Reality of technology with facts , introduction
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As virtual worlds became more detailed and immersive, people began to spend time in these spaces for entertainment, aesthetic inspiration, and socializing. Research that conceived of virtual places as fantasy spaces, focusing on the activity of the subject rather than replication of some real environment, was particularly conducive to entertainment. Beginning in 1969, Myron Krueger of the University of Wisconsin created a series of projects on the nature of human creativity in virtual environments, which he later called artificial reality. Much of Krueger’s work, especially his VIDEOPLACE system, processed interactions between a participant’s digitized image and computer-generated graphical objects. VIDEOPLACE could analyze and process the user’s actions in the real world and translate them into interactions with the system’s virtual objects in various preprogrammed ways. Different modes of interaction with names like “finger painting” and “digital drawing” suggest the aesthetic dimension of this system. VIDEOPLACE differed in several aspects from training and research simulations. In particular, the system reversed the emphasis from the user perceiving the computer’s generated world to the computer perceiving the user’s actions and converting these actions into compositions of objects and space within the virtual world. With the emphasis shifted to responsiveness and interaction, Krueger found that fidelity of representation became less important than the interactions between participants and the rapidity of response to images or other forms of sensory input.