Consciousness, Literature and the Arts
Archive
Volume 1 Number 3, December 2000
_______________________________________________________________
Seeing is Believing: Advanced
Visualization and the Use of Virtual Reality in an African American Literature
Course
By
Bryan
Carter, Joi Moore and Chris
Amelung
| Introduction
| Rationale | Virtual Harlem | Evaluation Methods | Results |
| Implications |
Future Research Plans | References | Appendix |
Instructors in the Humanities
often face the challenging task of actively engaging students with a text for
which some have little or no background knowledge or interest. When students are
assigned a text that is older than their parents, they usually have a difficult
time visualizing the setting that may have inspired an author or artist to
create the work. The challenge is further compounded by the way Hollywood has
"modified" various settings for the objectives of a film version of a
novel or short story. Because of the liberal
way in which the media sometimes modifies settings, often with little regard to
historical accuracy, students are left with the idea that if they have seen the
movie, they "know" the whole story. With the help of advanced
visualization technology, we now can create accurate, content-filled
environments wherein students can become actively engaged within these settings
on a more personal level.
The overall goals of this project
are to develop relevant curriculum materials within an African American
literature course that can eventually be expanded to other disciplinary areas.
These materials will incorporate advanced visualization and interactivity within
a technological framework in order to facilitate greater comprehension,
appreciation, and contextualization of a period, text, or discipline. We
also hope to foster curricular and pedagogical reform, to make more productive
use of networking resources, and to incorporate a degree of faculty development
which emphasizes the inclusion of advanced technologies. In addition to our
pedagogical concerns relating to how students comprehend a text, Virtual
Harlem was created to demonstrate the potential benefits and capabilities of
Virtual Reality (VR) within an educational environment. Thus, we conducted a preliminary
evaluation to answer the following questions:
How does the use of advanced
visualization affect students' overall comprehension of early 20th
century African American literature in other disciplinary areas?
How are students' perceptions and
consciousness about the subject matter affected as a result of experiencing
advanced visualization environments?
The University of
Missouri-Columbia’s Advanced Technology Center (ATC) is currently working on a
project called Virtual Harlem, which is, to the best of our knowledge,
one of the few uses of VR in an American Literature setting. This virtual world
allows students not only to visualize the setting and context of several
fictional texts in a computer-generated environment, but also enables them to
interact with it by navigating through streets, with historical characters
through questions and audio queues, and participate in its design. As students
“build” a spatial context for their reading of the text, their enthusiasm
for the subject matter skyrockets. Approximately ten square blocks of Harlem,
N.Y., as it existed in the early 20th Century, have been
reconstructed in a VR learning environment. This environment gives
students an unprecedented view of the cultural wealth and history of one of the
most productive periods in African American culture -- the Harlem Renaissance,
circa 1925-35. Currently, student research materials help to refine and expand
upon this base, as students have the pleasure of not only navigating but also
performing interdisciplinary research on the time period, which provides extra
dimensions to the learning environment.
Virtual Reality is best defined
as a computer generated environment that immerses a user into the environment at
various levels. One level is to have the user wear a head-mounted display to
become totally immersed into the environment. Another level is to have the user
wear stereographic glasses that offer an enhanced level of graphic detail but
only semi-immerses them into an environment. The third level is one pioneered by
the University of Illinois-Urbana Champaign, called the CAVE. The CAVE is an
acronym that stands for Cave Automatic Virtual Environment and is a theater
(10x10x9 feet) that is comprised of three rear-projected screens for walls and a
reflective projection for the floor. Designed for a multi-user experience, each
wall of the CAVE represents the field of view for the users. Because the CAVE is
designed for multi-user experiences, it lends itself perfectly for small groups
of four to eight students, yet allows individual exploration because each user
may look in any direction[bc1].
An exciting element of this project is the networked collaborative experience
that exists between CAVE units. The
CAVE is also a metaphor with reference to “The Simile of the Cave” found in
Plato’s Republic. In his account, Plato explores the ideas of perception,
reality, and illusion. This same sort of exploration can now be more effectively
incorporated into various courses using VR.
Because of the interactive nature
of VR learning environments, students are immersed within an environment that
actively engages them on both a technical and pedagogical level. They also have
the ability to collaborate with students who may be located anywhere around the
world and who are studying the same material with access to similar hardware and
software. These types of multi-campus collaborative exercises are becoming more
common on the World Wide Web in a textual format, but have not been fully
explored using interactive advanced visualization environments.
