An Eye Gaze Model for Dyadic Interaction in an Immersive Virtual Environment: Practice and Experience

This paper describes a behavioural model used to simulate realistic eye‐gaze behaviour and body animations for avatars representing participants in a shared immersive virtual environment (IVE). The model was used in a study designed to explore the impact of avatar realism on the perceived quality of communication within a negotiation scenario. Our eye‐gaze model was based on data and studies carried out on the behaviour of eye‐gaze during face‐to‐face communication. The technical features of the model are reported here. Information about the motivation behind the study, experimental procedures and a full analysis of the results obtained are given in [ 17 ].     

沉浸式营销下品牌形象设计特征与传播策略研究

目的在沉浸式营销的背景下,以互联网企业品牌形象传播的现状及信息爆炸时代所带来的企业品牌形象设计策略革新为视角,探讨当代互联网企业品牌形象设计的特征及其传播在品牌发展和推广过程中的作用。方法结合知乎“不知道诊所”快闪店案例分析,从视觉基本元素的角度,详细论述了沉浸式营销之产物“快闪店”视觉形象的精准色彩匹配、简洁化图形设计等特征,探讨如何以视觉的冲击对互联网企业品牌形象进行有效的视觉传达。由此总结基于沉浸式营销模式下互联网企业品牌形象传播的策略。结论提出沉浸式营销背景下互联网企业利用快闪店的优势进行品牌形象传播的有效途径,传播过程中应注重以内容为主导、建立契合时代背景下消费者需求的品牌理念和输出获得市场认同的品牌价值观几个方面,以此促进良好品牌形象的构建。     

基于AR技术的食品包装互动性设计

目的研究AR技术的运用为食品包装带来的全新互动模式及意义。方法通过分析消费者心理并借助市场上已有的成功融合AR技术的食品包装案例,探析AR新技术条件下食品包装中的互动性设计。结论数字化时代背景下,包装数字智能化成为一种趋势,AR技术在食品包装领域的运用成功颠覆了消费者与包装的互动模式,实现互动由二维向三维的转化,创造了更加个性化的消费体验模式。     

生物柴油浸没喷吹的雾化特性

以生物柴油替代柴油进行浸没喷吹熔池熔炼是发展低碳铜冶炼的重要途径。针对该过程建立生物柴油浸没喷吹雾化流动过程计算模型,本文模拟计算了喷枪在水模型中浸没深度为20mm时不同油气比条件下生物柴油雾化颗粒的雾化特性,并实验验证了计算模型。研究结果表明：油滴颗粒的贯穿距随着空气流速的增加而增大;在气泡内油滴颗粒以一定的雾化半角向前扩散;当油滴颗粒到达气泡底部时,油滴颗粒以气泡底部平面为中心向整个空间扩散;气泡内距离喷枪轴向越远的观察面内大颗粒数目越多;油滴颗粒的索特平均直径（SMD）沿喷枪轴向先增大后减小;气泡内距喷枪口越远油滴颗粒SMD越大,进入水区域的油滴颗粒SMD逐渐减小;雾化空气流速越大,油滴颗粒SMD最大值的位置距喷口越远。     

梅岭玉博物馆的多维沉浸式体验设计策略研究

目的 为响应国家乡村振兴战略,弘扬中华优秀传统良渚“玉”文化,对常州市溧阳天目湖镇梅岭村的梅岭玉博物馆的展示空间进行沉浸式设计规划与策略研究。方法 通过VR虚拟现实技术、交互设计、数字化媒体等科技手段来探索乡村博物馆空间设计新模式,分别从沉浸式体验模式探索、虚拟现实技术在梅岭玉博物馆中的应用,跨媒介与数字化空间体验等方面探索沉浸式体验设计策略,参与乡村振兴实践活动过程来提出可行性规划与构想,努力探究未来美丽乡村建设的设计方法与路径。结论 在梅岭村博物馆设计过程中,不仅要使用新媒体技术,更要设计思维与策略创新,用当地的历史文化作为叙事性经典文化故事主题,充分融入乡村特色文化元素,建立多维沉浸体验,提升梅岭村的文旅地位和影响,助力乡村振兴。     

