Does the Quality of the Computer Graphics Matter when Judging Distances in Visually Immersive Environments?

2004 ◽  
Vol 13 (5) ◽  
pp. 560-571 ◽  
Author(s):  
William B. Thompson ◽  
Peter Willemsen ◽  
Amy A. Gooch ◽  
Sarah H. Creem-Regehr ◽  
Jack M. Loomis ◽  
...  
Keyword(s):  
Computer Graphics ◽  
Virtual Environments ◽  
Real World ◽  
Ground Plane ◽  
Immersive Environments ◽  
The Real ◽  
The World ◽  
Distance Judgments

In the real world, people are quite accurate in judging distances to locations in the environment, at least for targets resting on the ground plane and distances out to about 20 m. Distance judgments in visually immersive environments are much less accurate. Several studies have now shown that in visually immersive environments, the world appears significantly smaller than intended. This study investigates whether or not the compression in apparent distances is the result of the low-quality computer graphics utilized in previous investigations. Visually directed triangulated walking was used to assess distance judgments in the real world and in three virtual environments with graphical renderings of varying quality.

Computer Graphics Modeling for Virtual Environments

1995 ◽  
Author(s):  
Mark Green ◽  
Hanqiu Sun
Keyword(s):  
Computer Graphics ◽  
Virtual Environments ◽  
Real World ◽  
Research Area ◽  
Mathematical Representation ◽  
The Real ◽  
Modelling Techniques ◽  
Active Research ◽  
Time Required ◽  
Individual Objects

Modelling is currently one of the most important areas in virtual environments research (Bishop et al., 1992). Of all the software areas, this is the area that we know the least about. Modelling has been an active research area in computer graphics for many decades, and is still a major research area. Many of the modelling issues addressed in computer graphics and virtual environments are also of concern to researchers in robotics, mechanical engineering and biomechanics, so progress in modelling can have an impact on many fields. Modelling is difficult since most of the objects that we would like to model, such as people, animals, and airplanes, are quite complex. They have a large amount of geometrical detail and move in complex ways. This difficulty is compounded by the different fields that use modelling techniques, since each field has its own requirements and priorities. For example, it is highly unlikely that the same model of a human figure would be optimal for applications in both virtual environments and biomechanics. The following criteria can be used as a basis for evaluating different modelling techniques. Accuracy. The model should be an accurate representation of the real-world object. Ideally, we would like all of our models to be precise representations of the real-world objects, and not simply approximations to them. But, in reality accuracy comes with a price, usually increased display time or memory usage. The amount of accuracy required often depends upon the application. For example, in some applications it is acceptable to approximate a sphere with a large number of polygons, but for a large number of computer-aided design (CAD) applications the precise mathematical representation of the sphere is required. Since the polygonal representation can be drawn faster, it is often used in applications where display speed is more important than accuracy. Display speed. Many applications place restrictions on the time available to display individual objects. In the case of interactive applications, short display times increase the level of interaction between the user and the model. In large CAD applications there may be many objects, therefore, the time required to display individual objects becomes an important consideration in the usability of the application even if a high level of interactivity is not required.

EXPLORING HEALTHCARE ARCHITECTURE THROUGH THE MEDIUM OF FILM: Motives and Techniques

2014 ◽  
Vol 8 (1) ◽  
pp. 29
Author(s):  
Stephen Verderber
Keyword(s):  
Real World ◽  
The Real ◽  
Healthcare Settings ◽  
Interdisciplinary Field ◽  
Body Of Knowledge ◽  
Behavior Setting ◽  
Physical Environments ◽  
Scant Attention ◽  
History Of

The interdisciplinary field of person-environment relations has, from its origins, addressed the transactional relationship between human behavior and the built environment. This body of knowledge has been based upon qualitative and quantitative assessment of phenomena in the “real world.” This knowledge base has been instrumental in advancing the quality of real, physical environments globally at various scales of inquiry and with myriad user/client constituencies. By contrast, scant attention has been devoted to using simulation as a means to examine and represent person-environment transactions and how what is learned can be applied. The present discussion posits that press-competency theory, with related aspects drawn from functionalist-evolutionary theory, can together function to help us learn of how the medium of film can yield further insights to person-environment (P-E) transactions in the real world. Sampling, combined with extemporary behavior setting analysis, provide the basis for this analysis of healthcare settings as expressed throughout the history of cinema. This method can be of significant aid in examining P-E transactions across diverse historical periods, building types and places, healthcare and otherwise, otherwise logistically, geographically, or temporally unattainable in real time and space.

