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Engaging Photorealistic VR: An Aesthetic Process of Interaction

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... However, in terms of theory and research, it has directed a lot of attention. One of these people is Fiona Carroll whose dissertation in 2008 was 'which aesthetic elements can be used in making an interesting photorealistic virtual reality environment' (Carroll, 2008). In another study by a group of five in Edinburgh University in 2015, first virtual environments were made based on real locations. ...
Research Proposal
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Introduction The next generation processors such as the ones that use graphene-based transistors, increase the speed of the process of codes up to 1000 times (Schlueb, 2017). At the same time, the researchers of computer science are developing rendering algorithms in which the physical world will be simulated better and faster. One of the results of improvement in these two fields is the possibility of processing and displaying photorealistic 3D environments and scenes in virtual reality space in real-time. Although even now with the available hardware we can reach these contents, but in near future using photorealistic content will direct the attention of producers of this field. The scenes that are produced with 3D computer graphics and photorealistic in terms of visual quality have features that separate them completely from non-photorealistic scenes. The photo-like realism in these scenes is in a way that the audience considers them real. Applying these features in producing virtual reality content will result in its improvement in some ways: First, when the audience is surrounded by the photorealistic environment, his experience becomes closer to real life. The content quality has an important role in this experience. That is, when the mind by comparing real-world experiences with photorealistic virtual space, is not able to separate the differences, it will accept that fully and this will lead to a more effective communication channel between the content and the mind of the audience. Second, the more effective the communication channel through photorealistic content, the more the feeling of audience presence in virtual space, and this will cause more emotional engagement of the audience while dealing with the content. Third, photorealistic spaces are produced by 3D computer graphics. Because of photo-like realism, they have more details and information for virtual reality compared to the scenes that are produced normally by 3D graphics. As a result, different audiences will have different experiences when dealing with these spaces. In other words, these spaces decrease the similar experience between two audiences, as the experience of different people while visiting a specific location in the real world is different. For instance assume that in virtual reality space, the audience sees a chair in a very simple room with no details. With regard to the reality of proportions and sizes, this space cannot create an effective communication with the audience and engage his emotions. On the other hand, the second space has photorealistic features, the chair has details in modeling, realistic texture and even carvings on that. The room also has wood flooring and walls are covered with wallpapers. The lighting and shadows seem very real. The second space has this potential to make a memory or experience in the past come to the mind of the audience and its practical result is an increase in emotional engagement and the feeling of presence. The reason for using 3D computer graphics to produce photorealistic content should be noted. By using this method of production, we can create spaces that do not exist in the physical world and different uses can be considered for that, such as creating fictional spaces used in the entertainment industry, educational spaces, making environments with a specific purpose such as treating the patients who suffer from PTDS or exposure therapy.
... However, no matter what kind of VR application is being developed, the aesthetic elements are of great importance. Research strongly suggests that the quality of the visuals in VR is a significant factor in the creation of IVR experiences (Carroll, 2008). ...
Education has always been an important factor of life, being continuously analysed, in the attempt to improve its delivery in today’s classrooms. Although much has been done to give education more interesting ways of delivery, yet there are several generic instances when educational techniques used in today’s classrooms are deemed as outdated, both by educators and their students. Subjects, which are meant to enhance the knowledge and appreciation of a culture’s heritage, can at times not be exposed to students in the most exciting way possible, so as to enhance learning and maximise understanding. A country’s heritage is the map to its history. The accumulation of its languages, including its artistic endeavours and representations, stand as a reminder of our ancestors who have toiled hard to create the story that we are nowadays striving to keep alive and further enrich through contemporary means. Technology has become a tool which stands alongside the brushes and rasps of the artists and sculptors of antiquity. Today, computers and their burgeoning peripherals have given art newer twists and further methods of expression, which can in turn augment the way students are drawn into the magical world of their country’s heritage. This project is endeavouring to capture film language and transpose it into a 360-degree film environment, which combined with the enrapturing use of spatial sound will recreate an epic moment in the fairly unknown initial stages of the Great Siege of Malta. This immersion is aimed not only to excite the young minds of students through the narrative techniques used, but further create compassion through an increased sense of empathy.
