— project conclusions
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| 1 | The appropriate use of VRML and similar technologies within art & design was initially (i.e. pre-1999) held back because of the under-developed nature of 3D computing within these disciplines. This could partly be explained by lower levels of capital investment in these technologies compared to some other subjects and the lack of experience of network computing in art & design. But we also found that frequently the skills and concepts needed to successfully use three-dimensional computer software still needed to be developed within the discipline. |
| 2 | In general, and at least initially, cross-platform
standards produce less than optimal output and VRML has been no exception.
VRML graphical output has not been as advanced as could be obtained using
some non-standard software. As art & design practice places great
importance on the quality of the finished product, this has generally created
a problem. Artists and designers are usually unhappy to use a tool
with produces a 'degraded' product. More recently, some of these
quality issues have been addressed and some 3D modelling
applications now export in VRML format. As a result, the use of VRML for high quality productions may become more viable. |
| 3 | The major selling point of VRML would seem to be its cross-platform capability, but in fact there has been wide disparity in output and in the availability of software across different platforms. In particular, VRML software for the Apple Macintosh (the machine that used to be predominantly used in art & design until a few years ago) has been very slow to appear. It has always been much easier to get browser plug-ins and editing software for the PC environment. The recent switch to PCs in many colleges has, ironically, made VRML much more viable for art & design. |
| 4 | Because VRML produced rather grainy models, it was initially (i.e. 1996-98) avoided in art and design for the building of real-world models. Where it was used, a way had to be found to turn this grainy quality to advantage, for example by embodying it as an aesthetic quality in more experimental environments. |
| 5 | Within Art, in particular, models have been created of spatial environments which did not operate according to physicalist principles but which, both in their representational form and in their method of interaction, aspired to go beyond realism. These frequently employed sound within the 3D environment. (see VRML + Art) |
| 6 | Within Design, a number of realistic models have been produced which were real-world models of existing products (for marketing purposes, for example). A few models employed interaction to explain aspects of a product or process. Often, these were criticised for being too small and for lacking the detail to make them effective. (see VRML + Design) |
| 7 | A significant change in virtual environments occurred during 1999 with the greater use of multi-user environments and the corresponding technology of avatars. The ability to view 3D worlds in which there are representations of other users marks a new stage in VRML. Social actions (meeting, performing, co-operating, assisting, etc.) can all be represented and exploited in a new way within such worlds. (see Multi-user worlds) |
| 8 | There is, at present, not a large user base for VRML within art and design - or even more generally. There are a number of successful applications but the technology is not yet simple to use. It requires a special browser plug-in which, at 4Mb plus to download, means that the user must be an enthusiast. Recent developments aim to reduce the browser size to under 0.5 Mb so that it can be downloaded automatically (i.e. without the user’s intervention) if it is not already installed on their machine. This is likely to make it much easier for users (in fact, transparent) and hence reduce one of the main obstacles to the acceptance of VRML in web pages. |
| 9 | There are other technologies which anyone wishing to produce models of 3D objects, or to create a 3D environment, should consider. QuickTime VR, for example, can simulate an interactive space effectively using only photographic images. DXF is a file format that allows 3-dimensional information to be exported from one application to another. (see VRML: the technology) |
| 10 | The future of 3D computing has to be considered not just in terms of a computer with monitor, keyboard and mouse, but in terms of a wider context of use. Rapid prototyping, for example, enables models of 3D objects that are conceived digitally to be produced physically. The various CAVEs provide a fully immersive and interactive environment (typically 4m by 4m) in which immersive VR can be experienced. There are also virtual reality centres (with screens up to 20m. across) and DOMEs (which provide a 180° field of view). Within theatre and dance, there are a variety of sensing and interactive spaces that can be integrated into performance. In the theatre, characters and performances now take place in virtual worlds. The inegration of networked 3D computing with real-world objects and places will mark the next phase in the diffusion of this technology. (see VRML + Performing Arts ; Wearable computing) |
The NVRCAD Project was supported by the JISC/JTAP progamme and the Universities of Coventry, Plymouth & Teesside