A number of colleges and
universities around the nation offer courses pertaining to African American
culture and usually teach them as separate disciplinary surveys, representing a
very broad time-span. This is, understandably, one way to expose students to a
number of political movements, artists, historical events and personalities
which may encourage further study in more specialized courses. Oftentimes,
however, significant aspects of African American culture are overlooked because
of the amount of time that must be covered versus the number of weeks within a
semester.
It is nearly impossible to cover
over one hundred years of information in such a short amount of time. To
compound this problem, students are usually enrolled in large lectures and
required to complete an exorbitant amount of reading to make up for information,
which cannot be covered in regular class meetings. Therefore, current
instructional strategy reinforces the “passive learner” mentality often
learned in their secondary school experience. The frustration that students
sometimes experience because of the way large survey classes are formatted is
compounded even further when they are asked to conduct research on the Web and
they find no central location for the information they seek. There are literally
hundreds of search engines with links to relevant sites pertaining to African
American culture and a dazzling number of Web-based resources that may or may
not be “valid” from a research perspective.
According
to Kinzer and Leu (1997), learners often enter a class with
little shared knowledge between each other or between the teacher. This often
makes it difficult for learners to link new information with what they already
know. Kinzer and Leu also point out that students do not use their new knowledge
in appropriate situations even if they have demonstrated a certain mastery over
the subject. Students may learn something in one class which may have relevance
in another, but they have a difficult time making the connection. Sharp,
Bransford, Goldman, Risko, Kinzer, and Vye (1995) found
that multimedia environments with dynamic visual support facilitate learning and
comprehension and increase the ability for students to make the connections
pointed out earlier. Both of these studies serve as examples of ways in which
the increase in prior knowledge leads to increases in comprehension and
interest. These studies are also supported by the research of Alexander,
Kulikowich, and Jetton (1994) as well as that of Tyler and
Voss (1982). Increases in prior
knowledge also lead to greater frequency and higher quality of self-generated
questions (Scardamalia & Bereiter, 1991) and profoundly
influences the interpretation of ambiguous passages (Bransford
& Johnson, 1973). Thus, a well-designed visual environment contains
several characteristics that may be useful in helping students overcome a lack
of prior knowledge about complex and contextually dense material.
A hypermedia visual environment
responds immediately to the learners' informational needs as they attempt to
construct a model of the information they encounter (Kinzer &
Leu, 1997). Within a hypermedia visual environment, a learner has access to
multiple media sources of information with navigational capabilities similar to
that of the "real world." In addition to text and traditional graphic
material, learners now have access to animation, speech, video, music, and the
possibility of real-time interaction with real or historic figures that may be
used to explore various cause and effect relationships or complex relationships
between multiple disciplines. Expanding
on the notion of the environmental effect on learning, William
Winn (1993) proposed that a different type of learning, constructivism,
could occur in a virtual environment when students actively engage in the
creation of knowledge. The constructivist theory was proposed in the early 1980s
by R. M. Gagne et al., as well as that of constructivists of the 1930s and 1940s
led by Jean Piaget. Rather than passively receiving knowledge, students must
navigate and make decisions based upon various options presented to them (e.g.
whether to drive or walk, whether to go inside a cabaret or look through the
window, whether to read poems on the wall of a popular establishment or listen
to jazz). This active decision-making gives students the feeling of not only
participating in a “real” world environment, but also transforms learning
into exploration. Because of the sense of agency that the student feels, he or
she is more likely to engage in learning. A part of constructivist theory
advocates teachers acting as facilitators functioning to help students become
active participants in their own learning thus making meaningful connections
between prior knowledge, new knowledge and between disciplines.
When students read a text, they
are experiencing, second hand, the interpretations of the author. Although this
second-hand account of an author’s knowledge of a place or event may lead to a
good understanding of what the author may have been trying to express, VR
affords the student an opportunity to experience “first hand” the same
environment, event, or setting that the author is describing through an accurate
recreation of the environment, not just the recreation of a single scene from a
single work of literature. Students may discover additional or entirely new
meanings because they will have “seen,” “explored,” and
“experienced” the environment themselves. In this way, visualization becomes
a kind of “intertextual” engagement, in which students interact with a
simulated environment, augmented with music, photos, and dialogue. Visualization
promises not only to open the text to new possibilities, but also to
revolutionize the notion of what it means to “read” or experience a text.
