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The application of Virtual Reality (VR) in theater space and installation art is the general trend, and it can be seen in large stage plays and installation art exhibitions. However, as the current VR is not mature enough, it is difficult to perfectly fulfill the exhibition requirements of large theaters, so this paper aims to change this situation by using VR based on multisensor data fusion. In this paper, a data fusion algorithm based on multisensors is designed, which improves the data transmission efficiency and delay of the VR system, so that VR can have a better viewing experience in theater space and installation art. And, through the questionnaire survey and actual interview, the actual feelings of VR audience in theater space and installation art are investigated and studied. Through the experimental analysis of this paper, the algorithm in this paper has high reliability and can improve the experience of using VR. The interview results and results show that the main application of VR in theater space is manifested in three aspects: multiangle and all-round viewing, multiroute viewing, and man-machine interaction in art galleries. The application of VR in installation art is mainly reflected in the perception of installation materials. [ABSTRACT FROM AUTHOR]

This paper presents a new method for generating artworks that extends the classical anamorphic archetype to use freeform reflective and refractive media and 3D surfaces instead of images. The methodology uses a mix of raytracing and surface deformation techniques to determine the proper deformation the object should undergo to be corrected by the optical tool once viewed by the observer in a specific location. Our approach also includes an optimization process that modifies the point of view and the location of the target image to avoid unwanted optical effects or occlusions. We successfully tested our technique on several practical examples and employed it to produce actual artworks. • A new method to construct anamorphic sculptures using general optical media. • Characterized the main problems arising in general anamorphosis. • A simple system to allow the artist to create anamorphic art installations. • We created real-world art installations in international exhibitions. [ABSTRACT FROM AUTHOR]

Through a sustained engagement with The Precarious Life of the Parol, an installation art exhibition by the Filipinx artist Diane Williams, this essay theorizes "brown gathering": a quotidian practice of archiving that mobilizes the kinship networks of minoritarian subjects as an affective and circulatory infrastructure of collecting, preserving, and (re)signifying the objects of brown life. Brown gathering simultaneously attests to the intimacies of state violence and the practices of minoritarian subjects. In Parol, named after a Filipinx Christmas ornament of Spanish and native origin, Williams turns toward this curatorial practice of making art with trash objects as a way to reckon with the archival absences of Philippine history. This investigation of Williams's pieces, all made from trash objects that her family donated to her, concerns three categories: skeletal frames (wood and wire), used to explore archives of excess and mess; plastics, used to speak about the temporality of diaspora; and discarded food containers (SPAM cans and sauce mixes), used to theorize the politics of the brown body. These objects, like the brown subjects that signify them, are testaments to the ongoing plunder of empire and to what empire jettisons around the world. [ABSTRACT FROM AUTHOR]

This article describes the process educators at Cornell Botanic Gardens undertook to interpret the Ecological Calendar research project for public audiences. An ecological calendar is a way of keeping track of seasonal changes in a habitat. Many communities use and have used such calendars to coordinate their subsistence activities based on these seasonal events. Using interpretive and design planning processes, educators developed an exhibition in the Gardens' welcome center to help the visiting public understand what ecological calendars are, how they are used by communities most impacted by climate change, and their great potential for use by people around the world to adapt to increasing uncertainty associated with changes such as the increase in extreme weather events. To further help the public understand ecological calendars, two artists were invited to create art installations as part of the whole exhibition based on the research and knowledge from participating communities. Finally, project team members worked with educators to develop an environmental education activity that could be used at the Gardens and in primary and secondary schools to educate students about the value of ecological calendars and how to create them. The team was invited to submit a summary of their exhibition development process to this journal, as part of this special issue and to describe the process they took to communicate the ecological calendar research to a public audience. The process, which included an interdisciplinary team of scientists, Indigenous community members, artists, and educators' emphasized co‐creation and the benefits of including multiple voices and viewpoints. It also describes interpretation—a purposeful approach to communication that facilitates meaning and understanding—and offers an example of how this discipline can be used by the scientific community to help convey their work to public audiences. Plain Language Summary: This article describes the process educators at Cornell Botanic Gardens undertook to interpret the Ecological Calendar research project for public audiences. Interpretation is a communication process that reveals meanings and relationships through direct experience with objects, artifacts, sites, and landscapes. Using interpretive and design planning processes, educators developed an exhibition to help the visiting public understand what ecological calendars are, how they are used by communities most impacted by climate change, and their potential for use by people around the world to adapt to increasing uncertainty associated with climate change. The exhibition included a photographic narrative; glass case exhibits comprised of objects, photos, and narratives; and displays of ecological calendars. To further public understanding of the ecological calendars, two artists were invited to create art installations to provide a different interpretive perspective. Finally, research team members worked with educators to develop an education activity that could be used at the Gardens and in primary and secondary schools to educate students about the value of ecological calendars, how to create and use them. An evaluation of the exhibition showed that respondents understood what ecological calendars are, why communities were participating in the research project and the benefits of developing ecological calendars. Key Points: Interpretation, exhibit, art, and education are used at a botanic garden to help public audiences understand ecological calendarsEcological calendars and climate adaptation are explained through exhibition and art installations are used to provoke a different viewpointA prototype activity was developed for secondary school students to teach about ecological calendars [ABSTRACT FROM AUTHOR]

By contrast, Vansina - Flemish, pragmatic, realist, and positivist-leaning - had studied social anthropology in London (Vansina 1994). The second (Vansina 2014) narrates Vansina's childhood in wartime Flanders, reckoning with his Flemish identity and ethics in the contexts of the war and Flemish-francophone divides. GRAPH Jan Vansina, a pioneering Africanist anthropologist and historian who wrote many books on precolonial kingdoms and the forest peoples of central Africa, died at his home in Madison, Wisconsin, in 2017. IRSAC's multidisciplinary approach to the human sciences (Vansina 1960; Vansina 1970) marked Vansina's historical imagination for decades, while his early scholarship aimed at "truths" articulated in a scientific tenor. [Extracted from the article]