Multiple perspectives integration for virtual reality-aided assemblability assessment in narrow assembly spaces

Virtual reality (VR) has been proved as a promising tool for industrial design, but the traditional VR interface of first-person perspective (1PP) is not efficient to support assemblability assessment in narrow assembly spaces. In this paper, we proposed the multi-perspectives interface (MPI) which integrates the 1PP and the third-person perspective (3PP) using the handheld world-in-miniature (WIM). The MPI allows users to simulate the assembly operations in a natural manner similar to 1PP, while providing users with an overview of the assembly status through the WIM to assess the assemblability with superior spatial awareness. Two studies were conducted to test the performance of the proposed MPI. The first study tested user’s interaction performance in MPI using a common interaction task, which reveals stronger spatial awareness in MPI than in 1PP without the cost of losing natural interaction. Based on the results of the first study, the second study tested the performance, usability, and workload of MPI in an assemblability assessment task. The results show the advantages of MPI in the reachability evaluation in the narrow spaces. The main contribution of this paper is improving the interface and user-interface interaction in VR-aided assembly assessment system to improve user’s interaction performance and assessment ability in narrow assembly spaces.

Characteristics of Competitive Baton Twirling Athletes

Competitive baton twirling is a sport that combines elements of gymnastics, dance and ballet while necessitating cardiovascular endurance, muscular endurance and power, hand-eye coordination, spatial awareness, kinesthetic awareness, timing and choreography. Approximately one million baton twirlers participating in the sport in the United States. Despite considerable participation in competitive baton twirling, little is known about the characteristics of the athletes. This work documents demographic and behavioral characteristics of competitive baton twirlers. Questionnaires were completed by 169 female twirlers from across the Unites States and Canada. Respondents reported a mean (± SD) age of 18.07 yrs. (±6.08) and height of 63.89 in (±6.24), weight 133.56 lbs. (±32.49), BMI (22.92), GPA 3.73 (±0.31), years of competing 8.02 yrs. (±1.81). All (100%) qualified respondents reported experiencing injury due to competing in or training for baton. The extent of the injuries reported varied greatly. A diversity of training, recovery, hydration, and nutrition habits were also reported. These findings indicate that the competitive baton twirlers that participated in this research are adolescent females, diverse in physical profile, of normal BMI, high academic achievers, dedicated athletes, consistently overcome injuries and train by diverse means. Future research may consider the long-term physical effects and an association with mental health competitive baton twirling has on the athletes.

SPACE DISCOURSE IN A LANGUAGE CONTACT SITUATION: “US” VS. “THEM”

Multilingual practices inevitably lead to language contact phenomena. This phenomenon occurs in Estonia, where the Russian speaking minority, often defined as a Russian diaspora, differs from the socially and linguistically dominant Estonian group with respect to their language and language practices. We suggest that the analysis of one of the languages in contact, in this case Russian, allows for a deeper understanding of the role of the other, i.e. Estonian, in the multilingual practices of the Estonian population as a whole. In this paper, we will focus on “spatial indicators” (i.e. toponyms, ergonyms, linguistic landscape objects, etc.) in the discourse on space provided by participants from the Russian-speaking population living in Estonia. These sociolinguistic foci have been partially described in several existing works which underscore the influence of Estonian on the speech of the local Russian speakers. Previous research gives insights into the peculiarities that the influence of Estonian generates: in the use of toponyms, in the naming of different language landscape objects, in the everyday language practices, and in the description and evaluation of the surrounding space (i.e. in the “spatial awareness”) of the local Russian speaking population. However, little attention has been paid to the fact that the aforementioned phenomena represent a whole that reflects the development of the speakers’ apprehension of the surrounding physical, sociocultural and sociolinguistic space. This process is put into focus in this paper and is shown to be characterized by the (re)definition of space(s) as “ours” vs “theirs”. Such processes will be revealed here by giving an overview of the “spatial components” in the speech of the Russian speaking population of Estonia in several spheres of communication (newspapers, TV shows, advertisements, web forums, etc.) and by analysing interviews involving three Estonian residents, each with a different sociolinguistic background. We attempt to demonstrate how these “spatial components” reflect the interaction of Russian and Estonian speakers, with an emphasis on their affinities across certain language practices. In the analysis of the interviews, we focus in particular on the participants’ (re)definitions of “us” vs “them” in their discourse on space. Special attention is also given to the use of Estonian insertions as a tool for evaluation and the creation of the opposition between “us” and “them” in the internet communication of Russian speakers living in Estonia.