Thus, the visual may serve to expand the literary/historical consciousness of
the user. This aspect of VR should
be vital to the future of literary, historical and social criticism.
One of the primary reasons for
incorporating VR is to engage students on both a visual and critical level, so that a
historical movement within African American culture can be better understood and
critically evaluated by having students enter into a realistic rendition of the
environment that inspired artists, educators, musicians, authors, politicians
and economists. The cross-disciplinary aspect of this VR project in the
Humanities encourages students to explore relationships between independently
taught courses such as music, art, literature, psychology, and history.
Two committees have been established to develop, enhance, evaluate and
distribute this project to a national audience as well as to incorporate a
system of checks and balances to ensure historical accuracy. A Curriculum
Development Committee is comprised of scholars from three universities who
specialize in various disciplines. Representatives
from fields such as history, art, music, literature, and psychology, all of whom
see a relationship between Virtual Harlem and units they actually teach,
have agreed to develop relevant curriculum modules that can be used by faculty
members and researchers from around the world, and to establish a system of
checks and balances to ensure historical accuracy.
The Technological Development Committee is comprised of developers who
have agreed to help complete certain portions of the distributed learning
environment. Computer programmers, Web developers, videographers, musicians,
librarians, artists, assessment/evaluation specialists and system administrators
make up this team and will carry out the technical implementation and evaluation
of this project. Committee members have extensive experience within the fields
of video and audio digitization, electronic texts, 2-D and 3-D digitization,
animation, CD-ROM and DVD development and the very exciting implementation of
Internet 2, the high speed network being developed to connect scientific and
research institutions.
Virtual Harlem:
The Virtual Reality Learning Environment
The Harlem Renaissance, circa
1925-1935, is the major context for this VR learning environment. A student
studying literature may encounter an experience similar to the one described
below.
As the journey begins, a passing
trolley car full of people must be avoided, as well as other Model-Ts parked in
the street. Straight ahead, the Lafayette Theatre is an obvious attraction, with
an all black cast playing in the version of “Macbeth” produced by Orson
Welles. From the open car, you can hear the sounds of dogs barking in the street
and people laughing and walking by. Getting out of the car, you can stop and
hear a portion of Macbeth’s infamous monologue as he holds his bloody dagger,
while the cast practices during the day. Driving or riding the trolley is the
fastest way to get your bearings in Harlem, but walking will take you into the
clubs to watch live performances of jazz, blues, ragtime, and classical music.
Connie's Inn, Small's Paradise and the world famous Cotton Club, refer to as
"the big three cabarets" are among the many establishments created
using actual photographs for reference.
Navigating through the streets by
day, you notice the life of the entrepreneurial city streets (see Figure 1). You
can pass street vendors selling their wares, and as you approach one, he will
start to call his jingle, “the meat pie man is a mighty fine man.” These
jingles or street-chants were a popular form of entertainment, and are the
historical foundation for the later commercial jingle. Walking also allows you
an opportunity to explore Harlem’s alleyways, where you might happen upon two
men playing checkers or telling “hoodoo” stories, which are the U.S. version
of “voodoo,” and involve the sharing of herbal recipes, love potions,
trickster tales, or other kinds of spiritualism. As students hear these stories,
the instructor can tell them of the history of American “hoodoo,” a kind of
folklore that was developed by slaves to accommodate their new surroundings. The
voices of all the characters within Virtual Harlem are those of actors
that were recorded and placed in the appropriate location as “sound beads”
within the environment. Later, “live” actors will be filmed using chromakey
technology and placed as animated figures within the project that will come to
life when one approaches.
Figure 1.
7th Avenue, Harlem, New York – Circa 1926
You can also pass the Peace
Mission of Father Divine, a cult figure who was enormously popular up and down
the Eastern Seaboard and on the West Coast for over five years. As you pass, you
can hear Father Divine describing himself as the “Lord God in bodily form”
as the followers cry out, “peace be to Father Divine.” Nearby is the largest
African American church of the time, Abyssinia Baptist Church, where you can
hear the Reverend Adam Clayton Powell deliver a portion of the “Creation”
sermon as recorded by the poet James Weldon Johnson.
The most exciting time to be in
Harlem is at night, and students (or the teacher) may choose when night will
fall in Harlem, after they have had enough of the daytime sights (see Figure 2).
