Use of Haptics for the Enhanced Musuem Website-USC Interactive Art Museum Our mission for the Enhanced Museum project is to explore new technologies for the exhibition of three-dimensional art objects (Goldberg, Bekey, Akatsuka, and Bressanelli, 1997; McLaughlin, 1998; McLaughlin, Goldberg, Ellison, and Lucas, 1999; McLaughlin and Osborne, 1997; Schertz, Jaskowiak, and McLaughlin, 1997). Although it is not yet commonplace, a few museums are exploring methods for 3D digitization of priceless artifacts and objects from their sculpture and decorative arts collections, making the images available via CD-ROM or in-house kiosks. For example, the Canadian Museum of Civilization has collaborated with Ontario-based Hymarc to use the latter's ColorScan 3D laser camera to create three-dimensional models of more than fifty objects from the museum's collection (Canarie, Inc., 1998; Shulman, 1998). A similar partnership has been formed between the Smithsonian Institution and Synthonic Technologies, a Los Angeles-area company. At Florida State University , the Deparment of Classics is working with a team to digitize Etruscan artifacts using the RealScan 3D imaging system from Real 3D (Orlando, Florida), and art historians from Temple University are collaborating with researchers from the Watson Research Laboratory's visual and geometric computing group to create a model of Michaelangelo's Pieta with the Virtuoso shape camera from Visual Interface (Shulman, 1998). In collaboration with our colleagues at USC's accredited art museum, the Fisher Gallery, our IMSC team is developing an application for the Media Immersion Environment that will not only permit museum visitors to examine and manipulate digitized three-dimensional art objects vi... ... middle of paper ... ...fingers, see Hollins et al., 1993, below) have repeatedly been demonstrated by Lederman and her colleagues (Lederman, 1985; Lederman, Thorne, & Jones, 1986; Loomis & Lederman, 1986) to be functionally equivalent with respect to texture perception, in that touch modality does not seem to account for a significant proportion of the variation in judgments of such basic dimensions as roughness, even though the two types of touch may lead to different sorts of attributions (respectively, about the texture object and about the cutaneous sensing surface) and motor information should clearly be useful in assessing the size and distribution of surface protrusions and retractions. Active-passive touch is more likely to be equivalent in certain types of perceptual tasks; active touch should be less relevant to judgments of "hardness" than it is to assessments of "springiness".
I observed a very unique series of photographs by Vik Muniz called Seeing is Believing. Vik Muniz’s images are not simply photography but are pictures of complicated pieces of art he has produced at earlier times. Utilizing an array of unorthodox materials including granulated sugar, chocolate syrup, sewing thread, cotton, wire, and soil Muniz first creates an image, sculpturally manipulates it and then photographs it. Muniz’s pictures include portraits, landscapes, x-rays, and historical images.
With works in every known medium, from every part of the world, throughout all points in history, exploring the vast collection of the Museum of Modern Art was an overwhelming experience. The objects in the Department of European Sculpture and Decorative Arts are an important historical collection, reflecting the development of a number of art forms in Western Europe. The department's holdings covered sculpture in many sizes, woodwork and furniture, ceramics and glass, jewelry, and tapestries. The gallery attracted my appreciation of the realistic qualities of the human body often portrayed in sculpture.
The Tampa Museum of Art was not always the same museum that we see today. It went through multiple stages throughout the years. The works vary, creating a large spectrum from the old to the new. The social angles change with the exhibits in the museum, combining to create the diversity we see today. Visiting this museum in person helped me to appreciate it even more than I would have thought possible. Observing and analyzing the other visitors helped me to understand the museum’s impact on the community more than I would have been able to just by reading about it. This museum is much different from others than I have visited.
Of all new advancements, the digital space arguably has the most outstanding effect on illustration, encroaching on our reality and the meaning of physical space within the field. As the digital space expands and further accommodates more aspects of the global illustrator’s life, we may come to a point (or are already at the point) where there is novelty in the restricted physical space; in a physical artwork, studio or gallery. It has changed the playing field and the rules of the game- knowledge and new innovations are developing rapidly, with a possibility of overtaking tradition through convenience. Not only has digital technology affected how illustration is received and displayed, but also how it is created- in the proliferation of digital
...an picking the artifacts. Although I did learn about William Morris and his designs in my history classes I learnt about the concept behind his design decisions and in depth analysis of Morris’s evolution as a designer only when I started working on this exhibit. It is imperative that you do research before arriving on any decision in regard to putting up any exhibit. Furthermore after analyzing the different options, it is imperative that you have facts to back up your decisions of the artifacts chosen. Every artifact that you pick for your case should have direct relation to your concept and it should be consistent among all artifacts. Overall a lot of thought should be put into the exhibit and the concept must reflect the ideas distinctly.
