Sunday, October 20, 2013

Craig’s chapter 8, as illustrated in 2013


Reading Response Week of 10/29-10/31
Craig, Understanding Augmented Reality (Chapter 8 – Augmented Reality Applications)

On page 230, Craig introduces the basic idea of a magic-mirror styled application. Craig (2013) writes of “look[ing] in the mirror and seeing yourself” altered (p. 230), I immediately thought of Google+ and its overlay features. Through the social networking site, a user’s computer camera acts as the mirror, reflecting the user to herself as well as to those in the chat. Craig (2013) describes how users can allow AR to “adorn [them] with jewelry, a new style of glasses, a new hat, etc.,” and Google+ does just that, plus (no pun intended). The following image, compliments of Google Images, showcases some of the interface’s features.

The main girl (pictured in the larger frame) is shown with cat-like features. Some of her chat buddies seen below have overlays of dogs and devil horns. These depict only a few of the many graphic options available for users in Google+. I routinely use this feature to video chat my former roommates from Virginia Tech, and we get a real hoot out of some of the features. In addition to the graphic components, there are audio clips to use too.

In reading Craig’s chapter, I became interested in the idea of this form of application as interactive. He writes how applications could allow the user “to try on new clothes, then change the color of these clothes, and choose from a variety of jewelry, etc.” (p. 231). I’d heard of this idea in recent months, and went to Google to uncover the source. 

Toyko-based Uniqlo is the fourth-largest fashion retailer in the world, and houses its very own magic mirror. As reported by CBSNews in June 2013, there are only seven Uniqlo stores in the United States, but the organization is looking to expand at a rapid pace. Known for stocking clothing and apparel in numerous colors, Uniqlo makes it easy for the customer to find what she likes; An LCD screen allows the customer to instantaneously change the color of the particular piece being worn at that time (pictured here).

Craig (2013) extends the idea of interactive AR and magic mirrors in his section of magic windows and doors. While he doesn’t mention this particular medium in the text, television is a prime spot for illustrating this concept. According to Craig (2013), a magic window or door can be one “through which you can see the real world as it is seen through that door or window, only augmented by digital information” (p. 232). Today’s fantasy and sci-fi television programs give users a glimpse of this concept. The popular ABC show, Once Upon A Time, is known for this via its use of portals to another land. I’ve included some pictures (compliments of Google Images) that depict these spaces or represent the path the characters take to travel through AR means. 

The hat might also serve as an example of a “magic lens,” as it allows the show’s characters to “see the unseen” (Craig, 2013, p. 223). While it’s not hardware, the hat does adhere to the doings of, or fit the descriptions of tasks carried out by a tablet, smartphone or other device.

Once Upon A Time, fittingly so, is a television show about magic. Thus, Craig’s (2013) following quote is applicable in more ways than one: “AR and magic are similar in many ways. Both of these ideas rely on the idea that the world that we perceive is based on information provided to our sense and they both rely on fooling the participant in some way” (p. 225). In all of the above examples, AR is being used to solve a problem, as Craig puts it. The interactions are implemented in successful ways, and they showcase things that couldn’t otherwise be done in another medium (Craig, 2013, p. 224).

Sources:
CBS News. (2013). The fast rise of Japanese retailer Uniqlo. CBS news. Retrieved from http://www.cbsnews.com/8301-3445_162-57590575/

Craig, A. B. (2013). Augmented reality applications. Understanding augmented reality: Concepts and applications (221-254). New York: Elsevier.

Friday, October 18, 2013

Craig’s chapter seven & the final AR project


Reading Response Week of 10/22-10/24
Craig, Understanding Augmented Reality (Chapter 7 – Mobile Augmented Reality)

Craig’s chapter seven gives our groups a great deal to think about for the final AR projects. Although brief, the chapter provides overarching concepts that we’ll want to consider when planning and executing the production of our projects.