Predictive Value of Assessing Vehicle Interior Design Ergonomics in a Virtual Environment

2004 ◽  
Vol 4 (2) ◽  
pp. 109-113 ◽  
Author(s):  
Thomas Reuding ◽  
Pamela Meil
Keyword(s):  
Virtual Environments ◽  
Interior Design ◽  
Real World ◽  
Predictive Value ◽  
Work Processes ◽  
Complex Activity ◽  
Vehicle Interior ◽  
Design Work ◽  
The Real ◽  
The Stability

The predictive value and the reliability of evaluations made in immersive projection environments are limited when compared to the real world. As in other applications of numerical simulations, the acceptance of such techniques does not only depend on the stability of the methods, but also on the quality and credibility of the results obtained. In this paper, we investigate the predictive value of virtual reality and virtual environments when used for engineering assessment tasks. We examine the ergonomics evaluation of a vehicle interior, which is a complex activity relying heavily on know-how gained from personal experience, and compare performance in a VE with performance in the real world. If one assumes that within complex engineering processes certain types of work will be performed by more or less the same personnel, one can infer that a fairly consistent base of experience-based knowledge exists. Under such premises and if evaluations are conducted as comparisons within the VE, we believe that the reliability of the assessments is suitable for conceptual design work. Despite a number of unanswered questions at this time we believe this study leads to a better understanding of what determines the reliability of results obtained in virtual environments, thus making it useful for optimizing virtual prototyping processes and better utilization of the potential of VR and VEs in company work processes.

Multiple original spellings, living authors and the Code: The case of Malachius raniansis Mawlood, Hammamurad & Abdulla, 2017 (Coleoptera: Melyridae)

Zootaxa ◽  
2021 ◽  
Vol 4927 (2) ◽  
pp. 297-300
Author(s):  
ISIDOR S. PLONSKI
Keyword(s):  
Real World ◽  
Zoological Nomenclature ◽  
International Code ◽  
Present Communication ◽  
The Real ◽  
The World

The present communication is primarily nomenclaturial–classical taxonomy is only touched in a side note on a diagnosis. It uses technical terminology coined by Alain Dubois, who is interested in the study of the concepts and theory of biological nomenclature (i.e. the “objective connection between the real world of populations of organisms and the world of language” (Dubois & Ohler 1997)), and who discusses the current ‘International Code for Zoological Nomenclature’ [hereafter just called ‘the Code’] in great detail. The terms are explained where necessary–but see also the glossaries in Dubois et al. (2019) and the works by A. Dubois cited below. 

scholarly journals Biblical Inspirations in Nikifor’s Paintings

2019 ◽  
Vol 26 (3) ◽  
pp. 31-46
Author(s):  
Krzysztof Wałczyk
Keyword(s):  
Real World ◽  
The Self ◽  
Creative Activity ◽  
The Real ◽  
Ideal World ◽  
The World ◽  
Biblical Anthropology ◽  
Divine Order ◽  
The Ideal

Nikifor Krynicki (Epifaniusz Drowniak, 1895-1968) was one of the most popular non-academic Polish painters worldwide. To show the biblical inspiration in his creative output I chose two categories from various thematic aspects: self-portraits and landscapes with a church. There are plenty of Nikifor’s paintings showing him as a teacher, as a celebrating priest, as a bishop, or even as Christ. A pop­ular way to explain this idea of self-portraits is a psychological one: as a form of auto-therapy. This analysis is aims to show a deeper expla­nation for the biblical anthropology. Nikifor’s self-portraits as a priest celebrating the liturgy are a symbol of creative activity understood as a divine re-creation of the world. Such activity needs divine inspira­tion. Here are two paintings to recall: Potrójny autoportret (The triple self-portrait) and Autoportret w trzech postaciach (Self-portrait in three persons). The proper way to understand the self-identification with Christ needs a reference to biblical anthropology. To achieve our re­al-self we need to identify with Christ, whose death and resurrection bring about our whole humanity. The key impression we may have by showing Nikifor’s landscapes with a church is harmony. The painter used plenty of warm colors. Many of the critics are of the opinion that Nikifor created an imaginary, ideal world in his landscapes, the world he wanted to be there and not the real world. The thesis of this article is that Nikifor created not only the ideal world, but he also showed the source of the harmony – the divine order.

