Diese Arbeit befasst sich mit der Frage, wie eine immersiv wirkende Projektion in Kunstmuseen erfolgreich gestaltet werden kann und welche Faktoren dazu berücksichtigt werden müssen. Dabei werden die Perspektiven der Besucher sowie der Umsetzer näher betrachtet. Inhalt dieser Projektion können klassische Gemälde oder digitale Kunstwerke sein, die in einer 360° Konstellation im Raum projiziert werden. Zunächst wird der ökonomische Blick auf Kunstmuseen und Ausstellungen behandelt wie auch auf immersiv-audiovisuelle-Projektionen eingegangen. Darauf folgt eine Betrachtung der klassischen Erfolgsfaktorenforschung sowie der Erfolgsfaktoren von Kunstausstellungen. Anhand dieser theoretischen Basis entwickelt die Autorin ein potenzielles Erfolgsfaktorenmodell, das in einer praktischen Untersuchung mittels einer direkten, methodisch und materiell gestützten Ermittlung überprüft wird. Hierfür werden zuerst Nutzerkommentare auf einer Online-Bewertungsseite zum Thema immersiv-audiovisueller Projektionen analysiert worauf sich eine Besucherbefragung in einem Kunstmuseum anschließt, die eine immersiv-audiovisuelle Projektion (IAP) anbietet. Anhand zweier Experteninterviews werden die potenziellen umsetzerbezogenen Erfolgsfaktoren überprüft. Die Autorin dieser Arbeit konnte vier besucherbezogene Haupterfolgsfaktoren und 25 Erfolgsfaktoren herauskristallisieren. Auf umsetzerbezogener Seite sind es zehn Haupterfolgsfaktoren sowie 27 dazugehörige Erfolgsfaktoren. Das Erfolgsfaktorenmodell basiert auf dem Bestreben kulturpolitische sowie ökonomische Ziele zu erreichen. Auf Basis dieser Erfolgsfaktoren werden Handlungsempfehlungen abgeleitet, die sich im Rahmen dieser Arbeit vor allem an die Umsetzer einer IAP wie beispielsweise Kunstmuseen deren Mitarbeiter oder Künstlerkollektive wenden.:I Theoretischer Teil 1 Einleitung 1.1 Ausgangspunkt und Motivation 1.2 Zielsetzung, Fragestellungen und Abgrenzung 1.3 Methodik und Aufbau der Arbeit 2 Das Kunstmuseum: zwischen Kunst und Ökonomie 2.1 Notwendigkeit des ökonomischen Blicks auf Kunstmuseen 2.2 Der ökonomische Blick auf Kunstmuseen 2.3 Ausstellungen und ihr Management 3 Immersiv-audiovisuelle Projektionen 3.1 Die Rolle der digitalen Medien in Museen 3.2 Immersion 3.3 Bedeutung immersiver Projektionsräume für Kunstmuseen 3.4 Umsetzung einer immersiv-audiovisuellen Projektion 3.5 Anbieter fest installierter IAPs in Kunstmuseen 4 Erfolgsfaktorenforschung 4.1 Die klassische Erfolgsfaktorenforschung 4.2 Erfolg von Kunstausstellungen 5 Entwicklung eines theoretischen Erfolgsfaktorenmodells für IAP 5.1 Transponierung der Erfolgsfaktoren 5.2 Potenzielle Hierarchisierung 5.3 Theoretisches Erfolgsfaktorenmodell II Praktischer Teil 6 Methodik und Vorgehensweise 6.1 Forschungsfragen und Thesen 6.2 Methodik und Durchführung 7 Ergebnisse der Untersuchung 7.1 Analyse der Bewertungswebseite 7.2 Besucherbefragung 7.3 Experteninterviews 7.4 Zusammenfassung 8 Diskussion 8.1 Bewertung der Methodik und Limitationen 8.2 Bewertung der Ergebnisse 8.3 Implikationen für zukünftige Arbeiten 9 Handlungsempfehlungen 10 Fazit 11 Ausblick / This work deals with the question of how an immersive projection in art museums can be successfully designed and which factors have to be taken into account. The perspectives of the visitors as well as those of the implementers are examined more closely. The content of this projection can be classical paintings or digital artworks, which are projected in a 360° constellation in space. First of all, the economic view of art museums and exhibitions is treated as well as immersive audio-visual projections. This is followed by an examination of classical success factor research and the success factors of art exhibitions. On the basis of this theoretical foundation, the author develops a potential success factor model, which will be tested in a practical investigation by means of a direct, methodically and materially supported determination. For this purpose, user comments on an online evaluation page on the topic of immersive audiovisual projections are first analysed, followed by a visitor survey in an art museum, which is offered by an IAP. Based on two expert interviews, the potential implementation-related success factors are examined. The author of this work was able to crystallize four visitor-related main success factors and 25 associated success factors. On the implementer-related side, there are ten main success factors and 27 associated success factors. The success factor model is based on the endeavour to achieve cultural-political and economic goals. On the basis of these success factors, action-orientated recommendations are derived, which in the context of this work are addressed primarily to the implementers of an IAP, such as art museums, their employees or artists’ collectives.:I Theoretischer Teil 1 Einleitung 1.1 Ausgangspunkt und Motivation 1.2 Zielsetzung, Fragestellungen und Abgrenzung 1.3 Methodik und Aufbau der Arbeit 2 Das Kunstmuseum: zwischen Kunst und Ökonomie 2.1 Notwendigkeit des ökonomischen Blicks auf Kunstmuseen 2.2 Der ökonomische Blick auf Kunstmuseen 2.3 Ausstellungen und ihr Management 3 Immersiv-audiovisuelle Projektionen 3.1 Die Rolle der digitalen Medien in Museen 3.2 Immersion 3.3 Bedeutung immersiver Projektionsräume für Kunstmuseen 3.4 Umsetzung einer immersiv-audiovisuellen Projektion 3.5 Anbieter fest installierter IAPs in Kunstmuseen 4 Erfolgsfaktorenforschung 4.1 Die klassische Erfolgsfaktorenforschung 4.2 Erfolg von Kunstausstellungen 5 Entwicklung eines theoretischen Erfolgsfaktorenmodells für IAP 5.1 Transponierung der Erfolgsfaktoren 5.2 Potenzielle Hierarchisierung 5.3 Theoretisches Erfolgsfaktorenmodell II Praktischer Teil 6 Methodik und Vorgehensweise 6.1 Forschungsfragen und Thesen 6.2 Methodik und Durchführung 7 Ergebnisse der Untersuchung 7.1 Analyse der Bewertungswebseite 7.2 Besucherbefragung 7.3 Experteninterviews 7.4 Zusammenfassung 8 Diskussion 8.1 Bewertung der Methodik und Limitationen 8.2 Bewertung der Ergebnisse 8.3 Implikationen für zukünftige Arbeiten 9 Handlungsempfehlungen 10 Fazit 11 Ausblick

