- Virtual Reality, Virtual Art & Virtual Reality, Virtual Reality (Computer Graphics), Embodiment, Design, Space and Place, and 23 moreMindfulness, Space, Museums and Exhibition Design, Museum, Immersion, Enaction, Interaction, Education, Computer Science, Arquitectura, Virtual Worlds, Augmented Reality, Perception, Astronomy, Design Patterns, Synthetic, Digital Media, Digital Arts, Phenomenology, Modeling and Simulation, Sociology of Arts, Artificial Life, and Philosophyedit
Whole thesis can be downloaded from this link: https://pearl.plymouth.ac.uk/handle/10026.1/14312 How can the design of synthetic experiences and scientific visualizations establish aesthetically coherent spatiotemporal interactions... more
Whole thesis can be downloaded from this link: https://pearl.plymouth.ac.uk/handle/10026.1/14312
How can the design of synthetic experiences and scientific visualizations establish aesthetically coherent spatiotemporal interactions that couple with the embodiment continuum already in place in the structures of the mind, the body, and the planetary environment in which we exist? The thesis addresses synthetic experiences in three areas: research on mind and the senses, designing sensorimotor embodiment, and the relevant notion of mindfulness as enaction practice. In real life we never have firsthand access to the experiences of others, or their feelings about their experiences, or ultimately who they are as people, but instead rely on simulations to explore what we cannot reach. Research points to the structural steps in which a shared synthetic experience takes place as a two way and multidirectional chain of pattern signals that traverse mind, body and environment. These patterns are supported by concepts of literacy and aesthetics which are further revised and specified to accommodate the enabling of the whole body in experiencing immersive real time representations that are coupled to what the human body can perceive and act upon. By understanding the affordances and thresholds of one’s point of sensing in space over time, structured by the body, embodied models or simulations can be externalized and reconfigured into external models, to position the body in worlds assembled from extended senses like telescopes, microscopes, sensors and detectors. Space and time can thus be tailored in terms of scale, resolution and pace, back into the human Umwelt, and explored individually or collectively as shared subjectivities. This is a practice informed thesis, based on work related to conceptual spaces I have developed from looking at how space and time are designed in panoramas, in film, though Virtual Reality (VR) and through scientific visualizations, specifically astronomy related ones, and the immersive interactives I created or contributed to at visualization laboratories and at planetariums. In working along with science, history, education, and culture experts I strived to look into perceptual concerns at extreme scales and what it means for us to go beyond our own sensory motor interactions.
How can the design of synthetic experiences and scientific visualizations establish aesthetically coherent spatiotemporal interactions that couple with the embodiment continuum already in place in the structures of the mind, the body, and the planetary environment in which we exist? The thesis addresses synthetic experiences in three areas: research on mind and the senses, designing sensorimotor embodiment, and the relevant notion of mindfulness as enaction practice. In real life we never have firsthand access to the experiences of others, or their feelings about their experiences, or ultimately who they are as people, but instead rely on simulations to explore what we cannot reach. Research points to the structural steps in which a shared synthetic experience takes place as a two way and multidirectional chain of pattern signals that traverse mind, body and environment. These patterns are supported by concepts of literacy and aesthetics which are further revised and specified to accommodate the enabling of the whole body in experiencing immersive real time representations that are coupled to what the human body can perceive and act upon. By understanding the affordances and thresholds of one’s point of sensing in space over time, structured by the body, embodied models or simulations can be externalized and reconfigured into external models, to position the body in worlds assembled from extended senses like telescopes, microscopes, sensors and detectors. Space and time can thus be tailored in terms of scale, resolution and pace, back into the human Umwelt, and explored individually or collectively as shared subjectivities. This is a practice informed thesis, based on work related to conceptual spaces I have developed from looking at how space and time are designed in panoramas, in film, though Virtual Reality (VR) and through scientific visualizations, specifically astronomy related ones, and the immersive interactives I created or contributed to at visualization laboratories and at planetariums. In working along with science, history, education, and culture experts I strived to look into perceptual concerns at extreme scales and what it means for us to go beyond our own sensory motor interactions.
Research Interests:
UNFOLDING SPACE is a VR enveloping landscape of concave and convex forms, which are determined by the orientation and displacement of the user in relation to a grid made of tesseracts (cubes in four dimensions)7. The interface accepts... more
UNFOLDING SPACE is a VR enveloping landscape of concave and convex forms, which are determined by the orientation and displacement of the user in relation to a grid made of tesseracts (cubes in four dimensions)7. The interface accepts input from tridimensional and four dimensional transformations, and smoothly displays such interactions in real-time. Instead of navigating the familiar landscape of volumes, space is attached to the shadow of a
higher dimensional grid, which can then be turned around, to stretch or compress their sides to face the person. Such shadow projected to three dimensions use the distortion of tridimensional perspective to organize visual hierarchy. Stereo visualization and real-time computer graphics also allow us to integrate the dynamic abilities of the human body for accessing higher dimensions while assimilating complex configurations. The motion of the person becomes the graphic element whereas the higher dimensional grid references to his/her position relative to it. The person learns how motion inputs affect the grid, recognizing a correlation between the input and the transformations.
higher dimensional grid, which can then be turned around, to stretch or compress their sides to face the person. Such shadow projected to three dimensions use the distortion of tridimensional perspective to organize visual hierarchy. Stereo visualization and real-time computer graphics also allow us to integrate the dynamic abilities of the human body for accessing higher dimensions while assimilating complex configurations. The motion of the person becomes the graphic element whereas the higher dimensional grid references to his/her position relative to it. The person learns how motion inputs affect the grid, recognizing a correlation between the input and the transformations.
