Virtual reality

VR’s history began with the View-Master (a stereoscopic visual simulator) in 1939 and Morton Heilig’s 1950s’ Sensorama multi-experience theatre. The development of the first head-mounted display (HMD) followed in 1968. Then, designers focused on professionally geared applications in the 1970s and 1980s. With more sophisticated technology, they could tailor computerized VR experiences to the fields of military training, medicine and flight simulation. After 1990, just after “Virtual Reality” became popularly known, VR entered the wider consumer world through video-games. VR has since become progressively more affordable and sophisticated.

What Is Virtual Reality: Definitions, Devices, and Examples

Virtual reality (VR) technology is a growing force beyond entertainment and an important tool in education, science, commerce, manufacturing, and more. Learn the basics and the latest from experts about how VR impacts your world.

Virtual reality is the use of computer technology to create simulated environments. Virtual reality places the user inside a three-dimensional experience. Instead of viewing a screen in front of them, users are immersed in and interact with 3D worlds.

“We’ve only just begun the journey into mass-produced consumer headsets, used by businesses to present proposals and products to clients. AR is already popular in architecture and development, and not just with private developers. Local authorities and councils use this technology for town planning and sustainable development. AR doesn’t require a headset at this stage, so it’s extremely accessible, but I’d like to see AR and VR together in a headset in the future as this currently isn’t possible.”

The Three Types of Virtual Reality

All three types of VR, from non-immersive, semi-immersive, full immersive or a mixture of them, are also referred to as extended reality (XR). Three types of virtual reality experiences provide different levels of computer-generated simulation.

The three main VR categories are the following:

• Non-Immersive Virtual Reality: This category is often overlooked as VR simply because it’s so common. Non-immersive VR technology features a computer-generated virtual environment where the user simultaneously remains aware and controlled by their physical environment. Video games are a prime example of non-immersive VR.
• Semi-Immersive Virtual Reality: This type of VR provides an experience partially based in a virtual environment. This type of VR makes sense for educational and training purposes with graphical computing and large projector systems, such as flight simulators for pilot trainees.
• Fully Immersive Virtual Reality: Right now, there are no completely immersive VR technologies, but advances are so swift that they may be right around the corner. This type of VR generates the most realistic simulation experience, from sight to sound to sometimes even olfactory sensations. Car racing games are an example of immersive virtual reality that gives the user the sensation of speed and driving skills. Developed for gaming and other entertainment purposes, VR use in other sectors is increasing.

Virtual Reality vs Augmented Reality vs Mixed Reality

VR differs from augmented reality, where users remain anchored in the real world but experience computerized overlays. AR and VR—along with mixed reality (MR), where users interact with digital elements which are anchored to the real world—come under the umbrella term extended reality (XR). In AR, users employ devices (e.g., smartphones) to find parts of the real world (e.g., a room) overlaid with computer-generated input. Designers insert a range of digital elements such as graphics and GPS overlays which adjust to changes in the user’s environment (e.g., movement) in real time. In MR, users have a more sophisticated experience where digital interplays with real-world content—e.g., surgeons operating on patients via projected ultrasound images. In VR, users’ real-world movements translate fully to preprogrammed environments, letting them play along with convincing VR illusions. So, in VR design you offer users near-total escapism.

“Virtual Reality is really a new communication platform. By feeling truly present, you can share unbounded spaces and experiences with the people in your life. Imagine sharing not just moments with your friends online, but entire experiences and adventures.”

VR—Designing to Dupe the Senses

1. Safety and Comfort—Prevent virtual-reality sickness (like motion sickness, but stemming from sensory conflict/triggers from artificial environments). You want to immerse users in a—virtually—hermetically sealed environment. However, they can become disoriented. Users’ bodies are different. Where they experience VR can be just as varied. When they can move freely using your design, they can collide with/trip over things or fall. While some devices—e.g., the HTC Vive—warn users about objects, don’t overlook safety. Neck strains can arise from headset use. Additionally:

1. Let users see and use controls/menus.
2. Avoid changes in brightness and speed (don’t accelerate users; avoid flashing lights).
3. Keep frame rates high.
4. Keep peripheral motion minimal—users typically have 180-degree vision.

1. Interaction and Reaction—Design ergonomically for users’ natural movement. Systems’ head-tracking, motion-tracking and (possibly) eye-tracking sensors and hand controllers must respond dynamically. That means they must offer instant control which reflects real-world behavior. Users’ arms have 50–70-cm reach; so, place key interactions in this zone.
2. Image and Text Scale—Prevent eye strain and help user orientation with depth perception: your visuals keep changing, so make images more detailed as users approach them. Use eye-catching text. Comfortable focusing distances are typically 0.5–20 meters.
3. Sound—Use sound for atmosphere, and to give users a sense of place in the environment and cues.

