Research
MAT 256 Visual Design through Algorithms
August Black, George Legrady, Marvin
Jasper
EVL
(Electronic Visualization Laboratory)
The CAVE is a projection based virtual reality system developed
at the Electronic Visualization Lab in 1992; it was created by Carolina
Cruz-Neira, Dan Sandin, and Tom DeFanti, along with other students and
staff of EVL. [Description]
[Overview]
[User's
guide] [Wand]
[Parts]
[Demos]
[Cave Installations]
Ars Electronica Demos [1]
[2]
[3]
Basic Structure
The premise was that more than one user will have to react
to the same environment if VR where to become an effective tool. The achievement
of Sandin and Defanti was the CAVE (Cave Automatic Virtual Environment)
facility designed at the Electronic Visualization Lab.(EVL), University
of Chicago.
• 10ft.-cubed room that is rear projected
with stereoscopic images, creating the illusion that 3D objects
appear to coexist with the user in the room.
• The user wears liquid crystal shutter glasses
to resolve the stereoscopic images, and
• holds a wand for 3D interaction with the virtual
environment.
• An electromagnetic tracking system attached to
the glasses and the wand allows the
CAVE to determine the location and orientation of the users head and hand
at any given moment. This information is used by a high-speed computer
to drive the CAVE to render imagery from the viewers point of view.
• Speakers are mounted in the CAVE to provide enviromrental sounds
from the virtual environment and audio from remote particpants.
Some more than 300 CAVE and CAVE-like devices have been employed around
the world in research facilities, universities, museums and industrial
design centers.
Dan Sandin, Media artist
Carolina Cruz-Neira , Iowa State University
ICUBE Immersive Virtual reality Technology
Eon ICUBE multi-sided interactive space
University of Nottingham Virtual Reality Applications Team
Virtual Prototyping
Design of a Sensor Interface Using the I-Cube System
Human Computer Interaction, Terry Winograd
VR Interaction techniques & Metaphors [hitlab, U Washington]
Open Source VR Toolkit
FakeSpace [Cave]
3D AutoStereoscopic Display
Military
Accelerometers and Gyroscopes
Xsens MT9 Inertial Measurement
Units
3D Crista
Inertial Measurement Unit, Cloud Cap Tech
Honeywell
Space Integrated GPS
Raytheon Integrated
GPS Systems
Myron Krueger (From Marvin Jasper)
With the advent of TV in the 60's and 70's saw development of electronics/ video/holographics in art with such artists using these new technology tools as Jordan Belson, John Whitney, Allan Kaprow, Nam June Paik, et al. Krueger was among the first of these artists to use computer technologies as a principal component in interactive art. He pioneered a new aesthetic median based on real-time man-machine interaction in the context of physical environment. He defines the Responsive Environment as intelligent, real-time, computer-mediated space where the computer responds to or preceives gestures of the audience by interpreting their actions.
As a contemporary of John Cage, Krueger was influenced by the indeterminacy and audience participation of his compositions. Key to Krueger's work, is that the computer-established interactive environment creates a context, an artificial realty, between the viewer and his environment. Interplay between the viewer's real physical environment and the virtual is achieved to form a new relationship.The input-output relationship may be arbitrary and variable. It is the composition of the relationships between action and response that is important. As Krueger puts it, the response is the median of expression. Since the participant is an active contributor in the artistic expression, Krueger has designed his installations for the lay public to provide an initimacy and affirmation with the technology. As he points out, it is important for that the contemporary public to embrace the tools that define it's culture.
Arnolfini's mirror: "Optics and realism in Renaissance art," Scientific American, 291(6):76-84, December 2004, [Stork]
Velasquez' Las Meninas
Mathematics in Art