...7 millimeters was guessed incorrectly, thus indicating the lack of sharpness subject 1 possessed in this area of the body. Next we proceeded with subject 2, under very similar conditions. Subject 2 was tested with more pressure points than subject 1 to proceed to more detailed results. Beginning with the finger, subject 2 guessed 7 out of 8 pressure points correctly. This result shows a very good acuity to his tactile system around the fingers, as stated by (Bruce et al. 1980). Next we proceeded with his forearm, in methods similar to subject 1 but with more pokes. In this test subject 2 only guessed 2 out of 7 of the points correctly, indicating a sharp decrease in acuity in these areas. Lastly we applied the moving two point discrimination test on a third subject. We started at the palm and he felt the two points only by the time we moved 3 mm towards the finger.
Three dimensional art is defined as media which “occupies space, defined through the dimensions of height, width and depth” (SAYLOR). These art works can be geometric or organic in nature (NORTON). Three dimensional art forms include sculptures, crafts and architecture. Three dimensional art form is fascinating to me because of the amount of realism and beauty it embodies, as well as for its functional and aesthetic value. For this assignment, I chose two beautiful pieces that illustrated the characteristic of three dimensional art and the processes it took to produce them. The first art work I want to analyze is a sculpture done by an Iraqi artist from Kalhu (modern day Nimrud) entitled, “Assurnasirpal II Killing Lions” (Sayre, 420).
The term Virtual Reality (VR) is used by many different people with many meanings. There are some people to whom VR is a specific collection of technologies, that is a Head Mounted Display, Glove Input Device and Audio. Some other people stretch the term to include conventional books, movies or pure fantasy and imagination. However, for purposes of this research, we restrict VR to computer mediated systems. We would define Virtual Reality as a way for humans to visualize, manipulate and interact with computers and extremely complex data.
The simplest form of virtual reality is a 3-D image that can be explored interactively at a personal computer, usually by manipulating keys or the mouse so that the content of the image moves in some direction or zooms in or out. More sophisticated efforts involve such approaches as wrap-around display screens, actual rooms augmented with wearable computers, and hap tics devices that let you feel the display images.
It is well known that in the past, Renaissance artists received their training in an atmosphere of artists and mathematicians studying and learning together (Emmer 2). People also suggest that the art of the future will depend on new technologies, computer graphics in particular (Emmer 1). There are many mathematical advantages to using computer graphics. They can help to visualize phenomena and to understand how to solve new problems (Emmer 2). “The use of ‘visual computers’ gives rise to new challenges for mathematicians. At the same time, computer graphics might in the future be the unifying language between art and science” (Emmer 3).
Skin is often over looked and under appreciated by all of us. We live our lives habitually without realizing what an amazing and important role skin plays in our every day routine. Our skin protects us from many things, keeps us informed of our surroundings and makes us aware of many dangers present. The sense of touch is our most developed feeling and the predecessor of all of our other senses. The author gives several examples on how we have incorporated our sense of touch to our colloquial language as an expression of just how much we use our skin. But our skin may serve more purposes than those of protection and information. Through several experiments it has been demonstrated that the sense of touch is highly associated with the immune system, the development of social skills, and even the survival of the species.
The ability to superimpose real-time computer animation onto the real world is commonly known as augmented reality (AR). AR differs from virtual reality where it requires the real time markers for it to function. It allows merging of virtual information with the real environment to provide users with more immersive interaction with their surroundings. AR provides new experience of the real world that is unlike another computer animation that draws the users away from the real world and onto the screen (Hainich & Rolf, 2006).
My descent into theatre was like Alice’s falling down the rabbit hole, slowly then all at once. It started with my attraction to visual storytelling; when reading, words peeled off the page and became images, transforming words into reality. This is not dissimilar to a designer’s job in the theatre — turning plays into tangible worlds, even when they take place in a distant galaxy or Wonderland. Upon visiting New York University’s design department the students’ assignments, which paid extreme attention to even the minutest of details, impressed me. Not only the work itself but the resources available, the ability to collaborate and learn from working professionals in their field, fitting for my goal, to design for immersive theatre.
Through my venture, I aim to provide such solutions that help people harness the power of graphics technology to refine their professional activities. The Rome Reborn project – a virtual reconstruction of AD 320 Rome – is a commendable example of how graphics can be used to disseminate knowledge. I would like to tap this technology to develop software that make imparting education a more engaging experience. With the growing urban population and emphasis on vertical expansion, sustainable planning of urban architecture has become very necessary to counter the damages from natural and man-made disasters. My aim is to develop low cost, high performance software that can be us...
Virtual reality can be defined as a, "technology that enables users to enter computer generated worlds and interface with them three dimensionally through sight, sound, and touch" (Newquist 93). Virtual reality combines computer simulation and visualization into a single, coherent whole (Peterson 8). Researchers say it embodies an attempt to eliminate the traditional distinction between the user and the machine. Virtual reality is intended to provide a means of naturally and intelligently interacting with information (8). Virtual reality is contending to be the interface of the future, allowing ordinary users to use their senses to interact with complex data.