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This chapter deals with the global implications of immersive media: first it considers how the concept of the umwelt can be used to address the extension of sensory motor capabilities of the human body. Next, it discusses what the... more
This chapter deals with the global implications of immersive media: first it considers how the concept of the umwelt can be used to address the extension of sensory motor capabilities of the human body. Next, it discusses what the implications are when the concept of the human umwelt is applied to scientific visualization in astronomy, which scales space and time to present data. Then, these scientific visualizations are discussed in the context of planetarium domes and what it means to collectively experience an immersive environment based on large scale data. As a case study, the final section articulates what this entails for the understanding of the effects of collective human interactions with our planetary environment at this stage of climate change.
https://www.igi-global.com/book/handbook-research-global-impacts-roles/236585
https://www.igi-global.com/book/handbook-research-global-impacts-roles/236585
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What does it mean to be a creature in space, able to displace oneself? After decades of passive screens in every house and almost in every room, some video games, virtual reality, and other tracking based media have been developed with... more
What does it mean to be a creature in space, able to displace oneself? After decades of passive screens in every house and almost in every room, some video games, virtual reality, and other tracking based media have been developed with the dynamic ability to move through virtual spaces with agency. This paper will articulate the philosophical, aesthetic and design implications of this shift that are permeating though the transition to embodied technologies. First the philosophical implications of what a point of view is in terms of subjectivity will be illustrated with examples of daily individual and social experiences. Then the paper will go over the aesthetic implications of different media according to the direct or implied approaches the media may contain regarding subjectivity, and how these implications carry metaphorical assumptions we use to socialize with each other in today’s public discourse. Lastly, the paper will consider notions of virtuality (Noë), simulation (Barret), and participatory sense making (De Jaegher & Di Paolo) that question the notion of subjectivity as a scalable experience which expands from individual to social situations.
Shifting from personal to collective behavior in the designed point of view is not trivial. When Nagel described disembodiment (or experience without point of view) as “a view from nowhere” perhaps there was not yet a notion of the absurdity of holding nobody’s experience. To a great extent humankind already shares the common subjective experience of living on planet Earth looking out into space from the Earth’s point of view, and from the umwelt of the human body. We bring that experience to everything we interact with. So the question becomes, what really is subjectivity if not the notion of a point of view in a specific place in time and space? How does that notion alone project itself into the assumptions we make of the world, of each other and of our representations? Because these assumptions become languages and cultures, perhaps we are at a crucial time to traverse these levels of meaning, liberating others from fixed and static assumptions of being, and finally from the individual subjective impositions, disguised as objectivity, we make on others and on the environments we experience.
https://link.springer.com/chapter/10.1007/978-3-030-23570-3_1
Shifting from personal to collective behavior in the designed point of view is not trivial. When Nagel described disembodiment (or experience without point of view) as “a view from nowhere” perhaps there was not yet a notion of the absurdity of holding nobody’s experience. To a great extent humankind already shares the common subjective experience of living on planet Earth looking out into space from the Earth’s point of view, and from the umwelt of the human body. We bring that experience to everything we interact with. So the question becomes, what really is subjectivity if not the notion of a point of view in a specific place in time and space? How does that notion alone project itself into the assumptions we make of the world, of each other and of our representations? Because these assumptions become languages and cultures, perhaps we are at a crucial time to traverse these levels of meaning, liberating others from fixed and static assumptions of being, and finally from the individual subjective impositions, disguised as objectivity, we make on others and on the environments we experience.
https://link.springer.com/chapter/10.1007/978-3-030-23570-3_1
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It is not uncommon in the effort to present data that the notion of absolute standards tends to be brought up. When art and science are coming together in the critical task of visualizing space and time it is perhaps not a bad idea to use... more
It is not uncommon in the effort to present data that the notion of absolute standards tends to be brought up. When art and science are coming together in the critical task of visualizing space and time it is perhaps not a bad idea to use more precise words that do not create obstacles between the disciplines that are coming together. In the realm of design, standards do not exist. What does exist are guidelines created for a given context, that is, when there is no designer at hand to articulate visual perception, guidelines are used to constrain the aesthetic possibilities to prevent, as much as possible, contradictions between scientific content and scientific visualizations. While guidelines are a kind of safe recipe, they tend to produce less expressive and less memorable planetarium experiences, and may excessively tone down the saliency of the data. This presentation will go over a number of examples, with the ultimate goal of promoting better interdisciplinary collaborations among seasoned and talented professionals.