At night, the city comes alive with the flashing lights of marquees and the
faint glow of the lampposts. You may choose where to go by reading the bills
posted on billboards outside the bars, which are created from photographs of
actual bills of the time period. Or, you may simply stroll the streets, peering
in windows to decide what interests you most. At the Nest Club, waiters are
setting up for a fancy dinner, while across the street, people are eating at a
more casual doughnut shop. Passing one club, you can hear Bill “Bojangles”
Robinson tap dancing inside and reminisce about the time that he tapped five
miles down Broadway on his sixtieth birthday followed by over 500 well wishers.
You can visit the Hot Cha Club where Billie Holiday got her start, or the famous
Savoy Ballroom where dances like the Charleston and the Lindy Hop were
popularized. Tonight, the Chick Webb Orchestra and the Jimmy Lundsford Band are
playing in the “Battle of the Bands,” an all-night concert that goes on
until one band quits or the sun comes up, whichever happens first. You can stay
and listen or just watch dancers perform the Lindy Hop or the Jitter Bug.
Small’s Paradise is nearby and is where Langston Hughes frequently visited,
while down the street, Myra Johnson is singing at the Apollo Theater as part of
Amateur Night. What is fascinating about the clubs in Harlem is the diversity of
the clientele, from the "all-white" Cotton Club to the interracial
men’s club called Barron’s Cabaret or the predominantly gay and lesbian
audience of Edmund’s Cellar.
Figure 2.
Harlem at Night in front of the Cotton Club
What most people want to
experience is the Cotton Club, where African Americans distinctly are not
allowed. The famous gold and wood-crafted doors of this Mafia-controlled club
are unmistakable, and as they open, you have a sense of entering a world of
wealth, exoticism, sensuality, and illusion. Designed to be reminiscent of old
plantation life, the interior strikes you as a combination of the Old South and
an exotic island jungle. There are palm trees everywhere, and the room is filled
with laughing guests in evening gowns and tuxedos. If you stay long enough, the
curtains will part, and actual footage of a filmed performance of the Duke
Ellington Band will play on stage as dancers tap in the foreground as an
introduction to singer Freddie Washington.
If you grow tired of this
"all-white" setting, you can sneak out through the door that says,
“colored entrance” on the outside, which functions as an entrance for black
waiters and entertainers. In the back alley, you may find that Duke Ellington
band members have gone to hear Bessie Smith sing at the After Hours Club, a
blues bar behind the Cotton Club. Finally, there are always the salons held in
the brownstones inhabited by the intellectual class, where you can mill around
with Jessie Fauset, Nella Larsen, Wallace Thurman or Zora Neale Hurston. Or
there is the notorious “Dark Tower” built by A’Lelia Walker, daughter of
Madam C.J. Walker, beauty culturists who made millions developing skin and hair
care products for African Americans. The walls of the “Dark Tower” are
covered with poetry by Langston Hughes and Countee Cullen, and the clientele
will give you a sense of the weekends filled with poetry and music that occurred
in this place.
The incorporation of VR
technology in various courses developed by members of the Curriculum Development
Committee recreates the actual setting being taught. Hence, the Humanities
content can be supplemented with realistic images, music, speeches, etc…. For
instance, one of the texts being used for a literature course is Home to
Harlem by Claude McKay (1928). In this work, McKay graphically describes
various scenes in New York that he probably experienced while living there,
although he wrote the novel while living in Europe. Students begin by reading
portions of the novel along with class discussion on important themes and are
encouraged to use their imaginations to piece together the portions of Harlem
and/or other settings that the author has described textually. The class is then
taken to a VR lab where, through immersion, they will be able to expand their
imaginary capabilities, because they will now have memory and personal
experience to add to the artist’s description of a particular scene within a
novel. We believe that students will gain a more comprehensive understanding of
the text, the time-period, and the author’s language by “seeing” the
scenes in conjunction with their reading. The
QuickTime movie for Virtual Harlem provides a Web-based example of what a
student may experience when viewing the VR project (see Appendix).
At the beginning of the semester, 139 students in an African American
Literature course were administered a pretest to determine initial perceptions
and attitudes toward the Harlem Renaissance and the artists from this period as
well as the Harlem environment out of which these emanated (i.e. people,
culture, physical environment). This pretest was one question that simply asked
"What was Harlem like during the 1920's and 1930's?" Next, the
traditional content delivery (i.e., lectures, readings, and discussions)
continued for approximately 2 weeks. After the unit of instruction was
completed, students were divided randomly into an experimental and control
group. The experimental group
visited the Virtual Environment Instructional Lab
(VEIL), which is maintained by the ATC at the University of Missouri-Columbia,
wherein they experienced advanced visualization of Virtual Harlem. On the
same day, both groups were administered the same guided question given to them
earlier in the semester. In addition to the guided question, the experimental
group completed a survey and provided feedback regarding the Virtual Harlem
project via email.
