Thesis Chapters by Julieta C Aguilera
Doctoral Dissertation, 2019
Whole thesis can be downloaded from this link:
https://pearl.plymouth.ac.uk/ada-theses/85/
How... more Whole thesis can be downloaded from this link:
https://pearl.plymouth.ac.uk/ada-theses/85/
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.
MFA Thesis Documentation. Electronic Visualization, University of Illinois at Chicago, Apr 2006
UNFOLDING SPACE is a VR enveloping landscape of concave and convex forms, which are determined by... 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.
MFA Thesis Documentation, University of Notre Dame, May 1997
Books by Julieta C Aguilera
Handbook of Research on the Global Impacts and Roles of Immersive Media , 2020
This chapter deals with the global implications of immersive media: first it considers how the co... 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
Design, User Experience, and Usability. Design Philosophy and Theory , 2019
What does it mean to be a creature in space, able to displace oneself? After decades of passive s... 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
Papers by Julieta C Aguilera
Great Lakes Planetarium Association, 2019
It is not uncommon in the effort to present data that the notion of absolute standards tends to b... 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.
International Planetarium Society Conference, IPS 2018, 2018
As models are built about the Universe to replicate the "multi-sensory" data gathered by instrume... 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.
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Science Education, 2015
Science centers such as museums and planetariums have used stereoscopic (“three-dimensional”) fil... 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.
International Conference on Universal Access in Human-Computer Interaction, 2015
This paper articulates the challenges of the human senses in the experiencing of space at extreme... 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.
IS&T/SPIE's Electronic Imaging, San Jose, CA, Jan 2006
"As virtual/augmented reality evolves, the need for spaces that are responsive to structures inde... 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."
Human Computer Interaction HCI, Las Vegas, NV, Jul 2013
This paper articulates space as a visual, proprioceptive and physical experience that is the basi... 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.
This panel and dialog-paper explores the potentials at the intersection of art, science, immersio... 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.
Consciousness Reframed 12 Conference, Lisbon, Portugal, Nov 2011
Interactive and immersive synthetic experiences design or utilize the sense of embodiment of the ... 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?
Science Education, 2015
Science centers such as museums and planetariums have used stereoscopic (“three‐dimensional”) fil... 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.
Engaging body gestures supports making sense of astronomical phenomena. We can hold a coin at arm... 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.
Annual GLPA Conference, Oct 16, 2015
This paper frames best practices for developing planetarium shows in the context of experiences t... 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.
The Engineering Reality of Virtual Reality 2008, 2008
Voluble is a dynamic space-time diagram of the solar system. Voluble is designed to help users un... more Voluble is a dynamic space-time diagram of the solar system. Voluble is designed to help users understand the relationship between space and time in the motion of the planets around the sun. Voluble is set in virtual reality to relate these movements to our experience of immediate space. Beyond just the visual, understanding dynamic systems is naturally associated to the articulation of our bodies as we perform a number of complex calculations, albeit unconsciously, to deal with simple tasks. Such capabilities encompass spatial perception and memory. Voluble investigates the balance between the visually abstract and the spatially figurative in immersive development to help illuminate phenomena that are beyond the reach of human scale and time. While most diagrams, even computer-based interactive ones, are flat, three-dimensional real-time virtual reality representations are closer to our experience of space. The representation can be seen as if it was "really there," engaging a larger number of cues pertaining to our everyday spatial experience.
ACM/IEEE SC 2006 Conference (SC'06), 2006
The Scalable Adaptive Graphics Environment (SAGE) is specialized middleware for enabling data, hi... more The Scalable Adaptive Graphics Environment (SAGE) is specialized middleware for enabling data, high-definition video and extremely high-resolution graphics to be streamed in real-time from remotely distributed rendering and storage clusters to scalable display walls over ultrahigh-speed networks. In this paper, we present the SAGE architecture, focusing on its dynamic graphics streaming capability. In the SAGE framework, multiple visualization applications can be streamed to large tiled displays and viewed at the same time. The application windows can be moved, resized and overlapped like any standard desktop window manager. Every window movement or resize operation requires dynamic and non-trivial reconfiguration of the involved graphics streams. This approach has been successfully shown to scale to support streaming on the LambdaVision 100 Megapixel display wall. SAGE is now being extended to support distance collaboration with multiple endpoints by streaming visualization to all the participants.
Future Generation Computer Systems, 2006
The optical virtual concatenation (OVC) function of The Terabit LAN was demonstrated for the firs... more The optical virtual concatenation (OVC) function of The Terabit LAN was demonstrated for the first time at the iGrid 2005 workshop in San Diego, California. The TERAbit-LAN establishes a lambda group path (LGP) for an application where the number of lambdas/L2 connections in a LGP can be specified by the application. Each LGP is logically treated as one end-to-end optical path, so during parallel transport, the LGP channels have no relative latency deviation. However, optical path diversity (e.g. restoration) can cause LGP relative latency deviations and negatively affect quality of service. OVC hardware developed by NTT compensates for relative latency deviations to achieve a virtual bulk transport for the Electronic Visualization Laboratory's (EVL) Scalable Adaptive Graphics Environment application.
SPIE Proceedings | Volume 9392 | Work Harder and Play Harder in AR/VR , Mar 17, 2015
This paper frames issues of trans-scalar perception in visualization, reflecting on the limits 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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Thesis Chapters by Julieta C Aguilera
https://pearl.plymouth.ac.uk/ada-theses/85/
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.
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.
Books by Julieta C Aguilera
https://www.igi-global.com/book/handbook-research-global-impacts-roles/236585
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
Papers by Julieta C Aguilera
http://www.ips2018toulouse.org
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."
https://pearl.plymouth.ac.uk/ada-theses/85/
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.
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.
https://www.igi-global.com/book/handbook-research-global-impacts-roles/236585
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
http://www.ips2018toulouse.org
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."
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.”
Link to full abstract is at the top of this page. http://dl.acm.org/citation.cfm?doid=3092878.3092880
http://spie.org/newsroom/0210-complex-flexible-virtual-environments-based-on-a-four-dimensional-grid?SSO=1
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.
For full article see: https://medium.com/@julietina/from-galaxies-to-garbage-e136b193eba0?sk=f2712dd1982a8f22f15e1870fc203a99
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.