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As models are built about the Universe to replicate the "multi-sensory" data gathered by instruments, the natural biases we hold in processing what we perceive, by having a human body on a planet, shape our understanding of how human... more
As models are built about the Universe to replicate the "multi-sensory" data gathered by instruments, the natural biases we hold in processing what we perceive, by having a human body on a planet, shape our understanding of how human perception works, which is the foundation of how to explain the data we share to better understand the Universe we all live in. This foundation challenges us to reach a higher level of proficiency, that is, scientific visualization literacy, as well as developing the aesthetic and scientific collaborative endeavors that are necessary in working with professional in various disciplines. Furthermore, scientific visualization literacy requires a sense of being that is able to bridge the gap between individual and community identity –as culturally construed for social stability– and ever ongoing scientific discoveries.
http://www.ips2018toulouse.org
http://www.ips2018toulouse.org
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Science centers such as museums and planetariums have used stereoscopic (“three-dimensional”) films to draw interest from and educate their visitors for decades. Despite the fact that most adults who are finished with their formal... more
Science centers such as museums and planetariums have used stereoscopic (“three-dimensional”) films to draw interest from and educate their visitors for decades. Despite the fact that most adults who are finished with their formal education get their science knowledge from such free-choice learning settings very little is known about the effect of stereoscopic film presentation on their science learning. We explored this issue by designing a quasi-experimental field trial with a short film about the shape of the Milky Way galaxy. The film was produced based on a set of stereoscopic design principles derived from spatial cognition and cognitive load literature with the goal of lowering the audience's extraneous cognitive load. The film was randomly shown in either two-dimensional (2D) or stereoscopic format to 498 adults who visited a large, urban planetarium. To investigate the extent of audience's change related to galaxy-related spatial concepts, an identical set of questions was asked on iPads before and after the film was shown. A delayed posttest was given to 123 of those adults approximately 6 months later. Test performances were analyzed using repeated measures analysis of covariances (ANCOVAs) with demographic and spatial visualization ability measures as covariates. Results show identical short-term learning gains in both the 2D and stereoscopic groups. However, only the stereoscopic group exhibited long-term learning gains. Findings were interpreted through the lenses of cognitive load theory and the limited capacity model of mediated message processing.
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This paper articulates the challenges of the human senses in the experiencing of space at extreme scales. It surveys the issues astronomy simulations confront when attempting to make sense of the kinds of scales that are integrated in the... more
This paper articulates the challenges of the human senses in the experiencing of space at extreme scales. It surveys the issues astronomy simulations confront when attempting to make sense of the kinds of scales that are integrated in the same experience, especially if one is to interact with them so that the ranges of size make sense with each other. In some cases parameters are hidden, while in other cases they are proportionally altered to become noticeable. In other cases, senses can be swapped for the benefit of creating a multi-sensory space that the human body can relate to. This is where research of outer space, and the technologies developed for people with disabilities, have an interesting area of affinity. Whereas missing a sense such as hearing, smell, vision or proprioception has been incorporated into alternative ways of experiencing our own world, now some of those same approaches can be reflected upon to experience the universe that is beyond reach for human perception.
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"As virtual/augmented reality evolves, the need for spaces that are responsive to structures independent from three dimensional spatial constraints, become apparent. The visual medium of computer graphics may also challenge these self... more
"As virtual/augmented reality evolves, the need for spaces that are responsive to structures independent from three
dimensional spatial constraints, become apparent. The visual medium of computer graphics may also challenge these self
imposed constraints. If one can get used to how projections affect 3D objects in two dimensions, it may also be possible
to compose a situation in which to get used to the variations that occur while moving through higher dimensions. The
presented application is an enveloping landscape of concave and convex forms, which are determined by the orientation
and displacement of the user in relation to a grid made of tesseracts (cubes in four dimensions). The interface accepts
input from tridimensional and four-dimensional transformations, and smoothly displays such interactions in real-time.
The motion of the user becomes the graphic element whereas the higher dimensional grid references to his/her position
relative to it. The user learns how motion inputs affect the grid, recognizing a correlation between the input and the
transformations. Mapping information to complex grids in virtual reality is valuable for engineers, artists and users in
general because navigation can be internalized like a dance pattern, and further engage us to maneuver space in order to
know and experience."
dimensional spatial constraints, become apparent. The visual medium of computer graphics may also challenge these self
imposed constraints. If one can get used to how projections affect 3D objects in two dimensions, it may also be possible
to compose a situation in which to get used to the variations that occur while moving through higher dimensions. The
presented application is an enveloping landscape of concave and convex forms, which are determined by the orientation
and displacement of the user in relation to a grid made of tesseracts (cubes in four dimensions). The interface accepts
input from tridimensional and four-dimensional transformations, and smoothly displays such interactions in real-time.
The motion of the user becomes the graphic element whereas the higher dimensional grid references to his/her position
relative to it. The user learns how motion inputs affect the grid, recognizing a correlation between the input and the
transformations. Mapping information to complex grids in virtual reality is valuable for engineers, artists and users in
general because navigation can be internalized like a dance pattern, and further engage us to maneuver space in order to
know and experience."
