An Introduction to 3D User Interface Design

3D user interface design is a critical component of any virtual environment (VE) application. In this paper, we present a broad overview of three-dimensional (3D) interaction and user interfaces. We discuss the effect of common VE hardware devices on user interaction, as well as interaction techniques for generic 3D tasks and the use of traditional two-dimensional interaction styles in 3D environments. We divide most user interaction tasks into three categories: navigation, selection/manipulation, and system control. Throughout the paper, our focus is on presenting not only the available techniques, but also practical guidelines for 3D interaction design and widely held myths. Finally, we briefly discuss two approaches to 3D interaction design, and some example applications with complex 3D interaction requirements. We also present an annotated online bibliography as a reference companion to this article

Toward a model of computational attention based on expressive behavior: applications to cultural heritage scenarios

Our project goals consisted in the development of attention-based analysis of human expressive behavior and the implementation of real-time algorithm in EyesWeb XMI in order to improve naturalness of human-computer interaction and context-based monitoring of human behavior. To this aim, perceptual-model that mimic human attentional processes was developed for expressivity analysis and modeled by entropy. Museum scenarios were selected as an ecological test-bed to elaborate three experiments that focus on visitor profiling and visitors flow regulation

Dataremix: Aesthetic Experiences of Big Data and Data Abstraction

This PhD by published work expands on the contribution to knowledge in two recent large-scale transdisciplinary artistic research projects: ATLAS in silico and INSTRUMENT | One Antarctic Night and their exhibited and published outputs. The thesis reflects upon this practice-based artistic research that interrogates data abstraction: the digitization, datafication and abstraction of culture and nature, as vast and abstract digital data. The research is situated in digital arts practices that engage a combination of big (scientific) data as artistic material, embodied interaction in virtual environments, and poetic recombination. A transdisciplinary and collaborative artistic practice, x-resonance, provides a framework for the hybrid processes, outcomes, and contributions to knowledge from the research. These are purposefully and productively situated at the objective | subjective interface, have potential to convey multiple meanings simultaneously to a variety of audiences and resist disciplinary definition. In the course of the research, a novel methodology emerges, dataremix, which is employed and iteratively evolved through artistic practice to address the research questions: 1) How can a visceral and poetic experience of data abstraction be created? and 2) How would one go about generating an artistically-informed (scientific) discovery? Several interconnected contributions to knowledge arise through the first research question: creation of representational elements for artistic visualization of big (scientific) data that includes four new forms (genomic calligraphy, algorithmic objects as natural specimens, scalable auditory data signatures, and signal objects); an aesthetic of slowness that contributes an extension to the operative forces in Jevbratt’s inverted sublime of looking down and in to also include looking fast and slow; an extension of Corby’s objective and subjective image consisting of “informational and aesthetic components” to novel virtual environments created from big 3 (scientific) data that extend Davies’ poetic virtual spatiality to poetic objective | subjective generative virtual spaces; and an extension of Seaman’s embodied interactive recombinant poetics through embodied interaction in virtual environments as a recapitulation of scientific (objective) and algorithmic processes through aesthetic (subjective) physical gestures. These contributions holistically combine in the artworks ATLAS in silico and INSTRUMENT | One Antarctic Night to create visceral poetic experiences of big data abstraction. Contributions to knowledge from the first research question develop artworks that are visceral and poetic experiences of data abstraction, and which manifest the objective | subjective through art. Contributions to knowledge from the second research question occur through the process of the artworks functioning as experimental systems in which experiments using analytical tools from the scientific domain are enacted within the process of creation of the artwork. The results are “returned” into the artwork. These contributions are: elucidating differences in DNA helix bending and curvature along regions of gene sequences specified as either introns or exons, revealing nuanced differences in BLAST results in relation to genomics sequence metadata, and cross-correlation of astronomical data to identify putative variable signals from astronomical objects for further scientific evaluation

One view is not enough: review of and encouragement for multiple and alternative representations in 3D and immersive visualisation

The opportunities for 3D visualisations are huge. People can be immersed inside their data, interface with it in natural ways, and see it in ways that are not possible on a traditional desktop screen. Indeed, 3D visualisations, especially those that are immersed inside head-mounted displays are becoming popular. Much of this growth is driven by the availability, popularity and falling cost of head-mounted displays and other immersive technologies. However, there are also challenges. For example, data visualisation objects can be obscured, important facets missed (perhaps behind the viewer), and the interfaces may be unfamiliar. Some of these challenges are not unique to 3D immersive technologies. Indeed, developers of traditional 2D exploratory visualisation tools would use alternative views, across a multiple coordinated view (MCV) system. Coordinated view interfaces help users explore the richness of the data. For instance, an alphabetical list of people in one view shows everyone in the database, while a map view depicts where they live. Each view provides a different task or purpose. While it is possible to translate some desktop interface techniques into the 3D immersive world, it is not always clear what equivalences would be. In this paper, using several case studies, we discuss the challenges and opportunities for using multiple views in immersive visualisation. Our aim is to provide a set of concepts that will enable developers to perform critical thinking, creative thinking and push the boundaries of what is possible with 3D and immersive visualisation. In summary developers should consider how to integrate many views, techniques and presentation styles, and one view is not enough when using 3D and immersive visualisations

Acting rehearsal in collaborative multimodal mixed reality environments

This paper presents the use of our multimodal mixed reality telecommunication system to support remote acting rehearsal. The rehearsals involved two actors, located in London and Barcelona, and a director in another location in London. This triadic audiovisual telecommunication was performed in a spatial and multimodal collaborative mixed reality environment based on the 'destination-visitor' paradigm, which we define and put into use. We detail our heterogeneous system architecture, which spans the three distributed and technologically asymmetric sites, and features a range of capture, display, and transmission technologies. The actors' and director's experience of rehearsing a scene via the system are then discussed, exploring successes and failures of this heterogeneous form of telecollaboration. Overall, the common spatial frame of reference presented by the system to all parties was highly conducive to theatrical acting and directing, allowing blocking, gross gesture, and unambiguous instruction to be issued. The relative inexpressivity of the actors' embodiments was identified as the central limitation of the telecommunication, meaning that moments relying on performing and reacting to consequential facial expression and subtle gesture were less successful

Affordable immersive projection system for 3d interaction

This paper describes an affordable Virtual Reality system designed and developed by a group of researchers at the Polytechnic University of Catalunya (UPC). The system allows direct selection and manipulation of virtual 3D objects. The interaction is based on stereoscopic images projected over the user’s working space and on devices tracking the user’s natural movements. The system includes a screen being adjustable both in orientation and height, sensors tracking the head and hand movements, and a tactile device for the forefinger providing touch sense. A prototype of the system is currently exhibited at the Virtual Reality Center of Barcelona and it is being used in different application fields like architecture, medicine and industrial design.Peer ReviewedPostprint (published version

Applying a User-centred Approach to Interactive Visualization Design

Analysing users in their context of work and finding out how and why they use different information resources is essential to provide interactive visualisation systems that match their goals and needs. Designers should actively involve the intended users throughout the whole process. This chapter presents a user-centered approach for the design of interactive visualisation systems. We describe three phases of the iterative visualisation design process: the early envisioning phase, the global specification hase, and the detailed specification phase. The whole design cycle is repeated until some criterion of success is reached. We discuss different techniques for the analysis of users, their tasks and domain. Subsequently, the design of prototypes and evaluation methods in visualisation practice are presented. Finally, we discuss the practical challenges in design and evaluation of collaborative visualisation environments. Our own case studies and those of others are used throughout the whole chapter to illustrate various approaches