the contributions to gaming that were made on the Dreamcast and the areas of inquiry that remain to be explored by console videogame developers today. Author Keywords Aesthetics; art; avant-garde; commerce; console games; Dreamcast; game studios; platforms; politics; Sega; Tetsuya Mizuguchi Introduction A platform can facilitate new types of videogame development and can expand the concept of videogaming. The Dreamcast, however brief its commercial life, was a platform that allowed for such work to happen and that accomplished this. It is not just that there were a large number of weird or unusual games developed during the short commercial life of this platform. We argue, rather, that avant-garde videogame development happened on the Dreamcast, even though this development occurred in industrial rather than "indie" or art contexts. -
What We Talk About When We Talk About Game Aesthetics Simon Niedenthal Malmö University School of Arts and Communication Malmö, Sweden [email protected]
What We Talk About When We Talk About Game Aesthetics Simon Niedenthal Malmö University School of Arts and Communication Malmö, Sweden [email protected] ABSTRACT well under 4% in both 2005 and 2007. Game industry Digital games are commonly described as phenomena that discomfort with aesthetic questions is expressed in a combine aesthetic, social and technological elements, yet different manner. “Here we go again” was the resigned our understanding of the aesthetic element of games and response of one interviewee in a recent Gamasutra.com play is perhaps the least developed of all. All too often, an article on the question “Are games art?” [34]. Are we to aesthetics perspective within game studies and design conclude that an aesthetics perspective on digital games has discourses is relegated to a marginal role, by conflating fallen upon tough times? Hardly. Although the term game aesthetics with graphics and “eye candy,” or by “aesthetics” (and the implicit and explicit attitudes limiting aesthetic discussion to graphic style analysis or associated with it) needs to be critically reexamined within debates on the question “are games art?” Changing game a game studies context, changes in game technologies, as technologies, as well as arguments from within philosophy, well as arguments drawing upon philosophy, psychology, psychology, interaction design theory and cultural theory, interaction design theory and cultural studies suggest that call for us to examine the implicit and explicit assumptions an aesthetics perspective can contribute greatly to research we make when we write about aesthetics within game discourses on gaming as an embodied and pleasurable studies research, as a prelude to reclaiming a perspective experience, and can give rise to new ways of thinking about that will allow us to better understand the way in which game design. -
Press Start: Video Games and Art
Press Start: Video Games and Art BY ERIN GAVIN Throughout the history of art, there have been many times when a new artistic medium has struggled to be recognized as an art form. Media such as photography, not considered an art until almost one hundred years after its creation, were eventually accepted into the art world. In the past forty years, a new medium has been introduced and is increasingly becoming more integrated into the arts. Video games, and their rapid development, provide new opportunities for artists to convey a message, immersing the player in their work. However, video games still struggle to be recognized as an art form, and there is much debate as to whether or not they should be. Before I address the influences of video games on the art world, I would like to pose one question: What is art? One definition of art is: “the expression or application of human creative skill and imagination, typically in a visual form such as painting or sculpture, producing works to be appreciated primarily for their beauty or emotional power.”1 If this definition were the only criteria, then video games certainly fall under the category. It is not so simple, however. In modern times, the definition has become hazy. Many of today’s popular video games are most definitely not artistic, just as not every painting in existence is considered successful. Certain games are held at a higher regard than others. There is also the problem of whom and what defines works as art. Many gamers consider certain games as works of art while the average person might not believe so. -
Laval Virtual's Missions Are to Gather, Inspire and Valorize Involved in This Study
