The term "virtual artifact" has been used in a variety of ways in scientific and public discourse. Previously it has referred to objects of different nature (e.g. images, user interfaces, models, prototypes, computer animation, virtual books) that exist in digital environments. The concept behind the term is rapidly developing and expanding as new phenomena emerge in the virtual domain.
History of the phenomenon
Imaginary worlds, characters, items, etc. have been described in stories and tales since the dawn of humanity. In the philosophic discourse, utopias have existed where extensive systems and their components have been depicted in detail. Imaginary artifacts have been described and created in terms of language and visual presentation. The development of the visual presentation techniques (e.g. linear perspective, cinematography) enabled more sophisticated methods to describe these artifacts, events and entities in painting, photography and film. Moreover, virtual artifacts were (and still are) commonly found in environments that require a strong imaginary aspect in order to be experienced, such as radio shows, novels, tabletop role-playing games, etc.
The development of computing enabled the creation of interactive virtual environments that were based on digital technologies and new methods of presentation. In digital environments, virtual artifacts became independent entities that could exist and interact outside the human mind. Even previously unknown, complex forms and imaginary artifacts (e.g. fractals) could be created and represented in these environments.[2]
Humans have expanded the existing environment to the virtual domain. Virtual artifacts can be seen as an essential cultural phenomenon in modern society. Virtual artifacts bear meanings and functions and since they are part of the world they affect real world events and people's lives.
Virtual artifacts have certain similarities to real-life artifacts even though they do not have physical properties in the traditional sense. However, real-life objects and environments can be simulated in digital environments (like computer games, 3D modeling or virtual reality). Simulated virtual objects (photorealistic VA) and environments have a model in the real world; however, depending on the context, an abstract virtual artifact isn't necessarily dependent on the laws of physics or causality.[3]
Some virtual artifacts are purely abstract in their nature, therefore they can't model real-life objects or phenomena. For example, computer programs or digital user interfaces, while often containing representative components of real-life objects, can't exist in physical terms. These virtual artifacts do not have to be comprehensible to humans at all; they can be created and understood solely by artificial intelligence.
Virtual artifacts can have physical properties (for example color, length) depending on the environment they exist in. These physical properties can be presented and perceived using a certain medium such as a computer screen. On the other hand, virtual artifacts can also contain properties that aren't perceptible. Due to their immaterial nature they can be flexibly accessed, reproduced and archived—even simultaneously by multiple users.
Purposes and uses
In the field of archaeology, real world artifacts are modeled/reproduced in a digital environment, where they can be modified, reconstructed, and archived. Also, whole historical sites and buildings (e.g. Theban Mapping Project[4]) are reconstructed in a virtual environment.
Virtual artifacts are a crucial part of digital, imaginary game worlds.
Artwork (e.g. paintings, interactive installations, music videos) that is presented/archived in a virtual environment can be considered as a virtual artifact.
Virtual artifacts (e.g. parts of simulated experiments, models) are used in many areas of scientific research (e.g. medical science, chemistry, astronomy).
Designers (such as fashion designers, industrial designers, architects) use virtual artifacts (e.g. prototypes, testing environments) in their work process.
Virtual art, artists using virtual reality, augmented reality and mixed reality as a medium produce virtual artworks.[5]
Virtual consumerism
Virtual artifacts can have a virtual and/or "real" exchange value, and thus can be considered as products. A person or other juristically defined actor can claim ownership and invest money in virtual artifacts. Virtual artifacts can also be valuable in an economical sense outside the environment (e.g. a virtual world such as ones found in massively multiplayer online games) they are created in. For example, game items and characters are valued in terms of real currencies.[6]
Within many virtual worlds, there exists a virtual economy that often mimics real-life commercial features and models such as trading with in-game virtual artifacts, virtual currencies, supply and demand, etc.
There is a viable real-life business model based on the exchange of virtual artifacts within a virtual environment. One example is the social networking game Habbo Hotel; in Habbo-world, users buy virtual products such as furniture for their virtual hotel room with real money. Many online games require a paid subscription for providing access to the game world, creating revenue to the creator of the world.