The results of the pre-assessment data suggest differences in the
attitudes and perceptions about Harlem Renaissance between ethnic groups
enrolled in the class. While most
African American students entered the course with positive perceptions and
attitudes toward Harlem, the majority of Caucasian student’s attitudes ranged
from negative to indifferent. While
it is too early to draw any definite conclusions, the initial results of
qualitative measures indicate a shift in attitudes of Caucasian students in the
experimental group. All of the experimental group’s writing is not only more
descriptive, but demonstrates a positive perception of the life in Harlem during
the 1920s. For example, previous writing samples of Caucasians in the
experimental group noted that Harlem was "slummy",
"rodent-infested", and "gangster-ridden". After visiting Virtual Harlem,
the writing samples by the same students indicated a more positive perception of
the period. The perceptions of African American students within the
experimental group remained the same and in some cases increased. However, the Caucasian and African
American students within the control group’s subsequent writing sample
mirrored their initial writing assessment in terms of perceptions and attitudes.
Students within the experimental
group were also given a survey to assess their views on the overall contribution
of VR visualization to their understanding and appreciation of the course
content. The results are noted in Table 1. Preliminary results of the survey
suggest that Virtual Harlem project positively affects student learning
of the Harlem Renaissance period. It is also noted that students appreciated the
use of VR over traditional presentation methods, which provides inspiration to continue with this project.
Table 1:
Student Survey Data
|
Question |
Response |
Percent |
|
Contribution of VR
visualization presentations to my understanding of the course material |
None Some Significant Very significant |
7.8 18.6 44.2 29.4 |
|
Usefulness of VR visualization
as a supplement to this class |
None Some Significant Very significant |
8.9 10.4 37.8 43.0 |
|
VR visualization increased my
interest in the course content |
No Yes No response |
9.7 88.9 1.4 |
|
Contribution of VR
visualization presentations to the class |
None Some Significant Very significant |
5.9 6.7 39.3 48.1 |
|
Relevance of VR visualization
to the course content |
None Some Significant Very significant |
6.7 11.1 38.5 43.7 |
|
Use of VR visualization would
influence my decision to take a course |
None Some Significant Very significant |
13.3 16.3 34.1 36.3 |
|
Educational value of VR
visualization |
None Some Significant Very significant |
6.0 11.2 34.3 48.5 |
|
VR visualization was _____ a
film or video |
Less effective than More effective than The same as |
7.4 69.6 23.0 |
|
Incorporation of VR
visualization into the course by the instructor |
Poor Good Excellent Superb |
3.0 6.8 31.6 58.6 |
|
Overall effectiveness of VR
visualization |
Poor Good Excellent Superb |
4.0 7.0 42.0 47.0 |
The promises of VR create new
possibilities for text and revolutionize the notion of what it means to
“read” or experience a text regardless of the discipline. Because of recent
currents in literary and historical criticism focusing on intertextuality,
pastiche, and reader response, this aspect of VR should be vital to the future
of criticism as a whole.
The future of Virtual Harlem is very exciting. Just recently, a
collaborative activity took place between the University of Missouri-Columbia (MU)
and the University of Illinois-Chicago (UIC) where the instructor, Bryan Carter,
guided a group of students through Virtual Harlem. The students were part
of a Harlem Renaissance course being taught at UIC and were taken to the
Electronic Visualization Lab located at UIC. Carter was at the Advanced
Technology Center at MU. Participants were represented as Avatars or
computer-generated representations of humans, within the environment. All
participants could interact and communicate with one another as well as with the
environment. The response by students was overwhelmingly enthusiastic. Because
students were already familiar with the subject matter and the environment
through some class discussion, they made comments such as, “look, there’s
the Cotton Club,” and “so, that’s what the Apollo Theater looks like.”