Research Interests:
This paper articulates space as a visual, proprioceptive and physical experience that is the basis for synthetic representations created to convey astronomically-sized dynamic structures that are beyond unaided human perception. Astronomy... more
This paper articulates space as a visual, proprioceptive and physical experience that is the basis for synthetic representations created to convey astronomically-sized dynamic structures that are beyond unaided human perception. Astronomy visualizations based on real data as well as simulations are pre-sented as examples, since they are tailored to the space and time that lie within the range of human scale, in order to show relationships that are important for the understanding of large phenomena. The experience of space is further char-acterized in relation to metaphors, image schemas and force gestalts, emphasiz-ing the enactive approach to embodiment, as well as the associative and emo-tional connections developed in the fields of psychology, philosophy and neuro-science that are relevant to the design of synthetic experiences. A fluid percep-tual state of mindfulness is important to notice those relationships, and tying them through embodied interaction helps to integrate complex relationships in a direct manner. Perceptual cues that exploit the experiential connections of the senses to reality are used to reinforce the vivid richness of visualizations. Sound, vision, and tracked movement work together to build a full sensory ex-perience by reconstructing the missing input such as touch and smell through the senses afforded by the media used, as well as the person experiencing it.
Research Interests: Perception, Visualization, Mindfulness, Embodiment, Interaction, and 4 moreSpace, Astronomy, Immersion, and Enaction
This panel and dialog-paper explores the potentials at the intersection of art, science, immersion and highly dimensional, " big " data to create new forms of engagement, insight and cultural forms. We will address questions such as: "... more
This panel and dialog-paper explores the potentials at the intersection of art, science, immersion and highly dimensional, " big " data to create new forms of engagement, insight and cultural forms. We will address questions such as: " What kinds of research questions can be identified at the intersection of art + science + immersive environments that can't be expressed otherwise? " " How is art+science+immersion distinct from state-of-the art visualization? " " What does working with immersive environments and visualization offer that other approaches don't or can't? " " Where does immersion fall short? " We will also explore current trends in the application of immersion for gaming, scientific data, entertainment, simulation, social media and other new forms of big data. We ask what expressive, arts-based approaches can contribute to these forms in the broad cultural landscape of immersive technologies.
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Interactive and immersive synthetic experiences design or utilize the sense of embodiment of the person experiencing it. At the same time, one could say that the ideal state of the person is that of mindful attention. How are mindfulness... more
Interactive and immersive synthetic experiences design or utilize the sense of embodiment of the person experiencing it. At the same time, one could say that the ideal state of the person is that of mindful attention. How are mindfulness and embodiment part of an experience?
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Science centers such as museums and planetariums have used stereoscopic (“three‐dimensional”) films to draw interest from and educate their visitors for decades. Despite the fact that most adults who are finished with their formal... more
Science centers such as museums and planetariums have used stereoscopic (“three‐dimensional”) films to draw interest from and educate their visitors for decades. Despite the fact that most adults who are finished with their formal education get their science knowledge from such free‐choice learning settings very little is known about the effect of stereoscopic film presentation on their science learning. We explored this issue by designing a quasi‐experimental field trial with a short film about the shape of the Milky Way galaxy. The film was produced based on a set of stereoscopic design principles derived from spatial cognition and cognitive load literature with the goal of lowering the audience's extraneous cognitive load. The film was randomly shown in either two‐dimensional (2D) or stereoscopic format to 498 adults who visited a large, urban planetarium. To investigate the extent of audience's change related to galaxy‐related spatial concepts, an identical set of questions was asked on iPads before and after the film was shown. A delayed posttest was given to 123 of those adults approximately 6 months later. Test performances were analyzed using repeated measures analysis of covariances (ANCOVAs) with demographic and spatial visualization ability measures as covariates. Results show identical short‐term learning gains in both the 2D and stereoscopic groups. However, only the stereoscopic group exhibited long‐term learning gains. Findings were interpreted through the lenses of cognitive load theory and the limited capacity model of mediated message processing.
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Engaging body gestures supports making sense of astronomical phenomena. We can hold a coin at arm’s length and look at its portrait to understand how small the Ultra Deep Field image is. We can zoom out from our solar system and galaxy at... more
Engaging body gestures supports making sense of astronomical phenomena. We can hold a coin at arm’s length and look at its portrait to understand how small the Ultra Deep Field image is. We can zoom out from our solar system and galaxy at exponential speed, creating the illusion of shrinking space. Simulated left and right eye views are offset to enhance spatial depth; yet, in human scale, stereoscopy only works up to a few feet away. By adjusting scales we are sizing the Universe so that we can dance with galaxies. Tailoring space brings the Universe into our personal spaces.
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This paper frames best practices for developing planetarium shows in the context of experiences that take advantage of the human perceptual system through variables derived from natural experience. Also considered are art performances... more
This paper frames best practices for developing planetarium shows in the context of experiences that take advantage of the human perceptual system through variables derived from natural experience. Also considered are art performances which expand ideas of embodiment in scientific visualization. Examples cited are efforts the author contributed to while researching, coordinating and producing interactive experiences at a planetarium for the past eight years. Recommendations for a multidisciplinary collaborative process are included as well.