Visceral Data is a short documentary formatted for 360-cinema (commonly referred to as virtual reality or VR) that explores the integration of art and science, and how aesthetically creative treatments of raw data are an engaging way to interpret complex information. With Roger Malina, executive editor of Leonardo, the world's foremost academic journal for the intersections of art, science, and technology, providing a narrative overview of the subject, six art-scientists/science-artists discuss specific pieces of their artistic output to provide examples. As Roger Malina asserts, civilization is "going through an epistemological revolution as deep as the Copernican Revolution," and as we progress further into the 21st century, we will need hybrid professionals working in the arts and sciences to help humanity navigate through the age of big data.

<p>The U.S. construction sector ranks second in fatal occupational injuries in 2021 among other sectors. Although many research efforts have been conducted for decades to improve safety at construction jobsites, fatal occupational injuries did not reduce to the desired level. Specifically, previous studies argued that still more than 70% of hazards often remained unrecognized by construction workers even after receiving safety training. In addition to the enforced safety regulations, the Organizational Safety and Health Administrator (OSHA) has mandated safety training for construction workers to train them regarding potential hazards and risks at jobsites while mainly focusing on a general overview of the hazards and preventive measures.</p> <p>However, in the last decade, it was extensively argued that workers’ low performance in hazard identification may not only be related to their hazard knowledge and more related to the cognitive processing of information to identify and perceive the cues in a construction environment to remain situationally aware (i.e., cognitive failures). Therefore, there is a critical need to identify a new approach for customizing training construction workers to address the lack of knowledge and cognitive failures that workers may experience. Thus, this thesis aimed to develop multi-modal personalized safety training to reduce human errors and construction workers' unsafe behaviors by improving their hazard identification abilities.</p> <p>To do so, workers’ hazard identification skills were assessed through subjective and objective non-invasive psychophysiological metrics (e.g., visual attention, emotional responses) in an immersive 360° virtual environment and customized training for them. The effectiveness of the developed personalized training was tested and validated, and the findings indicate considerable improvements in subjects’ hazard identification performance after receiving this customized training.</p> <p>This thesis contributed to the body of knowledge and practice by proposing an advanced personalized safety training framework that automatically translates workers' subjective test results and objective psychophysiological responses into customized training recommendations. The outcomes lay the necessary foundations for building tailored training regimens to improve construction worker safety using comprehensive cognitive analysis and effective intervention strategies. The developed personalized safety training will not only improve workers' hazard identification performance but will also save construction companies time delays and cost overruns by eliminating the need for a repetitive retraining of the workforce.</p>