Within future phases of the project, we envision incorporating a very
sophisticated level of artificial intelligence in which the environment will
interact with the user based on certain decisions made at the beginning of the
program. For instance, if a student were to choose to “be” a black, middle
class female, the environment and avatars within the project may treat her
differently than if she were to choose to be a white, upper class male. Imagine
the possibilities for role-playing within an environment that no longer exists
and how students will be able to literally step out of their “selves” to
become someone else for a while. This sort of shared experience is moving closer
to the Metaverse as described by Neil Stephenson in Snow Crash.
Through collaborative activities
between Humanities scholars and those in technology or engineering, more
visually shared spaces like Virtual Harlem are possible. We hope to perform a more formal
evaluation of the impact on learning by answering the following research
questions:
How does the use of advanced
visualization affect students' overall comprehension of literature in other
disciplinary areas? After a specified length of time, does advanced
visualization help students retain knowledge more effectively than standard
instructional delivery methods (i.e. lecture and readings)?
Does the delivery medium of the
advanced visualization project affect the overall comprehension of students
within various Humanities subject areas? If so, how?
Networked
collaboration between universities is an inherent part of this advanced
visualization project. How is this type of collaborative activity similar to or
different from that which takes place in a traditional classroom setting? What
is the effect on learning?
How does
the use of advanced
visualization modify the way teachers use
advanced technology in the classroom?
The preliminary data collected
from this study will be incorporated into a longitudinal study designed to
determine the impact of advanced visualization over an extended period of time. Moreover, we will also be able examine
its impact on retention of subject matter because all of the students who were
enrolled in the class have agreed to be re-tested after 6 months. As we continue to enhance the project
and collect data to answer our research questions, we hope to contribute to the
literature related to the following: active learning versus passive learning,
interactivity with the subject matter, and assisting visual learners who may
find the lecture format difficult.
As we expand the scope of the Virtual
Harlem project, we will develop a national and global dissemination plan for
use within a VR learning environment and make the end products available in a
variety of technological formats. As we increase the awareness of this project,
we hope that more instructors for similar courses will become involved. Through their involvement, we will be
able to unify the multitude of information resources that are located on the Web
regarding a specific period in African American culture.
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& Jetton, T.L., (1994). The role of subject-matter knowledge and interest in
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Bransford, J.D., & Johnson,
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Kinzer, C. & Leu D.J., Jr.,
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Scardamalia, M., & Bereiter,
C. (1991). Higher levels of agency for children
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Sharp, D.L., Bransford, J.D.,
Goldman, S.R., Risko, V.J., Kinzer, K., & Vye, N.J. (1995). Dynamic visual
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Tyler, S., & Voss, J.F.
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Winn, W. (1993) A conceptual
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Navigating the QuickTime Movie
Before viewing this QuickTime VR
environment, you will need Apple's QuickTime 4.0 and the QTVR plug-in both of
which are free downloads from Apple (http://www.apple.com/quicktime/download ).
When the tour first appears, you will be standing in the middle of 7th
Avenue, viewing the Lafeyette Theatre to your left, and facing the Apollo
Theater. QuickTime VR allows you to rotate your field of view, 360 degrees, by
holding down your mouse button and
"dragging" the mouse either left or right (note: click and hold the
left mouse button if you are using a PC). Your cursor will change to a left or
right arrow depending on your direction. You
can zoom in (minus) or zoom out (plus) by clicking on the magnifying glasses in
the bottom left-hand corner of the QuickTime window.
Each 360 degree QuickTime
environment is referred to as a panorama. This is equivalent to standing in the
middle of a room and turning completely around in a circle. The environment also
contains "nodes" which are several individual 360 degree panoramas
linked together. When you notice your cursor turn from a circle to an up arrow,
click your mouse and you will be transported to the next "node" which
takes you either up or down the street. Navigate the environment just as if you
were walking down the street. If you want to go in a particular direction, turn
that way. Then, you can perform another 360 degree navigation in the same manner
you did in the other nodes.
The QuickTime Movies and all
other images within this paper are the property of The Advanced Technology
Center at the University of Missouri-Columbia. You must receive written consent
to use any of these images for commercial, educational or personal purposes.
ã
2000 Advanced Technology Center, University of Missouri-Columbia.
Associated Web Sites
The Advanced Technology Center,
University of Missouri - Columbia, (http://www.atc.missouri.edu)
Making of Virtual Harlem,
(http://www.atc.missouri.edu/virtualharlem)
Electronic Visualization Lab,
University of Illinois-Chicago, (http://www.evl.uic.edu/EVL/)
Apple Computer - QuickTime, (http://www.apple.com/quicktime/)
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