Moreover, virtual game environments have also created commercial models around them. In fact, the market for virtual artifacts such as game items or virtual property is booming.[7] In China, for example, people are hired to play online games to develop game characters and collect game resources.[8] Furthermore, virtual environments have enabled the production and commercialization of virtual artifacts created by end-users—creating new markets and effectively blurring the line between "real" and virtual consumerism.[9]
↑ Masaki Omata, Kentaro Go, Atsumi Imamiya. A Gesture-Based Interface for Seamless Communication between Real and Virtual Worlds. 6th ERCIM Workshop "User Interfaces for All" October 2000; Dmitry Sokolov, Dimitri Plemenos and Karim Tamine. Methods and data structures for virtual world exploration. The Visual Computer Volume 22, Number 7 / July, 2006; Janet Rountree and William Wong. Learning to Look: Real and Virtual Artifacts. Educational Technology & Society 5 (1) 2002; Shahram Izadi, Mike Fraser, Steve Benford, Martin Flintham, Chris Greenhalgh, Tom Rodden, Holger Schnädelbach. Citywide: Supporting Interactive Digital Experiences Across Physical Space. Personal and Ubiquitous Computing, Volume 6, Number 4 / September, 2002; Malcolm Mccullough. Abstracting Craft: The Practiced Digital Hand. MIT Press 1998; Peter McLaughlin. What Functions Explain: Functional Explanation and Self-Reproducing Systems. Cambridge University Press, 2001.
↑ Steven R. Holtzman. Digital Mantras - The Languages of Abstract and Virtual Worlds, p. 193-211. The MIT Press 1996.
↑ Vince, John. Introduction to virtual reality. Springer-Verlag London limited 2004.
↑ Lehdonvirta, Vili. Real-Money Trade of Virtual Assets: New Strategies for Virtual World Operators. Proceedings of Future Play 2005, Michigan State University, 13–15 October 2005.
Multimedia is a form of communication that uses a combination of different content forms, such as writing, audio, images, animations, or video, into a single interactive presentation, in contrast to traditional mass media, such as printed material or audio recordings, which feature little to no interaction between users. Popular examples of multimedia include video podcasts, audio slideshows, and animated videos. Multimedia also contains the principles and application of effective interactive communication, such as the building blocks of software, hardware, and other technologies.
Virtual reality (VR) is a simulated experience that employs 3D near-eye displays and pose tracking to give the user an immersive feel of a virtual world. Applications of virtual reality include entertainment, education and business. VR is one of the key technologies in the reality-virtuality continuum. As such, it is different from other digital visualization solutions, such as augmented virtuality and augmented reality.
Computer-aided design (CAD) is the use of computers to aid in the creation, modification, analysis, or optimization of a design. This software is used to increase the productivity of the designer, improve the quality of design, improve communications through documentation, and to create a database for manufacturing. Designs made through CAD software help protect products and inventions when used in patent applications. CAD output is often in the form of electronic files for print, machining, or other manufacturing operations. The terms computer-aided drafting (CAD) and computer-aided design and drafting (CADD) are also used.
A simulation is an imitative representation of a process or system that could exist in the real world. In this broad sense, simulation can often be used interchangeably with model. Sometimes a clear distinction between the two terms is made, in which simulations require the use of models; the model represents the key characteristics or behaviors of the selected system or process, whereas the simulation represents the evolution of the model over time. Another way to distinguish between the terms is to define simulation as experimentation with the help of a model. This definition includes time-independent simulations. Often, computers are used to execute the simulation.
Reality is the sum or aggregate of all that is real or existent within the universe, as opposed to that which is only imaginary, nonexistent or nonactual. The term is also used to refer to the ontological status of things, indicating their existence. In physical terms, reality is the totality of a system, known and unknown.
In the industrial design field of human–computer interaction, a user interface (UI) is the space where interactions between humans and machines occur. The goal of this interaction is to allow effective operation and control of the machine from the human end, while the machine simultaneously feeds back information that aids the operators' decision-making process. Examples of this broad concept of user interfaces include the interactive aspects of computer operating systems, hand tools, heavy machinery operator controls and process controls. The design considerations applicable when creating user interfaces are related to, or involve such disciplines as, ergonomics and psychology.
Augmented reality (AR) is an interactive experience that combines the real world and computer-generated 3D content. The content can span multiple sensory modalities, including visual, auditory, haptic, somatosensory and olfactory. AR can be defined as a system that incorporates three basic features: a combination of real and virtual worlds, real-time interaction, and accurate 3D registration of virtual and real objects. The overlaid sensory information can be constructive, or destructive. As such, it is one of the key technologies in the reality-virtuality continuum.
