發(fā)布時間：2018-05-04 12:10

  本文選題：荷藝術(shù) + 立體導(dǎo)航��； 參考：《哈爾濱工業(yè)大學(xué)》2015年碩士論文

【摘要】：荷是中國傳統(tǒng)藝術(shù)的重要題材,詩人筆下的出淤泥而不染、畫家筆中的清新雋逸、佛教藝術(shù)中圣潔的象征等等可見,荷花是中華精神的具象符號。在數(shù)字化的大背景下,荷藝術(shù)的創(chuàng)作、傳播方式也必然發(fā)生變革。用數(shù)字技術(shù)呈現(xiàn)荷藝術(shù)精神是具有現(xiàn)實意義的新設(shè)想。本文通過運用CAVE、kinect等技術(shù)構(gòu)建荷藝術(shù)館,設(shè)計出以立體導(dǎo)航的方式游覽虛擬展館的導(dǎo)引系統(tǒng),創(chuàng)造虛擬臨場的體驗效果,探索數(shù)字媒介時代荷藝術(shù)精神的接受方式。首先利用MAYA和Unity3D等技術(shù)實現(xiàn)荷藝術(shù)館的場景構(gòu)建以及荷花導(dǎo)航動畫的制作;其次利用kinect技術(shù)實現(xiàn)導(dǎo)航之間、導(dǎo)航與場景之間的跳轉(zhuǎn)鏈接、以及用戶視角的漫游功能;再次利用邊緣提取算法進行場景的水墨化效果處理并通過CAVE系統(tǒng)進行整體場景的整合與展示。荷藝術(shù)館作為傳統(tǒng)藝術(shù)數(shù)字化的嘗試,在對傳統(tǒng)文化進行傳播的同時,為傳統(tǒng)藝術(shù)賦予新的表達形式。通過結(jié)合kinect傳感器、立體導(dǎo)航等內(nèi)容,利用多通道交互方式為用戶提供豐富的體驗環(huán)境。導(dǎo)航作為體驗館中的核心技術(shù),其在體驗館中占有重要的地位。通過對導(dǎo)航的設(shè)計,為用戶在體驗館中信息的獲取提供導(dǎo)引,使用戶能夠快速準(zhǔn)確的獲取所要信息。通過對用戶體驗要素、文化認(rèn)同要素、導(dǎo)航體驗要素的指定,運用問卷調(diào)查、對比分析的方法對荷藝術(shù)館立體導(dǎo)航設(shè)計進行測試和評估。通過對結(jié)果的分析,評價體驗館的體驗效果、荷藝術(shù)的傳播效果以及立體導(dǎo)航的使用效果。綜上所述,本設(shè)計是運用數(shù)字手段探索傳統(tǒng)荷藝術(shù)傳播的嘗試,也是三維立體導(dǎo)航在虛擬場景中應(yīng)用的探索。使用戶在自然的人機交互過程中獲得對荷藝術(shù)的文化認(rèn)同,力圖通過增強用戶的視覺體驗和情感體驗,對傳統(tǒng)藝術(shù)進行傳播。
[Abstract]:The lotus is an important subject of Chinese traditional art, the poet's painting is muddy, the painter's brush is fresh and elegant, the Buddhist art is the symbol of holiness and so on, the lotus is the concrete symbol of the Chinese spirit. Under the background of digitization, the creation and dissemination of Dutch art will inevitably change. Using digital technology to present the spirit of art is a new idea of practical significance. In this paper, through the use of Caveskinect and other technologies to construct the Lotus Art Museum, design a guided system to visit the virtual exhibition hall in the way of three-dimensional navigation, create the experience effect of the virtual scene, and explore the acceptance mode of the Dutch art spirit in the digital media era. Firstly, the scene construction and lotus navigation animation are realized by MAYA and Unity3D, and the jump link between navigation and scene, as well as the roaming function of user view are realized by kinect technology. Thirdly, the edge extraction algorithm is used to deal with the ink-wash effect of the scene, and the whole scene is integrated and displayed through CAVE system. As an attempt to digitize the traditional art, the Museum of Art of the Netherlands gives new forms of expression to the traditional art while spreading the traditional culture. Through the combination of kinect sensors, stereo navigation and other content, multi-channel interaction to provide users with a rich experience environment. Navigation, as the core technology in the experience museum, plays an important role in the experience hall. Through the design of navigation, it provides guidance for the user to obtain the information in the experience hall, so that the user can quickly and accurately obtain the desired information. Through the user experience element, the cultural identity factor, the navigation experience element assignment, uses the questionnaire survey, the contrast analysis method carries on the test and the appraisal to the Dutch art museum three-dimensional navigation design. Through the analysis of the result, the experience effect of the experience hall, the spreading effect of Dutch art and the use effect of three-dimensional navigation are evaluated. To sum up, this design is an attempt to use digital means to explore the traditional Dutch art communication, and it is also an exploration of the application of three-dimensional navigation in virtual scene. In the process of natural human-computer interaction, users can gain the cultural identity of Dutch art, and try to spread traditional art through enhancing their visual experience and emotional experience.
【學(xué)位授予單位】：哈爾濱工業(yè)大學(xué)
【學(xué)位級別】：碩士
【學(xué)位授予年份】：2015
【分類號】：J525.2

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