Although we’ve noted this before in class, Craig (2013) reminds us of mobile AR’s top advantage: “By using mobile technology, the AR application can be experienced at the location where it makes the most sense” (p. 212). A recent example of this effect is currently in the works. The current edition of ClemsonWorld, the quarterly magazine for alumni and friends of Clemson, showcases Tigers as they celebrate and march to Death Valley during a home game parade. The image, pictured here, highlights the Tiger spirit and corresponds with a feature inside the publication, titled “Tailgating with the Tigers” (as it’s also found here).

Just last week in his Book Publishing for the 21st Century seminar, Dr. Blakesley asked a class member to attend the upcoming game day parade (Boston College vs. Clemson). He asked that she videotape the parade in hopes of capturing what the still image showcases — essentially recreating the scene. As long as the video shows an accurate depiction, Blakesley plans to use AR and have the video act as an overlay for the publication. Readers (and donors) could then use an AR application to witness the parade for themselves when looking at the magazine’s cover. This would be an example of experiencing AR at a location where it seems most appropriate to the image.  

The concepts Craig addresses present ideas of virtual storytelling. Because mobile augmented reality requires users to bring their devices (i.e., which in most cases would be smart phones) with them, this storytelling element could take effect. Perhaps our group might consider this idea for the final project – we could tell our story through our trigger and overlay images. A fellow class member mentioned taking the user on a scavenger hunt; our group could take the user through a story — either linear or nonlinear. In either case for this project, however, we’ll need to consider the environment, as Craig points out. Not only will our locations need to be relative, local to one another, but we’ll also need to think about weather, lighting, noise, etc. (Craig, 2013, p. 215). If we decide to pursue this idea of telling a story, we’ll need to think about limitation that might arise by incorporating text as overlays (i.e., if we’ll need internet connection).  

Craig (2013) also points out that “mobile augmented reality presents the challenge that there could potentially be content anywhere” (p. 217). We’ll need to think ahead and take this into account when mapping out our AR project or story. We can consider some concepts Costello addresses in regard to user experience and usability testing to ensure our user isn’t running around the town of Clemson in hopes of finding a fiducial marker or trigger image for our project. The memo we submit alongside our project will help outline the project and send the user on the right path.

Sources:
Craig, A. B. (2013). Mobile augmented reality. Understanding augmented reality: Concepts and applications (209-220). New York: Elsevier.

Thursday, October 17, 2013

Thoughts on Craig’s chapter six



Reading Response Week of 10/15-10/17
Craig, Understanding Augmented Reality (Chapter 6 – Interaction in Augmented Reality) and Costello, Multimedia Foundations (Chapter 6  – Interface Design and Usability)

I’d like to focus this week’s post on Craig’s chapter. He makes the following statement on page 192 in regard to AR activities and capabilities: “As this type of interaction becomes more common, and as the virtual world becomes the real world, people will begin to accept those capabilities as normal, and potentially be bothered when those types of interactions aren’t available, even in the real world” (2013). I question Craig’s statement here; is he suggesting that AR expectations lead a user to have unrealistic expectations of or within the real world? If so, how is AR different than violent music, television and/or video games? Can AR be that powerful that it denotes one’s observations within the real world, discrediting what we know for what could be, causing people to confuse the fraudulent for the real or vise versa?

With this statement, Craig suggests that AR requires its user to suspend his disbelief in order to fully immerse in the virtual world and the technology acting as the filter making that world possible. As mentioned, this similar strategy is used across industries and specifically seen in film. In children’s film, audiences are presented with talking animals, flying humans and floating houses. In science fiction, laws of gravity are given little (if any) consideration, extra-terrestrial life walks the Earth and Mars Attacks! (with some added comedy). The differences between what these mediums (e.g. film, music and video games) depict and what’s seen in the real world is the viewer’s perception. Viewers discern right from wrong, fact from fiction, etc. This statement, or ideal, however, has been debated for decades by theorists and critics in communication, sociology and related.

Also within Chapter 6, Craig (2013) uses photos to illustrate a child’s interaction with technology. In Figures 6.4 and 6.5 he features a child trying to enlarge an image on a traditional book or television screen as one would with an Apple device. I too recall a similar story:

One afternoon in the post office, I witnessed a child’s fascination with the Disney stamp collection as pictured in large-scale form on the wall. The child trotted over to the wall and immediately began his attempt to enlarge the images with his fingers — after several failed attempts, his mother informed him “it doesn’t work like that.” The mother picked up the disappointed, confused child and they existed the post office.  

