Every well intentioned innovation is eventually completely assimilated within the dominant imperative. For example, in VR glasses it has been devised to follow the eye movements, so that the image quality in the centre of your image field (the fovea centralis) is rendered high and low in the periphery. Less processor capacity for graphics leaves more for other aspects of the VR game. Meanwhile standard in VR glasses, used to pause commercials when users look away. Indeed, the imperative is earning, infinite growth from finite resources, and so this clever technical innovation is turned to serve that purpose. It is argued that universiteies, governments and businesses that we take our reponsibility in this.
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Every well intentioned innovation is eventually completely assimilated within the dominant imperative. For example, in VR glasses it has been devised to follow the eye movements, so that the image quality in the centre of your image field (the fovea centralis) is rendered high and low in the periphery. Less processor capacity for graphics leaves more for other aspects of the VR game. Meanwhile standard in VR glasses, used to pause commercials when users look away. Indeed, the imperative is earning, infinite growth from finite resources, and so this clever technical innovation is turned to serve that purpose. It is argued that universiteies, governments and businesses that we take our reponsibility in this.
MULTIFILE
Collaborative Mixed Reality Environments (CMREs) enable designing Performative Mixed Reality Experiences (PMREs) to engage participants’ physical bodies, mixed reality environments, and technologies utilized. However, the physical body is rarely purposefully incorporated throughout such design processes, leaving designers seated behind their desks, relying on their previous know-how and assumptions. In contrast, embodied design techniques from HCI and performing arts afford direct corporeal feedback to verify and adapt experiential aesthetics within the design process. This paper proposes a performative prototyping method, which combines bodystorming methods with Wizard of Oz techniques with a puppeteering approach, using inside-out somaesthetic- and outside-in dramaturgical perspectives. In addition, it suggests an interdisciplinary vocabulary to share and evaluate PMRE experiences during and after its design collaboration. This method is exemplified and investigated by comparing two case studies of PMRE design projects in higher-art education using the existing Social VR platform NEOS VR adapted as a CMRE.
First Virtual Reality Museum for Migrant Women: creating engagement and innovative participatory design approaches through Virtual Reality Spaces.“Imagine a place filled with important stories that are hard to tell. A place that embodies the collective experience of immigrant women during their temporary stay”. In this project the first museum around immigrant women in Virtual Reality is created and tested. Working with the only migration centre for women in Monterrey, Lamentos Escuchados, project members (professional developers, lecturers, and interior design, animation, media and humanity students) collaborate with immigrant women and the centre officials to understand the migrant women stories, their notion of space/home and the way they inhabit the centre. This VR museum helps to connect immigrant women with the community while exploring more flexible ways to educate architects and interior designers about alternative ways of doing architecture through participatory design approaches.Partners:University of Monterey (UDEM)Lamentos Escuchados
