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- Volume 9, Issue 1, 2019
Virtual Creativity - Volume 9, Issue 1-2, 2019
Volume 9, Issue 1-2, 2019
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Googling the Anthropocene: Fractal media and ecology
More LessAbstractThe scars of humanity can be seen across the Earth. However, observing such ecological violence and their implications often requires finding the right perspective, moving beyond the spatial and temporal limits of individual humans. This article builds on discussion of the Anthropocene as a term and the anthropocentrism it implies to critique the relations between humanity, technology and ecology through posthuman perspectives. Focusing on Google's widely available tools, its problematic relation to the environment as a company and critical interventions by media artists Mishka Henner, Paolo Cirio and Geraldine Juárez, the article examines technologies that enable a 'posthuman' position from which to view the fractal activities of humanity: Google Maps and Earth; Street View; and the Google search engines. Fractals are offered as a mode of assessing the self-similar processes of mediation that define not only humanity's scalar expansion but also its shift into informational dimensions and the virtualization of ecology.
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Fractal art and multi-blended spaces
Authors: Masoud Kowsari and Mehrdad GarousiAbstractArtworks, especially in the last two centuries, have been more created through a process of blending than at any other time. This blendedness is seen not only in many modern and postmodern works of art, from German expressionist woodcuts to Picasso's paintings and spontaneous action paintings of Pollock, but in fractal works of art perhaps more than anywhere else. This study, based on Fauconnier and Turner's blended space and conceptual blending theories, will show how fractal artworks are the result of a multi-blending process. This multi-blending is not only because fractal artworks have roots simultaneously in science, technology and art but also because their creation and understanding is dependent on knowledge of fractal aesthetics. Fractal aesthetics not only makes the artist have a continuous back and forth movement between mathematical, digital and artistic spaces, but simultaneously makes the visitor/audience have such an effort as well.1
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Shifting modes: Spectatorship, theatrical virtual reality and motion capture through the experience of Fatherland XR
By Matt SmithAbstractThis article discusses a project using Extended Reality (XR) within theatre and its effect on audiences who are part of the testing and development of a theatrical production. The article develops knowledge surrounding agency/embodiment and multimodal story telling utilizing virtual reality (VR) and motion capture technologies. There is also contained within the article a demonstration of how a university and a theatre company can collaborate using XR technologies. This collaboration is presented based on three interviews with key members of the team. At the time of writing the production is still undergoing final developments. The discussion places the practice within the field of immersive performance and new technologies. Many of the claims made are based on practice-based experiences and the messy data provided by test audiences who are asked to freely respond after the showings. The multiplicity of reactions to this performance artwork are discussed in relation to the emergent, accidental and playful results of multimodal practices often presenting themselves as a set of performative frames instead of a synergistic whole.
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About reality: Relations between museums and virtual reality1
Authors: Pablo Gobira and Emanuelle de Oliveira SilvaAbstractIn this article we discuss how museums, as knowledge institutions, enable the public to use virtual reality (VR) as an instrument for exhibitions. Most current research is about integrating VR into the traditional frame of a museum to enable a deeper and more meaningful understanding of the displayed artworks. This happens because of a narrow view of the concept of 'reality'. To start this discussion we are going to broaden the concept of 'reality', and go beyond the most commonly used terms of real and virtual. We will study some case applications of VR in museums and the way it is understood, to then bring about the range of possibilities it has beyond the common use. We will work with the most widely accepted theories on museums and based on Roy Ascott's works we will present a deeper discussion on the topic of realities.
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Creating high fidelity 360° virtual reality with high dynamic range spherical panorama images
AbstractThis research explores the development of a novel method and apparatus for creating spherical panoramas enhanced with high dynamic range (HDR) for high fidelity Virtual Reality 360 degree (VR360) user experiences. A VR360 interactive panorama presentation using spherical panoramas can provide virtual interactivity and wider viewing coverage; with three degrees of freedom, users can look around in multiple directions within the VR360 experiences, gaining the sense of being in control of their own engagement. This degree of freedom is facilitated by the use of mobile displays or head-mount-devices. However, in terms of image reproduction, the exposure range can be a major difficulty in reproducing a high contrast real-world scene. Imaging variables caused by difficulties and obstacles can occur during the production process of spherical panorama facilitated with HDR. This may result in inaccurate image reproduction for location-based subjects, which will in turn result in a poor VR360 user experience. In this article we describe a HDR spherical panorama reproduction approach (workflow and best practice) which can shorten the production processes, and reduce imaging variables, and technical obstacles and issues to a minimum. This leads to improved photographic image reproduction with fewer visual abnormalities for VR360 experiences, which can be adaptable into a wide range of interactive design applications. We describe the process in detail and also report on a user study that shows the proposed approach creates images which viewers prefer, on the whole, to those created using more complicated HDR methods, or to those created without the use of HDR at all.
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Anatomy of an AI System
Authors: Kate Crawford and Vladan Joler
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