As VR keeps advancing into the mainstream, a demographic shift is inevitable as more users expect to be teleported into exciting new experiences.The less they sense your interface, the more immersed they become.

virtual reality

virtual reality (VR), the use of computer modeling and simulation that enables a person to interact with an artificial three-dimensional (3-D) visual or other sensory environment. VR applications immerse the user in a computer-generated environment that simulates reality through the use of interactive devices, which send and receive information and are worn as goggles, headsets, gloves, or body suits. In a typical VR format, a user wearing a helmet with a stereoscopic screen views animated images of a simulated environment. The illusion of “being there” ( telepresence) is effected by motion sensors that pick up the user’s movements and adjust the view on the screen accordingly, usually in real time (the instant the user’s movement takes place). Thus, a user can tour a simulated suite of rooms, experiencing changing viewpoints and perspectives that are convincingly related to his own head turnings and steps. Wearing data gloves equipped with force-feedback devices that provide the sensation of touch, the user can even pick up and manipulate objects that he sees in the virtual environment.

The term virtual reality was coined in 1987 by Jaron Lanier, whose research and engineering contributed a number of products to the nascent VR industry. A common thread linking early VR research and technology development in the United States was the role of the federal government, particularly the Department of Defense, the National Science Foundation, and the National Aeronautics and Space Administration (NASA). Projects funded by these agencies and pursued at university-based research laboratories yielded an extensive pool of talented personnel in fields such as computer graphics, simulation, and networked environments and established links between academic, military, and commercial work. The history of this technological development, and the social context in which it took place, is the subject of this article.

Early work

Sensory stimulation was a promising method for creating virtual environments before the use of computers. After the release of a promotional film called This Is Cinerama (1952), the cinematographer Morton Heilig became fascinated with Cinerama and 3-D movies. Like Waller, he studied human sensory signals and illusions, hoping to realize a “cinema of the future.” By late 1960, Heilig had built an individual console with a variety of inputs—stereoscopic images, motion chair, audio, temperature changes, odours, and blown air—that he patented in 1962 as the Sensorama Simulator, designed to “stimulate the senses of an individual to simulate an actual experience realistically.” During the work on Sensorama, he also designed the Telesphere Mask, a head-mounted “stereoscopic 3-D TV display” that he patented in 1960. Although Heilig was unsuccessful in his efforts to market Sensorama, in the mid-1960s he extended the idea to a multiviewer theatre concept patented as the Experience Theater and a similar system called Thrillerama for the Walt Disney Company.

The seeds for virtual reality were planted in several computing fields during the 1950s and ’60s, especially in 3-D interactive computer graphics and vehicle/flight simulation. Beginning in the late 1940s, Project Whirlwind, funded by the U.S. Navy, and its successor project, the SAGE ( Semi-Automated Ground Environment) early-warning radar system, funded by the U.S. Air Force, first utilized cathode-ray tube (CRT) displays and input devices such as light pens (originally called “light guns”). By the time the SAGE system became operational in 1957, air force operators were routinely using these devices to display aircraft positions and manipulate related data.

During the 1950s, the popular cultural image of the computer was that of a calculating machine, an automated electronic brain capable of manipulating data at previously unimaginable speeds. The advent of more affordable second-generation (transistor) and third-generation (integrated circuit) computers emancipated the machines from this narrow view, and in doing so it shifted attention to ways in which computing could augment human potential rather than simply substituting for it in specialized domains conducive to number crunching. In 1960 Joseph Licklider, a professor at the Massachusetts Institute of Technology (MIT) specializing in psychoacoustics, posited a “man-computer symbiosis” and applied psychological principles to human-computer interactions and interfaces. He argued that a partnership between computers and the human brain would surpass the capabilities of either alone. As founding director of the new Information Processing Techniques Office (IPTO) of the Defense Advanced Research Projects Agency (DARPA), Licklider was able to fund and encourage projects that aligned with his vision of human-computer interaction while also serving priorities for military systems, such as data visualization and command-and-control systems.