The VR/AR special edition #4 health Clinical VR Medicine Well Being #EDITORIAL How VR is changing the way women breast cancer is diagnosed, treated and managed LAURENT CHRÉTIEN DIRECTOR / LAVAL VIRTUAL ancer cells live in complex communities. They will then take all the information they Just like houses in a city, each cell in a collect about the cells in a tumour and use it tumour is different from its neighbour, to construct a 3D version that can be studied Cand relies on infrastructure to support using virtual reality. its existence. And we know that there are different neighbourhoods, some worse than Using virtual reality will allow scientists others. Where we have roads, tumours contain to immerse themselves in a tumour, blood vessels that deliver nutrients, and act meaning they can study patterns and other as highways for different cell types to move characteristics within it, in entirely new around. And when a tumour spreads, the can- ways that aren’t possible in 2D. It will also cer cells themselves use these blood ‘roads’ to allow multiple doctors and scientists to look migrate. at a tumour at the same time, meaning people at opposite ends of a country, and with different areas of expertise, can What the healthcare experts need is a Google Earth-like view work together to help diagnose and treat patients better. And of a tumour. If they could make a 3D map, they would find with the Covid19 crisis, the use of virtual reality to cooperate new targets for treatment and, eventually, could use this view remotely is even more obvious! to track what’s going on in real time, such as in response to treatment. -
Playstation VR: História, Adoção, Projeções E Desafios
SBC – Proceedings of SBGames 2017 | ISSN: 2179-2259 Industry Track – Full Papers PlayStation VR: história, adoção, projeções e desafios André F. Pase*1 Giovanni Rocha Pontifícia Universidade Católica do Rio Grande do Sul, Faculdade de Comunicação Social, Brasil Figura 1: Do cinema à realidade virtual. 20 anos de evolução dos head mounted displays da Sony. RESUMO dispositivo que combina imagens geradas artificialmente com a Após mais de duas de décadas de tentativas sem sucesso comercial, visão humana tradicional e dialoga com Realidade Aumentada a indústria de jogos digitais finalmente oferece experiências de (RA) e Realidade Mixada (RM), a Sony optou por desenvolver o realidade virtual de forma satisfatória e disponíveis para compra. PlayStation VR, (PSVR) um aparelho que atua como complemento Em menos de um ano após o seu lançamento, o PlayStation VR é ao seu console PlayStation 4. Desta forma, utiliza a base de usuários líder no segmento, com aproximadamente 1,8 milhões de unidades previamente formada para testar novas propostas de jogos. vendidas. Frente a esse cenário, esta pesquisa faz um resgate Através do método de estudo de caso [1], este artigo busca histórico do seu desenvolvimento, apresenta uma análise da analisar a contribuição do PSVR para este cenário em construção, plataforma a partir de um conjunto de materiais empíricos, observa discutindo limites e possibilidades. Isto será realizado após uma a adoção do equipamento, propõe alguns usos e aponta limitações observação das propriedades técnicas do aparelho e informações e desafios para usuários e os desenvolvedores. publicadas pela própria empresa e imprensa especializada. Palavras-chave: Realidade virtual, adoção, videogame, 2 RELAÇÃO ENTRE VIDEOGAMES E REALIDADE VIRTUAL PlayStation, PlayStation VR Assim como o cinema é uma evolução do processo fotográfico, seria também possível estabelecer uma relação semelhante entre as 1 INTRODUÇÃO tecnologias da RV e o videogame. -
Haptic Augmented Reality 10 Taxonomy, Research Status, and Challenges
Haptic Augmented Reality 10 Taxonomy, Research Status, and Challenges Seokhee Jeon, Seungmoon Choi, and Matthias Harders CONTENTS 10.1 Introduction ..................................................................................................227 10.2 Taxonomies ...................................................................................................229 10.2.1 Visuo-Haptic Reality–Virtuality Continuum ...................................229 10.2.2 Artificial Recreation and Augmented Perception ............................. 232 10.2.3 Within- and Between-Property Augmentation ................................. 233 10.3 Components Required for Haptic AR ..........................................................234 10.3.1 Interface for Haptic AR ....................................................................234 10.3.2 Registration between Real and Virtual Stimuli ................................236 10.3.3 Rendering Algorithm for Augmentation ..........................................237 10.3.4 Models for Haptic AR.......................................................................238 10.4 Stiffness Modulation.....................................................................................239 10.4.1 Haptic AR Interface ..........................................................................240 10.4.2 Stiffness Modulation in Single-Contact Interaction .........................240 10.4.3 Stiffness Modulation in Two-Contact Squeezing .............................243 10.5 Application: Palpating Virtual Inclusion in Phantom