Visual analysis of 3D characters and animations used in the presentation of cultural heritage at museums

IF 0.6 4区 管理学 0 HUMANITIES, MULTIDISCIPLINARY
Özlem Vargün
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引用次数: 0

Abstract

Digital characters are imaginary or realistic-looking entities created with computer programs. It can be used in cartoons and animations, as well as in many different areas such as games, advertisements, and the cinema sector. Avatars that represent real identities on digital platforms such as the metaverse today also consist of digital characters. Modeling digital characters that can replace real identities in the digital world is relatively easy. However, there are many paradigms in modeling a historical character in which the cultural heritage is reflected and therefore requires a difficult and laborious process. Information about the period in which a historical character lived is very limited, it is not possible to know exactly the culture, lifestyle, eating habits, speech, tone of voice, behaviour, and body movements of the period. Moreover, this character’s breaking away from history and interacting with today’s human is equivalent to interacting with an alien. Therefore, when it comes to cultural heritage, the characters either do not speak and have very limited movements, or if they interact, there are examples modelled from recent history. Today we live in a digital age, our tendency to communicate with visuals and watch events with moving images is dominant. In this case, the date and the information about the date are interesting if they are visualized. For this reason, it is necessary to speak the language of the digital age in order to reflect the cultural heritage and present history to the youth. Interaction and reflection of experience-oriented history with augmented reality, virtual reality or augmented reality has become the determinant of the post-digital age, not digital any more. They have become a necessity for history, culture, and archaeology. Virtual reality applications, storytelling with digital characters, have become a tool that encourages participation and motivation for today’s user. In this research, the scale in the table of Spyros Vosinakis “Dimensions, definitions and possible values related to the cultural heritage application use of digital characters” was developed and used. A historical character modelled in 3D according to this scale is “design: which era, clothing accessories and body covering preferences”, “reality: virtual, augmented mixed reality”, “credibility: movement, facial expressions, gaze, personality, emotion transfer” “environment: Criteria such as the credibility of the environment in which the character is presented, “interaction: interaction with the user, the use of artificial intelligence, decision-making, responding”, “function: showing, telling a story”, “reflecting history: what information is given” are examined. The characters of Mona Lisa, John Calvin, Uruk City, Hagia Sophia, Lady Ada Byron and Salvador Dali, which were taken into the scope of the research with the purposeful sampling method, are analysed by content analysis method. According to the findings, it was concluded that the details, clothing, accessory colours, and coatings in the models play an important role in increasing the believability, the ability of the characters to move, the voice acting, and the interaction increase the reality. When augmented reality and virtual reality experiences are compared, it can be said that the reality perception of the user who is teleported to the historical place increases more with the complete isolation of virtual reality from the external environment. Finally, it is thought that the inclusion of human characteristics such as movement, verbal skills, mimics, and personality in the design, as well as realistic character design, plays an important role in increasing the number and interaction of participants, due to their reality.
在博物馆展示文化遗产时使用的3D人物和动画的视觉分析
数字人物是用计算机程序创造的虚构或逼真的实体。它可以用于卡通和动画,以及许多不同的领域,如游戏,广告和电影部门。如今在虚拟世界等数字平台上代表真实身份的化身也由数字角色组成。在数字世界中,为可以取代真实身份的数字角色建模相对容易。然而,在塑造一个反映文化遗产的历史人物时,存在许多范式,因此需要一个艰难而艰苦的过程。关于一个历史人物所处时期的信息是非常有限的,不可能确切地知道那个时期的文化、生活方式、饮食习惯、讲话、语调、行为和肢体动作。而且,这个角色脱离历史,与今天的人类互动,相当于与外星人互动。因此,当涉及到文化遗产时,角色要么不会说话,动作也非常有限,要么如果他们互动,就有来自近代史的例子。今天,我们生活在一个数字时代,我们倾向于用视觉交流,用动态图像观看事件。在这种情况下,如果日期和关于日期的信息是可视化的,那么它们是有趣的。因此,有必要说数字时代的语言,以反映文化遗产,向年轻人展示历史。以体验为导向的历史与增强现实、虚拟现实或增强现实的互动和反思,已成为后数字时代的决定因素,而不再是数字时代。它们已成为历史、文化和考古的必需品。虚拟现实应用程序,用数字角色讲故事,已经成为鼓励当今用户参与和激励的工具。在本研究中,我们开发并使用了Spyros Vosinakis“数字字符文化遗产应用使用相关的维度、定义和可能价值”表中的量表。根据这一尺度建立的3D历史人物模型是“设计:哪个时代、服装配饰和身体覆盖偏好”、“现实:虚拟、增强混合现实”、“可信度:动作、面部表情、注视、个性、情感转移”、“环境:人物所处环境的可信度等标准”、“互动:与用户互动、使用人工智能、决策、响应”、“功能:展示,讲述一个故事”,“反映历史:给出了什么信息”。通过有目的的抽样方法,将蒙娜丽莎、约翰·加尔文、乌鲁克城、圣索菲亚大教堂、艾达·拜伦夫人和萨尔瓦多·达利等人物纳入研究范围,并采用内容分析法进行分析。根据研究结果,我们得出结论,模特的细节、服装、配饰颜色和涂层在增加可信度方面发挥了重要作用,角色的移动能力、配音和互动增加了真实感。当将增强现实与虚拟现实体验进行比较时,可以说,随着虚拟现实与外部环境的完全隔离,被传送到历史地点的用户的现实感增加更多。最后,人们认为,在设计中包括人类的特征,如运动、语言技能、模仿和个性,以及逼真的角色设计,由于他们的真实性,在增加参与者的数量和互动方面发挥了重要作用。
本文章由计算机程序翻译,如有差异,请以英文原文为准。
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来源期刊
CiteScore
1.40
自引率
12.50%
发文量
0
期刊介绍: Through publication of the International Journal of Arts Management, the Carmelle and Rémi Marcoux Chair in Arts Management contributes to HEC Montréal’s global reach while consolidating its position as a world leader in research on cultural organizations. The Chair publishes teaching materials that are used in several universities both in Quebec and elsewhere. A prime example is the book Marketing Culture and the Arts, which has been translated into 11 languages. The Chair also publishes research and conference proceedings on topics of interest to managers in the arts and cultural sector. Aims: offers insight into management processes, and the ways in which arts organizations operate within the various disciplines of management, including marketing, human resources, finance, accounting, production and operation processes, and administration; identifies and encourages the development of best practices in the management of culture and the arts, and promotes their use through the publication of case studies and analyses; addresses current issues of key relevance to cultural and arts organizations in a rigorous and detailed fashion; presents studies, measurements, and other empirical research in the field of arts and cultural management; provides a forum for challenging and debating coherent theories and models, as well as their application in cultural and arts practice.
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