Another pioneer was electrical engineer and computer scientist Ivan Sutherland, who began his work in computer graphics at MIT’s Lincoln Laboratory (where Whirlwind and SAGE had been developed). In 1963 Sutherland completed Sketchpad, a system for drawing interactively on a CRT display with a light pen and control board. Sutherland paid careful attention to the structure of data representation, which made his system useful for the interactive manipulation of images. In 1964 he was put in charge of IPTO, and from 1968 to 1976 he led the computer graphics program at the University of Utah, one of DARPA’s premier research centres. In 1965 Sutherland outlined the characteristics of what he called the “ultimate display” and speculated on how computer imagery could construct plausible and richly articulated virtual worlds. His notion of such a world began with visual representation and sensory input, but it did not end there; he also called for multiple modes of sensory input. DARPA sponsored work during the 1960s on output and input devices aligned with this vision, such as the Sketchpad III system by Timothy Johnson, which presented 3-D views of objects; Larry Roberts’s Lincoln Wand, a system for drawing in three dimensions; and Douglas Engelbart’s invention of a new input device, the computer mouse.

Resources:

https://www.marxentlabs.com/what-is-virtual-reality/
https://www.interaction-design.org/literature/topics/virtual-reality
https://www.britannica.com/technology/virtual-reality
Virtual reality

Virtual reality (VR) provides a new medium for the presentation of emotionally relevant, complex stimuli in an ecologically valid and at the same time highly controlled manner. Therefore, VR applications have attracted the attention of psychotherapists and researchers. In the past years, viable VR systems for varied applications in psychotherapy have been developed, most notably for exposure therapy in anxiety disorders. This article resumes the major applications of VR in psychotherapy, gives an overview of the current literature on its efficacy, and provides an outlook on future perspectives for psychotherapy and clinical research.

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HTC Vive Cosmos

Virtual reality is a fascinating way to travel using nothing more than the power of technology. With a headset and motion tracking, VR lets you look around a virtual space as if you’re actually there, or play a game as though you’re in it. VR’s been gaining traction in recent years thanks to compelling games and experiences, though it still seems very much in a state of flux, with headsets coming and going fairly rapidly. We’re tracking the best of what’s currently on the market here.

Oculus is focusing its efforts on a standalone VR headset, the Quest 2, but providing the option to connect it to a PC. HTC has the tethered Steam-friendly Vive Cosmos and Vive Pro 2, while HP has the more affordable Reverb G2. Sony has the PS4-compatible PlayStation VR. Valve has its own expensive Index headset. Even Microsoft is (sort of) supporting its Windows Mixed Reality platform with a scant few third-party headsets. Here’s what you need to know about all of them.

Virtual Reality and Other Realities

Eating Disorders and Obesity

VRs have also been used in the field of eating disorders and obesity, mainly for the treatment of body image disturbances. VRs offer the possibility of capturing the complex features of the body image and make it easier to work on its modification and correction ( Perpiñá, Botella, & Baños, 2003 ). VRs are also used for exposure, problem solving and practicing coping skills in difficult situations (eating/emotional/relational management). Two systematic reviews have already been conducted in this field. Ferrer-García and Gutierrez-Maldonado (2012) focused on VR for body image disturbances in eating disorders and found 12 studies (including controlled and uncontrolled studies) with nonclinical and clinical samples. The results of the review indicated that VRs are effective tools for treating body-image disturbances. The authors also recommend improving the methodological quality of the research in future studies.

Ferrer-García, Gutierrez-Maldonado, and Riva (2013) performed a second systematic review, but now including 17 studies with clinical samples suffering eating disorders and obesity and other applications of VR beyond the treatment of body image disturbances (eating/emotional/relational management). Again, they found evidence for the efficacy of VRs for eating disorders and obesity. The VR component was especially suitable for reducing body image disturbances and increasing self-efficacy and self-esteem.

Contents

What is virtual reality?

Virtual reality (VR) means experiencing things through our computers that don’t really exist. From that simple definition, the idea doesn’t sound especially new. When you look at an amazing Canaletto painting, for example, you’re experiencing the sites and sounds of Italy as it was about 250 years ago—so that’s a kind of virtual reality. In the same way, if you listen to ambient instrumental or classical music with your eyes closed, and start dreaming about things, isn’t that an example of virtual reality—an experience of a world that doesn’t really exist? What about losing yourself in a book or a movie? Surely that’s a kind of virtual reality?

One way of looking at virtual reality is as a means for a computer to take the place of "real reality" by substituting computerized pictures, sounds, and so on for the real-world sensory inputs we’re accustomed to. In other words, VR involves computers fooling humans. But there’s another way of seeing it too. The computer that controls the VR display and glove is using your movements as its input and presenting a new version of reality to you (on the screen and through your headphones) as its output. So in a sense, you’re fooling the computer as well, in precisely the opposite way. You and the computer are locked together in a mutual exercise that distorts each other’s idea of what is really real: you provide the computer’s input and it provides yours. That’s why it’s fair to say that VR involves a merging of mind and machine.