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Research Interests: Quantum Mechanics, Molecular Dynamics, Middleware, Data Visualisation, Density Functional Theory, and 9 moreReal Time, High performance, High Resolution, High resolution satelite image, High speed networks, Message Passing Interface, High Definition, Scalable Adaptive Graphics Environment, and Tiled display
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This paper frames issues of trans-scalar perception in visualization, reflecting on the limits of the human senses, particularly those which are related to space, and describe planetarium shows, presentations, and exhibit experiences of... more
This paper frames issues of trans-scalar perception in visualization, reflecting on the limits of the human senses, particularly those which are related to space, and describe planetarium shows, presentations, and exhibit experiences of spatial immersion and interaction in real time.
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Interactive and immersive synthetic experiences may utilize or even redesign the overall sense of embodiment of the person experiencing them mindfully. Because experience is ultimately mediated by the body, it is necessary to look at its... more
Interactive and immersive synthetic experiences may utilize or even redesign the overall sense of embodiment of the person experiencing them mindfully. Because experience is ultimately mediated by the body, it is necessary to look at its affordances and constraints in physical space as the referent. The real-time quality and variety of connections to the body that are available to provide input into synthetic realities aid in extending the body into the virtual, to the point of being capable of redefining that body and its relation to the thought process in the embodied experience. In this article, first, mindfulness is characterized by the advantages it opens to representations such as those of synthetic environments. Then, the enactive approach is used to describe mindful embodiment in these environments. Other literature is called forward to consider how embodiment relates to self-representation as an attribute of presence in virtual space, how embodiment also relates to the perceptual system that is reformulated or extended by technology, and finally, how it is articulated in semantic constructions built from the experience of the body, which tie representation to the expansion of these constructions arguably created for the purpose of collective consciousness, which can be further understood as part of human evolution.
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This paper presents several immersion and interaction related visualizations that engage visitors in the context of an astronomy museum in order to help them build a mental model of the building as a whole, corresponding to the body of a... more
This paper presents several immersion and interaction related visualizations that engage visitors in the context of an astronomy museum in order to help them build a mental model of the building as a whole, corresponding to the body of a spacecraft, and its parts considered individually, corresponding to the knowledge articulated from different scales in the Universe. Aspects of embodiment are utilized to find parallels with current trans-disciplinary theoretical developments in media arts.
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Real time computer graphics and complex sensory input challenge past assumptions of highly constrained metaphors based on static imagery. Access to research and gaming interfaces have popularized the understanding of tracking technologies... more
Real time computer graphics and complex sensory input challenge past assumptions of highly constrained metaphors based on static imagery. Access to research and gaming interfaces have popularized the understanding of tracking technologies that tailor interaction to ambulatory displacement and dexterous handling of objects, expanding the realm of metaphors from visual to physical phenomena. But behavior and the mind have been studied far before there were real time computer graphics or digitally created synthetic environments. Dynamic relationships between environment, body, and thought are being dissected today by neuro-scientific research, and conversely, synthetic environments are being utilized to address psychological disorders. This paper examines research on scientific and philosophical fields that advance the definition of representation, from an image based realm as limited by previous popular media, to an understanding of action and immersion, where attention is activated by change, and rooted in the body. From this perspective, the advent of embodied representation may not be as much of a change of medium, but the perceptual relation with the medium. The medium being a created Umwelt, where the virtual world builds the mind through the body.
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The synthetic experience can be understood as the natural experience extended through technological means. These means are usually designed to immerse a person or people into a representation of reality, being that reality is one of being... more
The synthetic experience can be understood as the natural experience extended through technological means. These means are usually designed to immerse a person or people into a representation of reality, being that reality is one of being immersed in a task, a state of mind or an imagined space, or a combination of them. To represent reality, technology is built around the human perceptual system that connects with the focus of its attention towards the outside world. In handling reality, the human perceptual system also extends inwards, to patterns of reasoning where the structure of the body, that is, the perceptual system itself, models the organization of ideas and interaction. Therefore, a synthetic experience has unique potential to allow for interaction with structures of the mind.
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The idea of space in representation has significantly changed over the past few decades. This paper reflects on the space of the body in terms of scale, and the common space of our planet in terms of resolution. In the dimensional space... more
The idea of space in representation has significantly changed over the past few decades. This paper reflects on the space of the body in terms of scale, and the common space of our planet in terms of resolution. In the dimensional space of the body, space can be mapped to two, three, and higher dimensional structures or virtual spaces in order for the person to embody abstract concepts. Planetary space, on the other hand, is being augmented through geolocation utilizing satellite, phone towers, and wireless positioning data in what could constitute a representational takeover. Cities are constructed spaces, and also representational environments as perceived through tracking technologies. Synthetic objects are being laid on the spaces we inhabit through Augmented Reality (AR), that further bond our bodies to the structure of our thoughts, bypassing cumbersome device interface constrains. As the resolution for positioning of virtual objects in real time through AR increases in central and wealthy urban spaces, voids remain, abandoned to reality.
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The purpose of this presentation is to consider how gesture and tracking devices are permeating the collective experience of immersive environments such as planetarium domes. New research suggests that the inclusion of body motion for the... more
The purpose of this presentation is to consider how gesture and tracking devices are permeating the collective experience of immersive environments such as planetarium domes. New research suggests that the inclusion of body motion for the facilitator or the public can help with focus and integration of abstract concepts by supporting them through embodiment techniques.