A virtual world is a computer-simulated environment which may be populated by many simultaneous users who can create a personal avatar and independently explore the virtual world, participate in its activities, and communicate with others. These avatars can be textual, graphical representations, or live video avatars with auditory and touch sensations. Virtual worlds are closely related to mirror worlds.
Mixed reality (MR) is a term used to describe the merging of a real-world environment and a computer-generated one. Physical and virtual objects may co-exist in mixed reality environments and interact in real time.
Virtual crime, can be described as a criminal act conducted in a virtual world -- usually massively multiplayer online role-playing games, MMORPGs. To grasp the definition of virtual crime, the modern interpretation of the term "virtual" must be assessed to portray the implications of virtual crime. In this sense, virtual crime describes those online acts that “evoke the effects of real crime” but are not widely considered to be prosecutable acts.
A virtual tour is a simulation of an existing location, usually composed of a sequence of videos, still images or 360-degree images. It may also use other multimedia elements such as sound effects, music, narration, text and floor map. It is distinguished from the use of live television to affect tele-tourism.
In virtual reality (VR), immersion is the perception of being physically present in a non-physical world. The perception is created by surrounding the user of the VR system in images, sound or other stimuli that provide an engrossing total environment.
Virtual graffiti consists of virtual or digital media applied to public locations, landmarks or surfaces. Virtual graffiti applications utilize augmented reality and ubiquitous computing to anchor virtual graffiti to physical landmarks or objects in the real world. The virtual content can then be viewed through digital devices. Virtual graffiti is aimed at delivering messaging and social multimedia content to mobile applications and devices based on the identity, location, and community of the user.
A projection augmented model is an element sometimes employed in virtual reality systems. It consists of a physical three-dimensional model onto which a computer image is projected to create a realistic looking object. Importantly, the physical model is the same geometric shape as the object that the PA model depicts.
A smart object is an object that enhances the interaction with not only people but also with other smart objects. Also known as smart connected products or smart connected things (SCoT), they are products, assets and other things embedded with processors, sensors, software and connectivity that allow data to be exchanged between the product and its environment, manufacturer, operator/user, and other products and systems. Connectivity also enables some capabilities of the product to exist outside the physical device, in what is known as the product cloud. The data collected from these products can be then analyzed to inform decision-making, enable operational efficiencies and continuously improve the performance of the product.
In computing, an emulator is hardware or software that enables one computer system to behave like another computer system. An emulator typically enables the host system to run software or use peripheral devices designed for the guest system. Emulation refers to the ability of a computer program in an electronic device to emulate another program or device.
In computing, 3D interaction is a form of human-machine interaction where users are able to move and perform interaction in 3D space. Both human and machine process information where the physical position of elements in the 3D space is relevant.
In 3D computer graphics, 3D modeling is the process of developing a mathematical coordinate-based representation of a surface of an object in three dimensions via specialized software by manipulating edges, vertices, and polygons in a simulated 3D space.
Computer-generated imagery (CGI) is a specific-technology or application of computer graphics for creating or improving images in art, printed media, simulators, videos and video games. These images are either static or dynamic. CGI both refers to 2D computer graphics and 3D computer graphics with the purpose of designing characters, virtual worlds, or scenes and special effects. The application of CGI for creating/improving animations is called computer animation, or CGI animation.
Physically based animation is an area of interest within computer graphics concerned with the simulation of physically plausible behaviors at interactive rates. Advances in physically based animation are often motivated by the need to include complex, physically inspired behaviors in video games, interactive simulations, and movies. Although off-line simulation methods exist to solve most all of the problems studied in physically-based animation, these methods are intended for applications that necessitate physical accuracy and slow, detailed computations. In contrast to methods common in offline simulation, techniques in physically based animation are concerned with physical plausibility, numerical stability, and visual appeal over physical accuracy. Physically based animation is often limited to loose approximations of physical behaviors because of the strict time constraints imposed by interactive applications. The target frame rate for interactive applications such as games and simulations is often 25-60 hertz, with only a small fraction of the time allotted to an individual frame remaining for physical simulation. Simplified models of physical behaviors are generally preferred if they are more efficient, easier to accelerate, or satisfy desirable mathematical properties. Fine details are not important when the overriding goal of a visualization is aesthetic appeal or the maintenance of player immersion since these details are often difficult for humans to notice or are otherwise impossible to distinguish at human scales.
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