If we’re going to understand why books, movies, paintings, and pieces of music aren’t the same thing as virtual reality, we need to define VR fairly clearly. For the purposes of this simple, introductory article, I’m going to define it as:

1. Believable : You really need to feel like you’re in your virtual world (on Mars, or wherever) and to keep believing that, or the illusion of virtual reality will disappear.
2. Interactive : As you move around, the VR world needs to move with you. You can watch a 3D movie and be transported up to the Moon or down to the seabed—but it’s not interactive in any sense.
3. Computer-generated : Why is that important? Because only powerful machines, with realistic 3D computer graphics, are fast enough to make believable, interactive, alternative worlds that change in real-time as we move around them.
4. Explorable : A VR world needs to be big and detailed enough for you to explore. However realistic a painting is, it shows only one scene, from one perspective. A book can describe a vast and complex "virtual world," but you can only really explore it in a linear way, exactly as the author describes it.
5. Immersive : To be both believable and interactive, VR needs to engage both your body and your mind. Paintings by war artists can give us glimpses of conflict, but they can never fully convey the sight, sound, smell, taste, and feel of battle. You can play a flight simulator game on your home PC and be lost in a very realistic, interactive experience for hours (the landscape will constantly change as your plane flies through it), but it’s not like using a real flight simulator (where you sit in a hydraulically operated mockup of a real cockpit and feel actual forces as it tips and tilts), and even less like flying a plane.

Artwork: This Canaletto painting of Venice, Italy is believable and in some sense explorable (you can move your eyes around and think about different parts of the picture), but it’s not interactive, computer-generated, or immersive, so it doesn’t meet our definition of virtual reality: looking at this picture is not like being there. There’s nothing to stop us making an explorable equivalent in VR, but we need CGI—not oil paints—to do it. Picture courtesy of Wikimedia Commons.

We can see from this why reading a book, looking at a painting, listening to a classical symphony, or watching a movie don’t qualify as virtual reality. All of them offer partial glimpses of another reality, but none are interactive, explorable, or fully believable. If you’re sitting in a movie theater looking at a giant picture of Mars on the screen, and you suddenly turn your head too far, you’ll see and remember that you’re actually on Earth and the illusion will disappear. If you see something interesting on the screen, you can’t reach out and touch it or walk towards it; again, the illusion will simply disappear. So these forms of entertainment are essentially passive : however plausible they might be, they don’t actively engage you in any way.

VR is quite different. It makes you think you are actually living inside a completely believable virtual world (one in which, to use the technical jargon, you are partly or fully immersed ). It is two-way interactive: as you respond to what you see, what you see responds to you: if you turn your head around, what you see or hear in VR changes to match your new perspective.

Resources:

https://www.pcmag.com/picks/the-best-vr-headsets
https://www.sciencedirect.com/topics/social-sciences/virtual-reality
https://www.explainthatstuff.com/virtualreality.html
Virtual reality

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Virtual Reality

Medical applications chiefly fall into the two categories of visualization and training. Surgical suturing and minimally invasive surgery trainers are available commercially, and experimental work has been done on other procedures such as celius plexus block anesthesia administration. Visualization applications include analysis of CT and MRI scan data, sometimes with the ability to aid in planning for an upcoming surgery. Work has also been done at the University of North Carolina to allow a physician to visualize inside the patient’s body while performing a procedure. Psychological treatment of phobias is a (clinician) controlled walkthrough of a visualization of some subset of the real world.

Educational applications can fall into the training, walkthrough, and visualization categories. The Sci-enceSpace application, a lesson in high school physics developed at the University of Houston and George Mason University, is an example of how physical processes can be visualized to allow the student to come to a better grasp of the 3-D nature of the subject matter than merely reading it from a book.

A Japanese science museum has sought to make learning important lessons about their nation’s ecology entertaining, as well as educational by creating a virtual reality game that students participant in to learn about the ecological place of the dung beetle.

For art-oriented applications, rather than the utility of what can be done in a virtual reality encounter, the experience of the participant is the focus. The goal of an artistic application may or may not be to entertain the participant, but it strives to give them a chance to view the world from another perspective and give rise to intellectual stimulation. Artistic applications also differ from many visualization, training, and virtual prototyping applications which strive to closely mimic the real world. Many artistic and entertainment applications choose to focus on the surreal or fantastic rendering and interactive possibilities offered by virtual reality.

