Audio-Visual Attractors for Capturing Attention to the Screens When Walking in CAVE Systems

International audienceIn four-sided CAVE-like VR systems, the absence of the rear wall has been shown to decrease the level of immersion and can introduce breaks in presence. In this paper it is investigated to which extent user's attention can be driven by visual and auditory stimuli in a four-sided CAVE-like system. An experiment was conducted in order to analyze how user attention is diverted while physically walking in a virtual environment, when audio and/or visual attractors are present. The foursided CAVE used in the experiment allowed to walk up to 9m in straight line. An additional key feature in the experiment is the fact that auditory feedback was delivered through binaural audio rendering techniques via non-personalized head related transfer functions (HRTFs). The audio rendering was dependent on the user's head position and orientation, enabling localized sound rendering. The experiment analyzed how different "attractors" (audio and/or visual, static or dynamic) modify the user's attention. The results of the conducted experiment show that audio-visual attractors are the most efficient attractors in order to keep the user's attention toward the inside of the CAVE. The knowledge gathered in the experiment can provide guidelines to the design of virtual attractors in order to keep the attention of the user and avoid the "missing wall". Index Terms: Audi

Contributions to the Development of Objective Techniques for Presence Measurement in Virtual Environments by means of Brain Activity Analysis

En esta tesis, se propone el uso de la técnica de Doppler transcraneal (DTC) para monitorizar la actividad cerebral durante la exposición a entornos virtuales (EV) y así poder analizar los correlatos cerebrales del sentido de presencia. Las hipótesis de partida son las siguientes: 1) DTC se podrá utilizar fácilmente en combinación con sistemas de realidad virtual. 2) Los datos de velocidad de flujo sanguíneo medidos por DTC se podrán utilizar para analizar cambios de actividad cerebral durante la exposición a EV. 3) Habrá diferencias en la velocidad del flujo sanguíneo asociadas a distintos niveles de presencia. 4) Habrá correlación entre el grado de presencia medido por cuestionarios y parámetros de la velocidad de flujo sanguíneo. 5) Cada componente de la experiencia virtual tendrá una influencia en las variaciones de velocidad observadas. Para analizar las hipótesis planteadas, se realizaron cuatro experimentos distintos, en los que se analizó la velocidad del flujo sanguíneo durante: 1) distintas condiciones de navegación, 2) distintas condiciones de inmersión, 3) una tarea de percepción visual y 4) tareas motoras para manejo de un joystick. Durante la tesis, se han propuesto distintas técnicas de procesado de señal basadas en análisis espectral y en la obtención parámetros no lineales de la señal, que no habían sido utilizadas previamente en experimentos psicofisiológicos con DTC. Se ha observado que existe un incremento en la velocidad del flujo sanguíneo durante la exposición a un EV, el cual puede deberse a distintos factores que intervienen en la experiencia: tareas de interacción visuoespacial, tareas de atención, la creación y ejecución de un plan motor, cambios emocionales Los análisis han mostrado que existen correlaciones significativas entre la velocidad media de flujo sanguíneo en las arterias cerebrales medias durante la exposición al EV y respuestas a los cuestionarios de presencia utilizados.Rey Solaz, B. (2010). Contributions to the Development of Objective Techniques for Presence Measurement in Virtual Environments by means of Brain Activity Analysis [Tesis doctoral no publicada]. Universitat Politècnica de València. https://doi.org/10.4995/Thesis/10251/8505Palanci

Appropriating interaction

This thesis is concerned with the fact that people routinely appropriate interactive technology. Much of the work in this project was conducted at The Public, an interactive art gallery in West Bromwich. Examples of appropriation that are presented range from interactive art, the game Minecraft™, to mundane objectsencountered in daily life.Research Questions posed in this study are:• What are the dynamics of appropriation?• What is the relationship of appropriation to affordance?• How do individuals experience appropriation?Appropriation is the mechanism by which we make objects in the world relevant and personal. This PhD has revealed three dimensions of appropriation namely:• Control: both in terms of ownership and virtuosity.• Ensoulment: the mechanism through which we ascribe personal significance to artefacts.• Affordance: the experiential relationship to artefacts concerned with action on and with them.Appropriation is revealed as a mechanism through which people understand potential action with technology. A traditional view is that people learn how to use a system and once its canonical use is established new uses or appropriations are discovered.What is revealed in this study is that appropriation is bound to our perception of action with technology, commonly explained through the concept of affordance. Appropriation is revealed as the initial act in human encounters with technology

Aesthetic Animism: Digital Poetry as Ontological Probe

This thesis is about the poetic edge of language and technology. It inter-relates both computational creation and poetic reception by analysing typographic animation softwares and meditating (speculatively) on a future malleable language that possesses the quality of being (and is implicitly perceived as) alive. As such it is a composite document: a philosophical and practice-based exploration of how computers are transforming literature, an ontological meditation on life and language, and a contribution to software studies. Digital poetry introduces animation, dimensionality and metadata into literary discourse. This necessitates new terminology; an acronym for Textual Audio-Visual Interactivity is proposed: Tavit. Tavits (malleable digital text) are tactile and responsive in ways that emulate living entities. They can possess dimensionality, memory, flocking, kinematics, surface reflectivity, collision detection, and responsiveness to touch, etc…. Life-like tactile tavits involve information that is not only semantic or syntactic, but also audible, imagistic and interactive. Reading mediated language-art requires an expanded set of critical, practical and discourse tools, and an awareness of the historical continuum that anticipates this expansion. The ontological and temporal design implications of tavits are supported with case-studies of two commercial typographic-animation softwares and one custom software (Mr Softie created at OBX Labs, Concordia) used during a research-creation process

The Routledge Handbook of Museums, Media and Communication

Museums today find themselves within a mediatised society, where everyday life is conducted in a data-full and technology-rich context. In fact, museums are themselves mediatised: they present a uniquely media-centred environment, in which communicative media is a constitutive property of their organisation and of the visitor experience. The Routledge Handbook of Museums, Media and Communication explores what it means to take mediated communication as a key concept for museum studies and as a sensitising lens for media-related museum practice on the ground. Including contributions from experts around the world, this original and innovative Handbook shares a nuanced and precise understanding of media, media concepts and media terminology, rehearsing new locations for writing on museum media and giving voice to new subject alignments. As a whole, the volume breaks new ground by reframing mediated museum communication as a resource for an inclusive understanding of current museum developments. The Routledge Handbook of Museums, Media and Communication will appeal to both students and scholars, as well as to practitioners involved in the visioning, design and delivery of mediated communication in the museum. It teaches us not just how to study museums, but how to go about being a museum in today’s world