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One of the most encouraging signs in the widespread interest in environmental values is the recognition of the importance of the aesthetic. Aesthetic values are a large part of what draws people to environmental activities and issues. But this is not as simple as it may seem. Many ideas and issues are easily confused here, and not the least of these is the nature of environmental aesthetics. Confusion often surrounds those committed to the idea of environmental aesthetics. It is like discord in a family in which everyone loves everyone else but no one can say anything without misunderstanding and discord. In neither case is this inevitable. Let me take the easy task and talk about environmental aesthetics. Like so many disagreements, profound as well as trivial, people with environmental concerns share many of the same interests and values but don't know how to talk about them with one another. clearly and understandably. Much of the difficulty comes from a confusion about what is understood by 'aesthetics.' Philosophers and other scholars see aesthetics as a branch of philosophy concerned with understanding the intrinsic values we ascribe to works of art and to natural beauty. What does appreciation consist of here? Where is the value located that we recognize in appreciation? How do other values bear on aesthetic value? In what ways do our knowledge and understanding play a part in recognizing these values, values not only aesthetic but others, such as moral, economic, and historical?
Virtual reality (VR) refers to technologies that can permit users to experience and interact with environments that are entirely computer generated. A large part of such environments are visual, using computer screens, multiscreen projection systems, shutter glasses to provide 3D effects, and various kinds of headmounted displays, but may also include rich audio capability, haptic (tactile) interfaces, various means for locomotion within the virtual world, and even olfaction (smell). e environments created using these techniques may represent the real world, or an entirely artificial world, or some combination of both. For the purposes of this chapter, two additional concepts will be considered within the scope of VR: mixed reality (MR) and augmented reality (AR). Milgram and Kishino (1994) defined what they call the virtuality continuum (Figure 12.1) that has at one end sensed reality in the real world, and at the other extreme VR in which the sensed world is entirely artificial. In between these is the world of MR, in which some elements of the world being sensed and with which a user is interacting are physically real while some are artificially generated.
This essay is an overview of recent research aimed at establishing a link between environmental aesthetics and environmental ethics. I review the work of several prominent environmental philosophers and environmental aestheticians, spelling out some of the difficulties confronting various attempts to find such a link. While I argue that a case can be made for a connection between environmental aesthetics and environmental ethics concerning human‐created and human‐influenced environments, I find that there are a number of problems facing attempts to establish a similar connection for natural or pristine environments. I examine some attempts to support such a connection, including each of two different accounts of the aesthetic appreciation of nature in contemporary Western environmental aesthetics as well as the union of these two accounts, sometimes called ecoaesthetics. I briefly discuss two Western versions of ecoaesthetics and then turn to research by Chinese aestheticians, who defend a more robust version of ecoaesthetics. I suggest that this latter work may succeed in connecting environmental aesthetics and environmental ethics, although not in exactly the way in which such a link has been pursued by Western philosophers.
A bold alternative to the eighteenth century aesthetic of disinterestedness, aesthetic engagement makes the appreciative experience of both the traditional and contemporary arts more intelligible. After considering the historical and theoretical underpinnings of the idea of engagement, successive chapters demonstrate its importance in landscape painting, architecture and environmental design, literature, music, dance, and film. Emerging from these original studies of the arts is the recognition that the different arts involve experiences that possess their own claim to reality. CONTENTS I AESTHETICS AND EXPERIENCE 1 Experience and Theory in Aesthetics 2 The Unity of Aesthetic Experience II ENGAGEMENT AND THE ARTS 3 The Viewer in the Landscape 4 Architecture as Environmental Design 5 The Reader's Word 6 Musical Generation 7 Dance as Performance III ART AND REALITY 8 Film and Other Realities of Art - I 9 Film and Other Realities of Art - II 10 Conclusion: The End of Aesthetics