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The diversity of designs and techniques used to build environments around the human perceptual system in order to immerse people into synthetic experiences have created a diversity of approaches. Some may immerse the person in structures... more
The diversity of designs and techniques used to build environments around the human perceptual system in order to immerse people into synthetic experiences have created a diversity of approaches. Some may immerse the person in structures that cannot be accessed otherwise because of scale or time. Others may bring together different phenomena that do not normally happen simultaneously. In this presentation I attempt to categorize the kinds of experiences that are being built around our bodies and minds utilizing complex devices that extend senses and cognitive structures, thus mediating the way we experience and process to understand the world around us.
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Access to imagery from new sources, the increasing amount and complexity of multidimensional data, and novel data processing techniques are stretching our understanding to the point where we need to make sense of interdependent visual... more
Access to imagery from new sources, the increasing amount and complexity of multidimensional data, and novel data processing techniques are stretching our understanding to the point where we need to make sense of interdependent visual patterns which correspond to living systems and dynamic phenomena at multiple size and time scales. Fragments from human experience such as visual perception can all be described as patterns we can notice and recognize. In this presentation I will survey occurrences of overlapping patterns in visual representation and highlight its significance on immersive visualization.
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A common question planetarians get asked when virtually traveling through the Universe is whether what is being presented is 'real'. Scientific Visualization tools that include spatio-temporal navigation present adjusted versions of... more
A common question planetarians get asked when virtually traveling through the Universe is whether what is being presented is 'real'. Scientific Visualization tools that include spatio-temporal navigation present adjusted versions of reality that allow us to comprehend planetary, galactic and cosmic realms seamlessly. In turn, our existence on Earth predisposes each of us to bring our planetary experiences as kinds of biases to the cosmic data we seek to understand. This paper will offer approaches and strategies to maintain, reconnect and establish new connections between our direct experiences and the scientific visualization techniques through which we explore the Universe.
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In May of 2007, the Space Visualization Laboratory (SVL) opened at Adler Planetarium & Astronomy Museum. This working laboratory bridges research and technology with the experience of museum visitors. First, new technologies and... more
In May of 2007, the Space Visualization Laboratory (SVL) opened at Adler Planetarium & Astronomy Museum. This working laboratory bridges research and technology with the experience of museum visitors. First, new technologies and visualization tools allow scientists, artists, educators and engineers to create new interactive experiences for museum visitors. Second, the devices in the laboratory enable the exploration of new ways for both experts and the public to interact with many types of large astronomical datasets. Third, new technologies and modes of interaction are developed and evaluated on visitors to support shows and exhibit production. Finally, the laboratory is located on the exhibitions floor, allowing visitors to get an insider view of the production process and contribute to the ongoing growth of the museum. To this end, the many aspects of the SVL are evaluated in terms of audience experience and working space in three different modes the times when the laboratory is open for the public to engage with content experts, the times when the laboratory is open for the public to explore on their own, and the times that visitors can see staff working through a glass wall.
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The aesthetic experience of the planetarium is very unique in a number of ways by being capable of collective immersion in a kind of dynamic architectural navigation of virtual spaces that traverses scales by orders of magnitude. The... more
The aesthetic experience of the planetarium is very unique in a number of ways by being capable of collective immersion in a kind of dynamic architectural navigation of virtual spaces that traverses scales by orders of magnitude. The experience is seamless and usually slow and majestic which technically helps prevent car/spacecraft sickness, which in turn would reveal the conflict between the human senses of vision and balance-where vision says the person viewing is moving but the middle ear says the person is not moving. Yet, as media such as Virtual and Augmented Reality (VR/AR) become popularized, more people learn to detach the senses of vision and balance when there is peripheral motion, and the aesthetics to manage how our senses converge changes. This presentation argues for the addition of the proprioceptive sense in the aesthetic considerations of designing a planetarium show that traverses these scales, not only from cinematic parameters, but from the understanding that viewers are increasingly becoming familiar with media that has tracking, and thus expect revised aesthetics from the shows-even if shows do not include an individual tracking capability. Moreover, the offerings of planetarium shows in VR mode for the public to watch from home during the time of the Covid-19 world pandemic, where viewers can look around using head mounted displays (including mobile phones mounted in holders), is undoubtedly pushing forward the need to consider an expanded notion of immersive and tracked aesthetics. Planetariums and perception Unlike flat screen theaters, planetariums and other hemispherical projection theaters afford the public to look around as if surrounded by the image presented, and having imagery in the periphery of the visual field indicating one is inside the world being portrayed. In recent decades, the advent of digital domes merged digital cinema with star projection systems showing real time movement through the image being seen, and algorithmically scaling to star and galactic realms. Still, such scale shifts are not noticed by the public because the image is usually monoscopic and perhaps there is no parallax to be compared when scale shifting. Even though movement is perceived, scale change may not be acknowledged via the sensory clues in multiple places provided by a planetarium experience. Cross sensing space Space is directly sensed and acted upon in many ways by the human body: from looking around, to hearing how sounds echo or reverberate, to humidity and temperature, and the overall the effects of moving through an environment. Even with eyes closed it is possible to have an understanding of the space surrounding the body through sensory clues "through the logic of relation from the point of view of emergent order" (Peirce cited in Masumi, 2002). It is also worth considering how sensory clues work together in evaluating space, and non neu-rotypical individuals such as those who have different sensory motor ranges live in spaces
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This poster describes perceptual aspects addressed by Virtual and Augmented Reality (VR/AR) applications, and how these mediums reflect on the planetarium dome experience. Human senses are not equal in terms of space, and vision is the... more
This poster describes perceptual aspects addressed by Virtual and Augmented Reality (VR/AR) applications, and how these mediums reflect on the planetarium dome experience. Human senses are not equal in terms of space, and vision is the only sense capable of escaping Earth’s atmosphere. Telescopes extend vision even further. The data comes back to us to be scaled to what we can experience with our body, creating a virtual model that is real yet can never be realistic. Understanding the capabilities and vocabulary of the human body, accumulated by being in the world, and how the different senses come together in perception is part of the artist’s research. As AR/VR spread into public consciousness allowing us to experiment with spatial and temporal abstractions, astronomy visualization in the planetarium dome is enriched, further enhancing our connection to the Universe.