5G时代媒介融合视域下的童书沉浸式阅读体验研究

目的 互联网和新媒体技术的飞速发展,使出版行业面临新的发展机遇,VR/AR童书作为5G时代媒介融合下儿童新的阅读媒介,实现了“虚拟与现实”的有机结合,带给了儿童全新的阅读体验,但目前面临的交互效果差、形式单一、沉浸感较弱等问题亟待解决。方法 全面分析媒介融合视域下童书阅读沉浸体验的优势,并以此为目标,深入研究其达成路径与特点,通过精彩的创意、精致的设计及精巧的操作,将文化、艺术与科技完美结合,实现虚拟场景与阅读现实相互渗透、融合的“纸媒+多媒介”阅读形态,可以使儿童在阅读时获得良好的沉浸式体验。结论 对童书沉浸式阅读体验进行的研究,将推动童书出版的快速发展,加速推进媒介融合,为读者提供更加丰富的数字阅读产品和服务,满足新时代人们对精神文化和美好生活的新需求。     

Brigitta Zics: Working on Interactive Potential

Valentina Croci kicks off a new series on interactive technologies with an investigation of the integrated, interdisciplinary research of the new media artist Brigitta Zics. Zics' projects throw light on how conventional architecture might learn from the interactive, placing a greater understanding on the sensory and the user's perceptual experience of a particular space. Copyright © 2007 John Wiley & Sons, Ltd.     

Investigating Culture Through the Senses

Preserved for many centuries by volcanic rubble, the Roman sites of Pompeii and Herculaneum, in Southern Italy, most effectively evoke how the ancients lived. Valentina Croci reveals how MAV, the world's first virtual archaeology museum in Herculaneum, now enriches the visitor's experience and understanding of archaeological culture. Copyright © 2009 John Wiley & Sons, Ltd.     

注意力机制的曲面沉浸式投影系统补偿

目的 沉浸式投影系统已广泛运用于虚拟现实系统之中,然而沉浸式投影系统中的互反射现象严重影响着虚拟现实系统的落地使用。沉浸式投影系统的互反射是指由于投影机光线和屏幕反射光线相互叠加造成的亮度冗余现象,严重影响了投影系统的成像质量和人眼的视觉感受。为此,本文提出一种新的基于互反射通道(inter-reflection channel,IRC)先验和注意力机制的神经网络。方法 IRC先验基于这样一个事实,即大多数受到互反射影响的投影图像都包含一些亮度较高的区域。高亮度区域往往受互反射影响更为严重,而低亮度区域受互反射影响程度较低。根据这一规律,采用IRC先验作为注意力图的监督样本,获取补偿图像的亮度区域信息。同时,为了对投影图像不同区域按影响程度进行差异化补偿,提出一种新的由两个相同子网络构成的补偿网络结构Pair-Net。结果 实验对比了4种现有方法,Pair-Net在ROI(region of interesting)指标分析上取得了明显优势,在人眼感受上有显著的效果提升。结论 本文提出的基于注意力机制的网络模型能够针对不同区域进行差异化补偿,很大程度上消除了互反射影响,提升了沉浸式投影系统的成像质量。     

“If You Tilt This Game,Will It Explode?”: The politics of nuclear display at the New York Hall of Science (1966–1973)

This article analyzes the politics of nuclear display at the New York Hall of Science in the late 1960s and early 1970s. The Hall of Science, which had its beginnings in the 1964–1965 New York World's Fair, featured hands‐on atomic exhibits for children and was planning a monumental Nuclear Science Center with the full support of the Atomic Energy Commission. The Nuclear Science Center would have been the biggest permanent display on nuclear science and technology in the United States and the Atomarium its most spectacular exhibit. At the Atomarium, visitors would have watched a working nuclear reactor go critical from a spiral‐shaped theater‐in‐the‐round while listening to a demonstrator standing on a transparent plexiglass window located right above the reactor core lecturing on peaceful uses of atomic energy. This article analyzes the Hall of Science as a space in which contemporary tensions between nuclear exceptionalism and nuclear banalization were played out. In particular, the article explores how playful and immersive regimes of display played a political role in modulating nuclear fear at a time when, while promoting a private nuclear energy industry, the Atomic Energy Commission encountered growing resistance to nuclear power plants.