Pensato: A Virtual Reality Framework for Musical Performance

<p>This thesis presents the design for a method of controlling music software for live performance by utilising virtual reality (VR) technologies. By analysing the performance methods of artists that use either physical or gestural methods for controlling music, it is apparent that physical limitations of musical input devices can hamper the creative process involved in authoring an interface for a performance. This thesis proposes the use of VR technologies as a central foundation for authoring a unique workspace where a performance interface can be both constructed and performed with. Through a number of design experiments using a variety of gestural input technologies, the relationship between a musical performer, interface, and audience was analysed. The final proposed design of a VR interface for musical performance focuses on providing the performer with objects that can be directly manipulated with physical gestures performed by touching virtual controls. By utilising the strengths provided by VR, a performer can learn how to effectively operate their performance environment through the use of spatial awareness provided by VR stereoscopic rendering and hand tracking, as well as allowing for the construction of unique interfaces that are not limited by physical hardware constraints. This thesis also presents a software framework for connecting together multiple musical devices within a single performance ecosystem that can all be directly controlled from a single VR space. The final outcome of this research is a shared musical environment that is designed to foster closer connections between an audience, a performer and a performance interface into a coherent and appealing experience for all.</p>

Spatializing the Image

<p>Modern society has become ocular-centric as a result of technological development making the production and distribution of images easier than ever before. This ocular bias extends to architecture. Rather than resisting the increasingly ocular-centric nature of our social-media driven culture, this research aims to find new methods for designing space which incorporate a tactile process. This process simultaneously focuses on the creation of marketable perspectives. Through this research I advocate for tactility in the design process to evoke spatial awareness of the image. This research portfolio operates through a design-led research methodology where knowledge is uncovered by designing. Hundreds of models were produced and critically reflected upon in terms of both their process and outcome. The research culminates with the development of a design process centred on using architectural models as design tools. Referred to as devices, these models are spatial systems that are able to be manipulated by hand to alter the composition of a perspective view. Although focusing on the image, the physicality of the devices implicate spatial awareness in the design process ensuring the design is considered in both two and three dimensions. A design for the proposed Kapiti Island Biosecurity Gateway Centre formed an architectual testing ground which was used to evalute the design process developed in this research. Influenced by the design process the architecture itself also became an optical device. The resulting design controls and composes views through concealing, revealing, superimposing, aligning and framing particular elements. The final outcome provides visitors with a choreographed journey of highly considered perspective compositions</p>

Pensato: A Virtual Reality Framework for Musical Performance

<p>This thesis presents the design for a method of controlling music software for live performance by utilising virtual reality (VR) technologies. By analysing the performance methods of artists that use either physical or gestural methods for controlling music, it is apparent that physical limitations of musical input devices can hamper the creative process involved in authoring an interface for a performance. This thesis proposes the use of VR technologies as a central foundation for authoring a unique workspace where a performance interface can be both constructed and performed with. Through a number of design experiments using a variety of gestural input technologies, the relationship between a musical performer, interface, and audience was analysed. The final proposed design of a VR interface for musical performance focuses on providing the performer with objects that can be directly manipulated with physical gestures performed by touching virtual controls. By utilising the strengths provided by VR, a performer can learn how to effectively operate their performance environment through the use of spatial awareness provided by VR stereoscopic rendering and hand tracking, as well as allowing for the construction of unique interfaces that are not limited by physical hardware constraints. This thesis also presents a software framework for connecting together multiple musical devices within a single performance ecosystem that can all be directly controlled from a single VR space. The final outcome of this research is a shared musical environment that is designed to foster closer connections between an audience, a performer and a performance interface into a coherent and appealing experience for all.</p>

Spatializing the Image

<p>Modern society has become ocular-centric as a result of technological development making the production and distribution of images easier than ever before. This ocular bias extends to architecture. Rather than resisting the increasingly ocular-centric nature of our social-media driven culture, this research aims to find new methods for designing space which incorporate a tactile process. This process simultaneously focuses on the creation of marketable perspectives. Through this research I advocate for tactility in the design process to evoke spatial awareness of the image. This research portfolio operates through a design-led research methodology where knowledge is uncovered by designing. Hundreds of models were produced and critically reflected upon in terms of both their process and outcome. The research culminates with the development of a design process centred on using architectural models as design tools. Referred to as devices, these models are spatial systems that are able to be manipulated by hand to alter the composition of a perspective view. Although focusing on the image, the physicality of the devices implicate spatial awareness in the design process ensuring the design is considered in both two and three dimensions. A design for the proposed Kapiti Island Biosecurity Gateway Centre formed an architectual testing ground which was used to evalute the design process developed in this research. Influenced by the design process the architecture itself also became an optical device. The resulting design controls and composes views through concealing, revealing, superimposing, aligning and framing particular elements. The final outcome provides visitors with a choreographed journey of highly considered perspective compositions</p>