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This poster offers insights on the artistic practice of creating virtual environments that are responsive to body motion in order to bring attention to the present. The act of being in a spatial environment where visual consequences... more
This poster offers insights on the artistic practice of creating
virtual environments that are responsive to body motion in
order to bring attention to the present. The act of being
in a spatial environment where visual consequences
reflect the body that triggered them are sought to
help focus the mind in a way akin to what Varela
described as “perceptually guided action.”
virtual environments that are responsive to body motion in
order to bring attention to the present. The act of being
in a spatial environment where visual consequences
reflect the body that triggered them are sought to
help focus the mind in a way akin to what Varela
described as “perceptually guided action.”
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A very large poster comprising all six large posters I designed to complement the 8K fulldome show "The Searcher" which was produced to welcome visitors to the opening of the then highest resolution dome in the world. The poster was... more
A very large poster comprising all six large posters I designed to complement the 8K fulldome show "The Searcher" which was produced to welcome visitors to the opening of the then highest resolution dome in the world. The poster was presented at the International Planetarium Society conference, IPS 2012, and lists content producers for both the show and the posters, art director of the show who had the vision for the whole, as well as the technical director who arranged and rendered the materials created by various astronomy and visualization researchers across the country.
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Opened in February of 2007, the Space Visualization Laboratory (SVL) researches current astronomy data and visualization developments in collaboration with various academic institutions. The SVL has also a schedule of local and visiting... more
Opened in February of 2007, the Space Visualization Laboratory (SVL) researches current astronomy data and visualization developments in collaboration with various academic institutions. The SVL has also a schedule of local and visiting astrophysicists who present their research utilizing the SVL’s immersive 3D, interactive, and ultra-high-resolution devices. This diverse set of visual explorations enrich the dialog among museum departments and set a vocabulary from which to design dome, 3D theater, and exhibition floor experiences. In this poster we present selected case studies and lessons learned.
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The Cosmic Web poster won the Poster and Graphics section of the NSF Visualization Challenge 2011. The different cosmic web visualizations are the work of Dr. Miguel Angel Aragón-Calvo which I selected and arranged into one composition... more
The Cosmic Web poster won the Poster and Graphics section of the NSF Visualization Challenge 2011. The different cosmic web visualizations are the work of Dr. Miguel Angel Aragón-Calvo which I selected and arranged into one composition and then a poster layout. The poster was also showcased in the cover of Science Magazine and has been used for the competition's promotional material since. If you wish to have a print of this poster, you can check the link attached to this page which Dr. Aragón-Calvo set up because of the many people asking. http://www.zazzle.com/the_cosmic_web_poster-228798473899968820
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This poster focuses on the use of various spatial and temporal relationships in immersive environments, such as dome shows, stereoscopic displays, and interactive simulations, to effectively communicate the vast scales afforded in... more
This poster focuses on the use of various spatial and temporal relationships in immersive environments, such as dome shows, stereoscopic displays, and interactive simulations, to effectively communicate the vast scales afforded in astronomy research.
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The Education and Public Outreach Team for NASA's Interstellar Boundary Boundary Explorer (IBEX) mission conducted educational research with museum visitors to discover their knowledge and misconceptions about plasma and the behavior of... more
The Education and Public Outreach Team for NASA's Interstellar Boundary Boundary Explorer (IBEX) mission conducted educational research with museum visitors to discover their knowledge and misconceptions about plasma and the behavior of charged particles. Based upon the results, the team is developing web-based interactives, which strive to improve participant understanding of those topics. This poster describes the process of our product development. In addition, we plan to demonstrate the products.