New ideas for where to apply virtual reality are continuously arising. As virtual reality becomes more commonplace, the medium will be sought as a possible answer to many new tasks and many new artistic expressions.

Virtual Reality and Other Realities

Eating Disorders and Obesity

VRs have also been used in the field of eating disorders and obesity, mainly for the treatment of body image disturbances. VRs offer the possibility of capturing the complex features of the body image and make it easier to work on its modification and correction ( Perpiñá, Botella, & Baños, 2003 ). VRs are also used for exposure, problem solving and practicing coping skills in difficult situations (eating/emotional/relational management). Two systematic reviews have already been conducted in this field. Ferrer-García and Gutierrez-Maldonado (2012) focused on VR for body image disturbances in eating disorders and found 12 studies (including controlled and uncontrolled studies) with nonclinical and clinical samples. The results of the review indicated that VRs are effective tools for treating body-image disturbances. The authors also recommend improving the methodological quality of the research in future studies.

Ferrer-García, Gutierrez-Maldonado, and Riva (2013) performed a second systematic review, but now including 17 studies with clinical samples suffering eating disorders and obesity and other applications of VR beyond the treatment of body image disturbances (eating/emotional/relational management). Again, they found evidence for the efficacy of VRs for eating disorders and obesity. The VR component was especially suitable for reducing body image disturbances and increasing self-efficacy and self-esteem.

Podívejte se na nabídku VR her

Virtuální realita vás komplexní simulací prostředí zcela pohltí. Během chvilky se z obývacího pokoje přesunete do bitvy a všechny vaše smysly zcela zapomenou na realitu. AR rozšířená realita (Augmented Reality) funguje odlišně. Tato technologie přidává různé grafické prvky a objekty do skutečného prostředí.

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Brýle pro virtuální realitu samostatně fungující, celkové rozlišení 4K 3664 × 1920 px (na jedno oko QHD 1832 × 1920 px), 90 Hz, připojení přes Bluetooth, Wi-Fi a USB-C, ovladač součástí balení, mikrofon, sluchátka

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Virtuální realita

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Kekurangan dari Virtual Reality

Kekurangan pada Virtual Reality ini ialah bagi penggunanya mungkin mengalami perasaan kehilangan realitas dan perasaan isolasi saat mereka berinteraksi dengan dunia buatan, bukannya dunia nyata dengan orang sungguhan. Akhirnya, virtual reality dapat meningkatkan pengangguran, lebih sedikit orang yang diperlukan untuk merancang proyek-proyek .

Banyak sekali keuntungan menggunakan virtual reality, pekerjaan yang dari susah dapat di jadikan mudah dengan menggunakan berbagai macam aspek dari komputer misalnya seperti merancang sesuatu bangunan seperti gedung, hotel dan rancangan denah rumah.

Melakukan beberapa latihan yang rumit seperti latihan menerbangkan pesawat bisa kita lakukan dengan stimulator. Dan game. virtual reality bisa dijadikan pelarian bagi beberapa orang yang sudah penat dengan masalah di dunia realitas , misal seperti Second Life, the sims , dan fable.

Itulah informasi mengenai Virtual reality. Untuk tetap mendapatkan informasi seputar teknologi terkini tetap pantau postingan dari Course-Net. Dan untuk kamu yang ingin mendalami dunia teknologi, bisa bergabung bersama Course-Net dengan mengikuti pelatihan-pelatihan yang telah disediakan. Seperti pelatihan belajar bahasa mesin hacker misalnya.

Kesimpulan dan Penutup

Perkembangan teknologi secara digital kini tidak hanya dari sisi bisnis online saja, namun pada sisi animasi juga mengalami banyak perkembangan. Salah satunya ialah dengan adanya virtual reality dalam dunia animasi yang membuat semua kalangan dapat menggunakannya.

Virtual Reality merupakan sebuah teknologi yang membuat pengguna atau user dapat berinteraksi dengan lingkungan yang ada dalam dunia maya yang disimulasikan oleh komputer, sehingga pengguna merasa berada di dalam lingkungan tersebut. Di dalam bahasa Indonesia virtual reality dikenal dengan istilah realitas maya.

Dengan demikian anda dapat mempelajari berbagai hal dengan menggunakan animasi 3D ini. Alat Virtual Reality yang berbentuk kacamata ini juga sudah tersedia di berbagai store maupun mall dengan harga yang terjangkau.

Resources:

https://www.sciencedirect.com/topics/social-sciences/virtual-reality
https://www.alza.cz/gaming/virtualni-realita/18856436.htm
https://idcloudhost.com/mengenal-virtual-reality-definisi-cara-kerja-contohnya/