As Craig (2013) mentions, this is no longer an uncommon tale. Children of today’s generation expect things to operate in a particular fashion. After all, they are the iGeneration.

There was one additional section I flagged in this chapter. On page 199, Craig writes about navigation in augmented reality. His methods and suggested tips will serve as a great aid when our groups begin work on the final AR project. The bulleted list features one or two ideas that Costello also mentions in his chapter, including “breadcrumbs.” While Craig and Costello use the same term, the two authors’ use of it differs in context and medium. Costello addresses breadcrumbs as they relate to the web and page design, whereas Craig’s use is more traditional. Both, however, are relevant to the topic of navigation.

Sources:
Costello, V. (2012). Interface design and usability. Multimedia foundations: Core concepts for digital design (153-180). Boston: Elsevier.

Craig, A. B. (2013). Interaction in augmented reality. Understanding augmented reality: Concepts and applications (185-207). New York: Elsevier.

Thursday, October 3, 2013

Miscellaneous thoughts on Craig & Costello


Reading Response Week of 10/8-10/10
Craig, Understanding Augmented Reality (Chapter 5 – Content is Key! — Augmented Reality Content) and Costello, Multimedia Foundations (Chapter 5  – Multimedia Page Design)

I found some other interesting thoughts in both readings for this week. As these thoughts/ideas are somewhat unrelated and unorganized, I decided to comment on those in separate post here.

Thoughts from Craig:

·        On page 157, Craig writes the following: “Try as we may, an AR application (today) cannot allow the participant to break the real-world laws of physics. This precludes the AR content creator from doing certain things he or she might like to do, such as remove the law of gravity, teleport a (real) object from place to place, or allow the participant to really fly by” (Craig, 2012, p. 157)

This screams Hollywood’s film and TV industry. As we’ve mentioned (and viewed) in class, films take on a whole new approach to augmented reality, provided us with concepts, visions that do not exist in today’s world. It’s all about high-tech, futuristic innovation. For example, in both the 1971 Willy Wonka & the Chocolate Factory staring Gene Wilder and the 2005 Charlie & the Chocolate Factory staring Johnny Depp, viewers experience teleporting. Of course, TV can allow the creator to break the laws of physics.

·        On page 165, Craig discusses overlaying information. He writes: “If one is using AR to help someone find a location, the AR application could make it appear as though there are lines on the ground that you can follow to your location. In the real world, an example of this is a stripe on the floor that you follow to get to the appropriate room. Usually there is a different color stripe for each destination and you follow the appropriate color” (Craig, 2013, p. 165).

This passage reminded me of shopping, specifically during the back-to-school season or the holidays. In the real world, major stores (e.g., Target, Wal-Mart, drugstores, etc.) often include colorful lines on the floor that code to various departments. The lines take the shopper directly to the area he wishes to visit. Typically, the store will also hang a sign from the ceiling that tells the shopper something like, “Back-to-school – Go this way,” or provides additional instruction. I’ve also seen this done on Black Friday (with the addition of store layout handouts, maps, etc.). Some say this makes the shopping experience easier because it filters the store into sections — the shopper need not wander in search of a particular section; rather, he can find his way via the mapped lines.

Clemson University’s app (pictured here) does a similar thing, but truly uses AR. The “Maps” function uses AR and allows the user to see where he is on campus. The user can see in what direction he needs to walk to get to another building, and at all times can find where he is in relationship to campus landmarks. The triangle at the bottom left allows the user to enter this AR feature of the map. Otherwise, the map can be viewed as is.



 

Another example (and probably an overused one) is the famous Marauder’s Map from Harry Potter. The map tells Harry where everyone at Hogwarts is at any point in time. With a secret phase, he can follow virtual footsteps and be led anywhere, to anyone. This film, as well as the film genre, calls for viewers to suspend their disbelief, as Craig mentions in the text.