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A projection-based virtual reality system combines a cubed grid with the perspective of the user to represent high-dimensional spaces.... more
A projection-based virtual reality system combines a cubed grid with the perspective of the user to represent high-dimensional spaces.
http://spie.org/newsroom/0210-complex-flexible-virtual-environments-based-on-a-four-dimensional-grid?SSO=1
http://spie.org/newsroom/0210-complex-flexible-virtual-environments-based-on-a-four-dimensional-grid?SSO=1
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This describes perceptual aspects addressed by virtual and augmented reality applications, and how these medi- ums reflect on the planetarium dome experience. Spatially speaking, human senses are not equal in terms of distance, and vision... more
This describes perceptual aspects addressed by virtual and augmented reality applications, and how these medi- ums reflect on the planetarium dome experience. Spatially speaking, human senses are not equal in terms of distance, and vision is the only sense capable of escaping Earth’s atmosphere. Telescopes extend our vision even further. Virtual reality (VR) and other experiential configurations are spreading into public consciousness through interactive and mobile applications, which experiment with spatial and temporal abstractions. In this context, astronomical data that lies beyond human perception needs to be scaled to what we can experience with our body, creating a virtual model that is real, yet can never be realistic.
Understanding the capabilities and vocabulary of the human body, accumulated by living in the real world, and how the different senses come together in perception and meaning, is part of artists’ research. An artist’s research being part of astronomy visualization development in the planetarium dome further strengthens our connection to the universe.
Understanding the capabilities and vocabulary of the human body, accumulated by living in the real world, and how the different senses come together in perception and meaning, is part of artists’ research. An artist’s research being part of astronomy visualization development in the planetarium dome further strengthens our connection to the universe.
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The Science, Art and Trash project seeks to make a hidden aspect of reality visible: waste that is hard to convert to something useful as in the case of plastic disposables. The author has lived in the same neighborhood for over 20 years,... more
The Science, Art and Trash project seeks to make a hidden aspect of reality visible: waste that is hard to convert to something useful as in the case of plastic disposables. The author has lived in the same neighborhood for over 20 years, picking up litter from the front yard almost every day. Streets are generally clean because almost all neighbors do the same. Yet the question of behavior change in terms of avoiding disposables has remained hidden in the act of putting litter away without knowing how much is really out there. Enter citizen and community science data collection and classification projects which afford knowledge gains, and can allow neighbors to see what others have found and, in doing so, appreciate the extent of the pollution. They not only make the subject of garbage and its relation to personal behavior visible, but also afford experiencing how data is important for decision making as part of collective effort. To amplify the visibility of the data in the community, it was compiled into an array and then digitally overexposed into a fragment of a historical postcard in a mosaic fashion. From a distance, the building landmarks in the postcard can be discerned. When close to the image, each piece of litter can be clearly recognized, inviting viewers to reflect not only on the individual pieces depicted, but on the amount of trash that makes the resolution of the image possible. Several local businesses and institutions near the village main street participated in a mini traveling exhibit where the image was hosted by each location two weeks at a time, either in a wall inside the location, or in a display window during the Summer and Fall of 2019.
For full article see: https://medium.com/@julietina/from-galaxies-to-garbage-e136b193eba0?sk=f2712dd1982a8f22f15e1870fc203a99
For full article see: https://medium.com/@julietina/from-galaxies-to-garbage-e136b193eba0?sk=f2712dd1982a8f22f15e1870fc203a99
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A residence application submitted March of 2019 to the Santa Fe Institute. https://medium.com/@julietina/we-can-understand-diversity-at-different-scales-5684d18bf8df
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Describing how astronomy visualization is about changing time, scale and color in order to understand things we cannot otherwise see, to kids age 9-12.
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Team: Janet Ginsburg, Kent Nebergall, Julieta Aguilera, Alex Maties Links, final and draft: http://trackernewsdots.tumblr.com/post/83111753709/science-hack-day-chicago-2014-reinventing-the http://sentiospacehack.blogspot.com A fun hack... more
Team: Janet Ginsburg, Kent Nebergall, Julieta Aguilera, Alex Maties
Links, final and draft:
http://trackernewsdots.tumblr.com/post/83111753709/science-hack-day-chicago-2014-reinventing-the
http://sentiospacehack.blogspot.com
A fun hack day session at Adler from 2014 where we theorized how designing a spacesuit that remaps the senses to aspects of reality that are not apparent to the body, would more fully take advantage of human capabilities that are cut off when outside of Earth's atmosphere.
Links, final and draft:
http://trackernewsdots.tumblr.com/post/83111753709/science-hack-day-chicago-2014-reinventing-the
http://sentiospacehack.blogspot.com
A fun hack day session at Adler from 2014 where we theorized how designing a spacesuit that remaps the senses to aspects of reality that are not apparent to the body, would more fully take advantage of human capabilities that are cut off when outside of Earth's atmosphere.
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I was asked to write an article about my 2006 paper for SPIE Newsroom.
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...welcome you to this Special Issue of Interacting with Computers on the topic of Presence and Interaction. 2 List of reviewers Julieta Aguilera Mariano Alcaniz David Benyon Stephane Bouchard Guillaume Chanel Pietro Cipresso Davide... more
...welcome you to this Special Issue of Interacting with Computers on the topic of Presence and Interaction. 2 List of reviewers Julieta Aguilera Mariano Alcaniz David Benyon Stephane Bouchard Guillaume Chanel Pietro Cipresso Davide Fornari Andrea Gaggioli Martijn...