Playing With Time: An Analysis of Time and Space in Tom Stoppard’s Rosencrantz and Guildenstern Are Dead

2017 ◽  
Author(s):  
Johanna Lawrie
Keyword(s):  
Real World ◽  
Time And Space ◽  
The Real ◽  
Opening Scene ◽  
The World

In this paper I will examine the multiple layers of time within Tom Stoppard’s play, Rosencrantz and Guildenstern Are Dead. Typically, a script plays with two definitions of the term: stage time being that of the audience and the “real world,” and dramatic time, the passing of time within the world of the play and the characters’ lives. Rosencrantz and Guildenstern Are Dead is unique in its multitude of times, each occupying its own space within the story. Hamlet resides in a time that extends beyond that of Rosencrantz and Guildenstern Are Dead, while presenting the same story through different characters. When are these stories presented harmoniously, and when can gaps be found between the two plays in terms of time? In contrast, the play‐within‐a‐play presented in Rosencrantz and Guildenstern Are Dead, titled “The Murder of Gonzago,” represents the story even prior to the opening scene of Hamlet and has an omniscient quality, presenting elements of both Hamlet and Rosencrantz and Guildenstern Are Dead. Though this play‐within‐a‐play represents the longest view of the overlapping stories, it is presented in the shortest amount of time. “The Murder of Gonzago” plays with the limitations of time and space and the acknowledgment of their presentation in theatrical terms. Throughout the paper I will determine the overlapping nature of times within the plays, how they are structured around one another, and what this symbolises for both the spaces of each play and the characters within.  

Augmented Reality and Experiences

2019 ◽  
pp. 66-93 ◽  
Author(s):  
Prabha Selvaraj ◽  
Sumathi Doraikannan ◽  
Anantha Raman Rathinam ◽  
Balachandrudu K. E.
Keyword(s):  
Augmented Reality ◽  
Real World ◽  
New Technology ◽  
Handheld Devices ◽  
The Real ◽  
The World ◽  
Extensive Range ◽  
Different Types ◽  
Medicine Education

Today technology evolves in two different directions. The first one is to create a new technology for our requirement and solve the problem, and the second one is to do it with the existing technology. This chapter will discuss in detail augmented reality and its use in the real world and also its application domains like medicine, education, health, gaming, tourism, film and entertainment, architecture, and development. Many think that AR is only for smartphones, but there are different ways to enhance the insight of the world. Augmented realities can be presented on an extensive range of displays, monitors, screens, handheld devices, or glasses. This chapter will provide the information about the key components of AR devices. This chapter gives a view on different types of AR and also projects how the technology can be adapted for multiple purposes based on the required type of view.

Inception and the Arts

Inception ◽  
2019 ◽  
pp. 95-98
Author(s):  
David Carter
Keyword(s):  
Real World ◽  
Visual Simulation ◽  
Francis Bacon ◽  
The Real ◽  
The Arts ◽  
The World ◽  
Indirect Reference

This chapter looks at the specific artistic references in Christopher Nolan's Inception (2010). One artist is referred to by indirect reference and visual simulation of some of his works, and another is paid homage to by the inclusion of one of his works in a scene. The artists in question are M.C. Escher and Francis Bacon. The Dutch artist Maurits Cornelis Escher, famous for his works featuring constructions which would be impossible in the real world, is not directly named in the film, but he is referred to indirectly by the mention of a phenomenon which he utilised in his work: the so-called 'Penrose Steps'. Meanwhile, in a sequence in which Cobb is talking to Mal, there is a painting visible on the wall of the room, Bacon's Study for a head of George Dyer, 1967. Nolan clearly shares some perspectives on the world with Bacon: a fascination with distorted reality, a sense of horror as in a nightmare, and, in some cases, the real world being actually torn apart.

The Road Map

2020 ◽  
pp. 39-65
Author(s):  
Emma Gee
Keyword(s):  
Real World ◽  
Real Space ◽  
Imaginary World ◽  
Spatial Expression ◽  
The Real ◽  
The Road ◽  
Road Map ◽  
The World

This chapter studies the underworld journey of Virgil, Aeneid 6. It examines a series of possible models for afterlife space in Aen. 6. In particular it looks at the underworld journey of Aen. 6 in the light of ancient geographical traditions. We learn that a point-by-point idiom of representing space was much more widespread than you might imagine in antiquity. It’s found across many different genres, involving real and imagined space: geography, poetry, and art. The author argues that idioms of spatial expression are constant across representations of imagined and real space and across image and text. It is possible for Virgil to use the components of a “real” geography to construct his imaginary world. The afterlife is modeled on our concept of the “real” world, but in turn the “reality” we model it on is in large part a construct of the human artistic imagination, of our propenstiy for simplification and schematization. Like a map, the afterlife landscape allows us to simplify and schematize our environment, because it imposes no limits: it is imaginary. The afterlife landscape, in Virgil and elsewhere, acts as a fulcrum between real and imaginary space. There is no strict dichotomy between real and imagined space; instead there is a continuity between the “imagined” space of Virgil’s underworld, and the space of geographical accounts; between the world of the soul and the “real” world.

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