This study examined how managers develop in response to 360-degree feedback, to discover why some change more deeply than the skills the feedback addresses. The study describes influences that lead some to develop a new perspective on their work, even on themselves, while others change only skill. The purpose was to deeply examine, using qualitative research methods, the experience of 360-degree feedback in a management development program. While other studies have approached isolating variables under experimental conditions or quantifying incremental changes, this one directly examines the experience of a few managers in order to describe and connect certain processes. This study describes how the processes work as the managers change over time to greater and lesser degrees. The study gathered in-depth interview data from 15 participants in a management development program, in a design that captured the experience of ten at 3 and 8 months after Profilor feedback, and five others at 22 months after feedback. Of these, five were selected as exemplary cases, and their data were examined using a constant comparative method to develop process descriptions across cases over 10,000 lines of text. These process descriptions answered the research questions "what influences lead to acceptance or deflection of feedback?" "what influences the change decision process, especially for deep versus superficial change?" and "what influences deep and lasting change?" Additionally, other organizational, relationship, and individual variables emerged and are described. Within the bounds of this study, those who started a developmental dialog with direct reports or peers experienced the deepest and most resilient change. Source credibility in feedback givers was essential for acceptance of the feedback, and, when missing, led to both deflection of the feedback and a worsening relationship. Organizational turmoil minimized the effect of the feedback. While this study did not measure adult cognitive development stage, some who engaged in developmental dialog broadened their perspective beyond dualism and came to challenge their assumptions, suggesting that 360-degree feedback can go beyond skill-building and be effective as a means to establish a developmental dialog. / Ed. D.

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Leadership development has become a focal area for most organisations today in an attempt to ensure that leaders are able to take them into the future and achieve a competitive advantage. Literature reveals that, among others, one of the most popular initiatives in leadership development includes the use 360-degree feedback. Due to the sensitivity and challenge of giving and receiving 360 degree feedback, it is essential to understand the subjective experience of manager's who have recently undergone the process as well as the factors which influence and are influenced by the process. To achieve this, a grounded theory study was conducted in a large manufacturing organisation. The data was collected through focus group interviews with a voluntary sample of senior managers who had participated in a 360 degree feedback process. The outcomes of the study include a definition of "subjective experience" as well as a substantive theory on the subjective experience of 360-degree feedback as a tool in leadership development. Findings indicate that individual's reactions coupled with the perception of both the accuracy and utility of the process are key contributors which form the essence of "subjective experience". Past experience, present information and context were further identified to be key intervening variables of a manager's subjective experience of 360-degree feedback as a tool in leadership development. A number of limitations within this study are explained and recommendations for future research and organisations are provided. / Industrial and Organisational Psychology / M. Comm. (Industrial Psychology)

