|本期目录/Table of Contents|

[1]花 晖.具身感知与洞穴故事:混合现实空间的符号系统及叙事法则[J].未来传播(浙江传媒学院学报),2024,(06):23-29.
点击复制

具身感知与洞穴故事:混合现实空间的符号系统及叙事法则()
分享到:

《未来传播》(浙江传媒学院学报)[ISSN:2096-8418/CN:33-1334/G2]

卷:
期数:
2024年06期
页码:
23-29
栏目:
智能传播
出版日期:
2024-12-20

文章信息/Info

Title:
-
文章编号:
2096-8418(2024)06-0023-07
作者:
花 晖
(上海交通大学媒体与传播学院,上海200240)
Author(s):
-
关键词:
混合现实符号学 混合现实叙事法则 WOz原型测试
分类号:
G206
DOI:
-
文献标志码:
A
摘要:
科技创新是发展新质文化生产力的核心要素,以“洞穴”为代表的混合现实技术迭代至今,已深入应用至各类文化展演场景,成为强化参与者感知、倚重机器生产内容的新型叙事媒体。引入并发展符号概念,在这种强调可“进入”的混合现实空间结构中,讨论其符号系统的启动与作用机制、叙事立方体的堆叠关系及内外部编码,并进一步结合WOz(Wizard of Oz)原型测试,确定跨模态交互的感官主导优势、叙事流走向以及心流视野下的游戏引擎,从而尝试总结出一套“混合现实符号学”的表达规律与叙事语法,加快前沿虚拟现实技术由实验室水平升级至文化生产水平。

参考文献/References:

[1] Schachter, B.J.(1983).Computer image generation.New York: Wiley.
[2] Cruz-Neira, C., Sandin, D.J., DeFanti, T.A., Kenyon, R.V.& Hart, J.C.(1992).The cave:Audio visual experience automatic virtual environment.Communications of the ACM,35(6):64-72.
[3] Cruz-Neira, C., Sandin, D.J. & DeFanti, T.A.(1993). Surround-screen projection-based virtual reality: The design and implementation of the cave. In Whitton, M.C.(eds.). Proceedings of the 20th annual conference on Computer graphics and interactive techniques. New York: Association for Computing Machinery, 135-142.
[4] 安德鲁·布拉夫,安德鲁·约翰逊,刘海平.《造物:交互》:一个混合现实的社交玩耍空间[J].世界美术,2020(1):23-27.
[5] Irawati, S., Green, S., Billinghurst, M., Duenser, A. & Ko, H.(2006). Move the couch where?: Developing an augmented reality multimodal interface. In Rutledge, C. & Schoenfeld, R.(eds.). Proceedings of the 5th IEEE and ACM International Symposium on Mixed and Augmented Reality. Washington: IEEE Computer Society, 183-186.
[6] Nguyen, T.N., Huynh, H.H.& Meunier, J.(2013).Static hand gesture recognition using artificial neural network.Journal of Image and Graphics, 1(1):34-38.
[7] 柯岩·托玛瑟利,达米安·托玛瑟利,尹倩.电影符号学、时空理论和虚拟现实符号学[J].上海交通大学学报(哲学社会科学版),2022(4):146-159.
[8][英]洛克.人类理解论[M].关文运,译.北京:商务印书馆,2017:109+115.
[9] Kato, M.& Konishi, Y.(2006).Auditory dominance in the error correction process:A synchronized tapping study.Brain Res, 1084:115-122.
[10] Chen, Q.& Zhou, X.L.(2013).Vision dominates at the preresponse level and audition dominates at the response level in cross-modal interaction: Behavioral and neural evidence.Journal of Neuroscience, 33(17): 7109-7121.
[11] 谭彬.混合现实下的空间叙事[J].艺术当代,2020(6):58-61.
[12] Hoffman, D.L.& Novak, T.P.(1996).Marketing in hypermedia computer-mediated environments: Conceptual foundations.Journal of Marketing, 60(3): 50-68.
[13] Hsu, C.L.& Lu, H.P.(2004).Why do people play on-line games? An extended TAM with social influences and flow experience.Information & Management, 41(7): 853-868.
[14] Csikszentmihalyi, M.(2000).The costs and benefits of consuming.Journal of Consumer Research, 27(2): 267-272.
[15] Ketchell, S., Chinthammit, W. & Engelke, U.(2019). Situated storytelling with SLAM enabled augmented reality. In Spencer, S.N.(eds.). Proceedings of the 17th International Conference on Virtual-Reality Continuum and Its Applications in Industry. New York: Association for Computing Machinery, 1-9.

相似文献/References:

备注/Memo

备注/Memo:
基金项目:国家社科基金艺术学项目“MR赋能中华传统文化展演新形态的理论与实践研究”(21BH161)。
作者简介:花晖,男,副教授,博士。
更新日期/Last Update: 2024-12-15