Data-driven Storytelling in Hybrid Immersive Display Environments

Data-driven stories seek to inform and persuade audiences through the use of data visualisations and engaging narratives. These stories have now been highly optimised to be viewed on desktop and mobile computers. In contrast, while immersive virtual and augmented reality (VR/AR) technologies have been shown to be more persuasive, no clear standard has yet emerged for such immersive stories. With this in mind, we propose that a hybrid data-driven storytelling approach can leverage the familiarity of 2D display devices with the immersiveness and presence afforded by VR/AR headsets. In this position paper, we characterise hybrid data-driven stories by describing its design opportunities, considerations, and challenges. In particular, we describe how both 2D and 3D display environments can play either complementary or symbiotic roles with each other for the purposes of storytelling. We hope that this work inspires researchers to investigate how hybrid user interfaces may be used for storytelling

Visualization Authoring for Data-driven Storytelling

Data-driven storytelling is the process of communicating insights and findings that are supported by data, forming a visualization-based narrative. However, most current visualization creation tools either only support fixed sets of designs or require an in-depth understanding of programming concepts. To enable non-programmers to create custom visualizations for data-driven storytelling, we design interactions and implement user interfaces for visualization authoring. In the first part of this dissertation, we introduce and evaluate a series of three visualization authoring tools using traditional user interfaces: (1) iVisDesigner, which uses a data-flow model and enables users to author visualizations by specifying mappings from data to graphics interactively; (2) ChartAccent, a tool for annotating a given visualization; and (3) Charticulator, which allows users to design custom layouts interactively. We then reflect on the evaluation of visualization authoring user interfaces. In the second part of the dissertation, we extend our approach to multiple presentation media or display environments, including traditional 2-dimensional screens, large projection-based virtual-reality (VR) systems, and head-mounted virtual/augmented reality displays (HMDs). To leverage such immersive visualization environments, we ported and extended the iVisDesigner authoring approach to projection-based virtual reality. To facilitate the development of immersive visualizations, we built a visualization library called Stardust, which provides a familiar API to utilize GPU processing power in a cross-platform way. Finally, we present Idyll-MR, a system for authoring data-driven stories in virtual and augmented reality. We evaluated these authoring tools and libraries, and demonstrated high expressiveness, usability, and performance, as well as portability across platforms. In summary, our contributions enable larger audiences to create visual data-driven stories using different presentation media, leading to an overall enriched diversity of visualization designs

‘IMPLICIT CREATION’ – NON-PROGRAMMER CONCEPTUAL MODELS FOR AUTHORING IN INTERACTIVE DIGITAL STORYTELLING

Interactive Digital Storytelling (IDS) constitutes a research field that emerged from several areas of art, creation and computer science. It inquires technologies and possible artefacts that allow ‘highly-interactive’ experiences of digital worlds with compelling stories. However, the situation for story creators approaching ‘highly-interactive’ storytelling is complex. There is a gap between the available technology, which requires programming and prior knowledge in Artificial Intelligence, and established models of storytelling, which are too linear to have the potential to be highly interactive. This thesis reports on research that lays the ground for bridging this gap, leading to novel creation philosophies in future work. A design research process has been pursued, which centred on the suggestion of conceptual models, explaining a) process structures of interdisciplinary development, b) interactive story structures including the user of the interactive story system, and c) the positioning of human authors within semi-automated creative processes. By means of ‘implicit creation’, storytelling and modelling of simulated worlds are reconciled. The conceptual models are informed by exhaustive literature review in established neighbouring disciplines. These are a) creative principles in different storytelling domains, such as screenwriting, video game writing, role playing and improvisational theatre, b) narratological studies of story grammars and structures, and c) principles of designing interactive systems, in the areas of basic HCI design and models, discourse analysis in conversational systems, as well as game- and simulation design. In a case study of artefact building, the initial models have been put into practice, evaluated and extended. These artefacts are a) a conceived authoring tool (‘Scenejo’) for the creation of digital conversational stories, and b) the development of a serious game (‘The Killer Phrase Game’) as an application development. The study demonstrates how starting out from linear storytelling, iterative steps of ‘implicit creation’ can lead to more variability and interactivity in the designed interactive story. In the concrete case, the steps included abstraction of dialogues into conditional actions, and creating a dynamic world model of the conversation. This process and artefact can be used as a model illustrating non-programmer approaches to ‘implicit creation’ in a learning process. Research demonstrates that the field of Interactive Digital Storytelling still has to be further advanced until general creative principles can be fully established, which is a long-term endeavour, dependent upon environmental factors. It also requires further technological developments. The gap is not yet closed, but it can be better explained. The research results build groundwork for education of prospective authors. Concluding the thesis, IDS-specific creative principles have been proposed for evaluation in future work

D1.3 List of available solutions

This report has been submitted by Tempesta Media SL as deliverable D1.3 within the framework of H2020 project "SO-CLOSE: Enhancing Social Cohesion through Sharing the Cultural Heritage of Forced Migrations" Grant No. 870939.This report aims to conduct research on the specific topics and needs of the SO-CLOSE project, addressing the available solutions through a state-of-the-art digital tools analysis, applied in the cultural heritage and migration fields. More specifically the report's scope is:To define proper tools and proceedings for the interview needs -performing, recording, transcription, translation. To analyse potential content gathering tools for the co-creation workshops. To conduct a state-of-the-art sharing tools analysis, applied in the cultural heritage and migration fields, and propose a critically adjusted and innovative digital approach

DXR: A Toolkit for Building Immersive Data Visualizations

This paper presents DXR, a toolkit for building immersive data visualizations based on the Unity development platform. Over the past years, immersive data visualizations in augmented and virtual reality (AR, VR) have been emerging as a promising medium for data sense-making beyond the desktop. However, creating immersive visualizations remains challenging, and often require complex low-level programming and tedious manual encoding of data attributes to geometric and visual properties. These can hinder the iterative idea-to-prototype process, especially for developers without experience in 3D graphics, AR, and VR programming. With DXR, developers can efficiently specify visualization designs using a concise declarative visualization grammar inspired by Vega-Lite. DXR further provides a GUI for easy and quick edits and previews of visualization designs in-situ, i.e., while immersed in the virtual world. DXR also provides reusable templates and customizable graphical marks, enabling unique and engaging visualizations. We demonstrate the flexibility of DXR through several examples spanning a wide range of applications

Self adaptive animation based on user perspective

In this paper we present a new character animation technique in which the animation adapts itself based on the change in the user's perspective, so that when the user moves and their point of viewing the animation changes, then the character animation adapts itself in response to that change. The resulting animation, generated in real-time, is a blend of key animations provided a priori by the animator. The blending is done with the help of efficient dual-quaternion transformation blending. The user's point of view is tracked using either computer vision techniques or a simple user-controlled input modality, such as mouse-based input. This tracked point of view is then used to suitably select the blend of animations. We show a way to author and use such animations in both virtual as well as augmented reality scenarios and demonstrate that it significantly heightens the sense of presence for the users when they interact with such self adaptive animations of virtual character