Thoughts from Costello:

I’m familiar with the concept of “breaking out of the box,” as Costello puts it. I thought I’d label some of my frequently visited websites as either displayed with the F-layout or Z-layout frame.
  • ESPN is displayed in the Z-layout frame. 
  • Facebook and Twitter are both displayed in the F-layout frame.
  • Foodgawker is displayed in the Z-layout frame.
  • HokieSports is a tricky one. I can see characteristics of both displays, depending upon where I glance across the homepage.

Sources:
Costello, V. (2012). Multimedia page design. Multimedia foundations: Core concepts for digital design (127-152). Boston: Elsevier. 
Craig, A. B. (2013). Content is key! — Augmented reality content. Understanding augmented reality: Concepts and applications (151-183). New York: Elsevier. 
“Harry Potter & the Weasley Twins Marauders Map.” 3 December 2009. YouTube. Accessed on 3 October 2013. Web. 
 “What Else Can You Teleport from Charlie and the Chocolate Factory (2005).” 2013. Dailymotion. Accessed on 3 October 2013. Web.
“WILLY WONKA & THE CHOCOLATE FACTORY 40TH ANNIVERSARY – WONKA VISION.” 30 September 2011. YouTube. Accessed on 3 October 2013. Web.
Images from Google Images
 


Craig vs. Craig … & other chapter 5 concepts


Reading Response Week of 10/8-10/10
Craig, Understanding Augmented Reality (Chapter 5 – Content is Key! — Augmented Reality Content)

In chapter five’s opening page, Craig states: “It is a mistake to think it is optimal to directly transfer content from one medium to another” (Craig, 2013, p. 151). Another Craig, Craig Mod that is, shares similar ideas and voices them in his essay, “Platforming Books.” Mod addresses his interpretation of publishing a book in today’s digital world and defines “platforming” as the ways through which a book may take digital form. The “platforms” he speaks of include iBook, eBook and Kindle.

Similar to what our AR Craig writes in his book, Mod claims “a defining quality of a good design is one in which the essence of a thing can be transmitted between mediums while staying true to the new medium” (2011). Craig (2013) reminds us that “the virtual world exists regardless of the medium that it is represented in” and that “a representation can be very general or can contain very specific details” (p. 152-153). Most importantly, he writes that, “different representations are appropriate for communicating different kinds of information for different types of purposes” (Craig, 2013, p. 153). This is exactly what Mod addresses in his essay. The comparisons made between these two works further reiterate McLuhan’s idea of the medium as the message. After all, in the opening pages of Understanding Augmented Reality, Craig notes his use of augmented reality as “a medium, as opposed to a technology” (2013, p. 1). AR, therefore, essentially can be a way to “platform” a work, an idea, a message, etc.

We see this idea of adapting content to fit its domain or format nearly everywhere. It’s a common practice in the newsroom, where print stories are different than their web counterparts. Print stories must be shorter and mold to issues of word count, space limitations, competing content, etc., whereas web stories can be longer and include more photographs. The print vs. web issue is prominent in design as well. As we’ve learned from Costello, designing for print requires different image resolution and color codes than does web. Today’s digital technologies afford us opportunities for content to be displayed on computers, tablets, smart phones and more. Mod, Craig and Costello all comment on this topic. Mod asks the following: “How do we put books and magazines into these devices,” rather than asking, “How does digital affect books and magazines?”

Mod pays attention to the idea of the linear medium — something that McLuhan also puts forth in his works. Craig informs us that augmented reality is not necessarily linear; rather, it is in many ways up to the creator (and the participant) to manage the reality. Craig reminds us that, “the virtual world coexists within the real (physical) world. Thus, it is reasonable to raise the question of where the virtual world ends and the real world begins and vice versa” (2013, p. 154). This idea prompts us to consider the linear way we think and act in the real world and how this path can become distorted via the capabilities within augmented reality.

Sources:
Craig, A. B. (2013). Content is key! — Augmented reality content. Understanding augmented reality: Concepts and applications (151-183). New York: Elsevier.
Mod, C. (2011, August). Platforming books: Making Art Space Tokyo digital. Retrieved from http://craigmod.com/journal/platforming_books/