Aus Einleitung und Motivation "Die gegenwärtigen Entwicklungen von Head-Mounted Displays (HMD, hier synonym auch als Brille bezeichnet) für Virtual Reality (VR) und Augmented Reality (AR) schaffen ein nie da gewesenes Potential dieser Technologien als Werkzeuge in der Produktentwicklung. Wenngleich VR- und ARAnwendungen keineswegs neu in der Industrie sind, bringt der Fortschritt der Verbraucher-HMDs völlig neue Möglichkeiten. Immersive VR-Systeme bedeuten künftig keine hunderttausend Euro Anschaffung mehr – AR-Brillen dienen zukünftig nicht nur der Erweiterung der Realität mit zweidimensionalen Informationen. Cave Automatic Virtual Environments (CAVE), 360-Grad-Projektoren und interaktive Planungstische sind in der Fabrikplanung teilweise etabliert (Runde et al. 2015). Im Unterschied zu diesen Techniken können HMDs jedoch eine deutlich höhere Immersion ermöglichen, was auch für die Interaktion mit der virtuellen Umgebung von Vorteil sein kann. Das Gefühl der Immersion ist wichtig, um in bestimmten Entwicklungsphasen entsprechende Kriterien besser beurteilen zu können. Primär ist der VR-Einsatz für Bewertungsmerkmale sinnvoll, welche nur qualitativ und nicht quantitativ bewertbar sind (Pawellek 2014). Des Weiteren spielt auch die Eingabetechnologie eine essenzielle Rolle. Um mit virtuellen Elementen interagieren zu können, sollte das Eingabegerät echtzeitfähig und intuitiv sein. ..."

The problem with which this study is concerned is that of comparing the results of teaching community college students enrolled in a transferable mathematics sequence for business and economics majors by a computer-aided instructional program and by the traditional lecture method. In order to effectively resolve this problem, an A Programming Language System 360 (APL/360)-aided instructional program was developed and an experimental study was conducted. The APL/360-aided instructional program consisted of three sets of materials.: a manuscript on APL/360, a list of APL programs defining operators relevant to a computer-aided study of calculus, and a collection of problems based on these programs and calculus concepts. The subjects for the experiment were forty-four students enrolled in three sections of Mathematics 112 at Mountain View College of the Dallas County Community College District. The control group, students taught by the traditional lecture method, consisted of twenty-one students. The experimental group, students taught by the APL/360-aided instructional program, consisted of twenty-three students. The same instructor taught all students. The essential difference in the two teaching methods was the use of the computer as a teaching-learning aid in the computer-aided instructional program. The computer was a course supplement to classroom instruction and aided students in obtaining insight into the nature of mathematical concepts as well as serving as a computational aid.

Thesis advisor: John Baldovin / Thesis (STL) — Boston College, 2012. / Submitted to: Boston College. School of Theology and Ministry. / Discipline: Sacred Theology.

Les vidéos omnidirectionnelles, également appelées vidéos sphériques ou vidéos360°, sont des vidéos avec des pixels enregistrés dans toutes les directions de l’espace. Un utilisateur qui regarde un tel contenu avec un Casques de Réalité Virtuelle (CRV) peut sélectionner la partie de la vidéo à afficher, usuellement nommée viewport, en bougeant la tête. Pour se sentir totalement immergé à l’intérieur du contenu, l’utilisateur a besoin de voir au moins 90 viewports par seconde en 4K. Avec les technologies de streaming traditionnelles, fournir une telle qualité nécessiterait un débit de plus de100 Mbit s−1, ce qui est bien trop élevé. Dans cette thèse, je présente mes contributions pour rendre possible le streaming de vidéos omnidirectionnelles hautement immersives sur l’Internet. On peut distinguer six contributions : une proposition d’architecture de streaming viewport adaptatif réutilisant une partie des technologies existantes ; une extension de cette architecture pour des vidéos à six degrés de liberté ; deux études théoriques des vidéos à qualité spatiale non-homogène; un logiciel open source de manipulation des vidéos 360°; et un jeu d’enregistrements de déplacements d’utilisateurs regardant des vidéos 360°. / Omnidirectional videos, also denoted as spherical videos or 360° videos, are videos with pixels recorded from a given viewpoint in every direction of space. A user watching such an omnidirectional content with a Head Mounted Display (HMD) can select the portion of the videoto display, usually denoted as viewport, by moving her head. To feel high immersion inside the content a user needs to see viewport with 4K resolutionand 90 Hz frame rate. With traditional streaming technologies, providing such quality would require a data rate of more than 100 Mbit s−1, which is far too high compared to the median Internet access band width. In this dissertation, I present my contributions to enable the streaming of highly immersive omnidirectional videos on the Internet. We can distinguish six contributions : a viewport-adaptive streaming architecture proposal reusing a part of existing technologies ; an extension of this architecture for videos with six degrees of freedom ; two theoretical studies of videos with non homogeneous spatial quality ; an open-source software for handling 360° videos ; and a dataset of recorded users’ trajectories while watching 360° videos.