All it takes is empathy:how virtual reality perspective-taking influences intergroup attitudes and stereotypes

Research in the past decade has demonstrated the potential of virtual reality perspective-taking (VRPT) to reduce bias against salient outgroups. In the perspective-taking literature, both affective and cognitive mechanisms have been theorized and identified as plausible pathways to prejudice reduction. Few studies have systematically compared affective and cognitive mediators, especially in relation to virtual reality, a medium posited to produce visceral, affective experiences. The present study seeks to extend current research on VRPT’s mechanisms by comparing empathy (affective) and situational attributions (cognitive) as dual mediators influencing intergroup attitudes (affective) and stereotypes (cognitive). In a between-subjects experiment, 84 participants were randomly assigned to embody a VR ingroup or outgroup waiting staff at a local food establishment, interacting with an impolite ingroup customer. Results indicated that participants in the outgroup VRPT condition reported significantly more positive attitudes and stereotypes towards outgroup members than those in the ingroup VRPT condition. For both attitudes and stereotypes, empathy significantly mediated the effect of VRPT, but situational attributions did not. Findings from this research provide support for affect as a key component of virtual experiences and how they shape intergroup perceptions. Implications and directions for further research are discussed

All it takes is empathy: how virtual reality perspective-taking influences intergroup attitudes and stereotypes

Research in the past decade has demonstrated the potential of virtual reality perspective-taking (VRPT) to reduce bias against salient outgroups. In the perspective-taking literature, both affective and cognitive mechanisms have been theorized and identified as plausible pathways to prejudice reduction. Few studies have systematically compared affective and cognitive mediators, especially in relation to virtual reality, a medium posited to produce visceral, affective experiences. The present study seeks to extend current research on VRPT’s mechanisms by comparing empathy (affective) and situational attributions (cognitive) as dual mediators influencing intergroup attitudes (affective) and stereotypes (cognitive). In a between-subjects experiment, 84 participants were randomly assigned to embody a VR ingroup or outgroup waiting staff at a local food establishment, interacting with an impolite ingroup customer. Results indicated that participants in the outgroup VRPT condition reported significantly more positive attitudes and stereotypes towards outgroup members than those in the ingroup VRPT condition. For both attitudes and stereotypes, empathy significantly mediated the effect of VRPT, but situational attributions did not. Findings from this research provide support for affect as a key component of virtual experiences and how they shape intergroup perceptions. Implications and directions for further research are discussed

The configuration and experience mapping of an accessible VR environment for effective design reviews

This paper presents a new VR interaction environment for the evaluation of digital prototypes, specifically in designer-client review sessions, and documents its implementation via experience mapping. Usability of VR controllers and basic manipulation remains a barrier for lay users, and a range of typical implementations are reviewed, highlighting the need for an easily accessible interface for this setting. The resulting interface configuration – the Control Carousel – demonstrates how the appropriate use of familiar mechanisms can increase VR accessibility. Three case studies using the Carousel in commercial design projects are described, and the subsequent interface refinements outlined. Finally, the development of an experience map describing the logistical, interactive and emotive factors affecting the Carousel’s implementation, is documented. This provides insights on how experience mapping can be used as part of a human-centred design process to ensure VR environments are attuned to the requirements of users, in this instance delivering improved collaborative reviews

Behind the Curtain of the 'Ultimate Empathy Machine'::On the Composition of Virtual Reality Nonfiction Experiences

Virtual Reality nonfiction (VRNF) is an emerging form of immersive media experience created for consumption using panoramic “Virtual Reality" headsets. VRNF promises nonfiction content producers the potential to create new ways for audiences to experience “the real"; allowing viewers to transition from passive spectators to active participants. Our current project is exploring VRNF through a series of ethnographic and experimental studies. In order to document the content available, we embarked on an analysis of VR documentaries produced to date. In this paper, we present an analysis of a representative sample of 150 VRNF titles released between 2012-2018. We identify and quantify 64 characteristics of the medium over this period, discuss how producers are exploiting the affordances of VR, and shed light on new audience roles. Our findings provide insight into the current state of the art in VRNF and provide a digital resource for other researchers in this area.<br/

“SEU NOME ERA GISBERTA”: PROJETO DE UM NON-FICTION VR COM EXERCÍCIOS DE TOMADA DE PERSPETIVA

Podemos definir livremente a Realidade Virtual (RV) como uma ferramenta/tecnologia de novos media e das tecnologias imersivas, que permite aos seus utilizadores a possibilidade de imersão e/ou interação dentro de ambientes virtuais simulados. O seu potencial, como tecnologia de desenvolvimento humano (Rose, 2018), tem alterado a maneira como utilizamos os media, assim como a qualidade de vida das pessoas, ao oferecer presença e imersividade. No decorrer das últimas décadas, com o objetivo de potencializar a experiência humana, a RV tem vindo a ser aplicada como uma ferramenta/tecnologia em múltiplos contextos e investigações científicas em áreas como a educação, o entretenimento, o turismo, o cinema de ficção e documental, o jornalismo, a saúde e bem-estar e a psicologia, entre outras. Os Non-Fiction VR (VRNF) são uma terminologia dos media imersivos que procura incorporar as diferentes produções de não ficção (e.g. Documentários) em RV onde, por exemplo, se engloba o Jornalismo Imersivo idealizado por Nonny de la Peña. O potencial dos VRNF para contar histórias de interesse humano (McRoberts 2018), através da sensação de presença (Slater & Sanchez-Vives, 2016), do testemunho imersivo (Nash, 2018), do RAIR (De la Peña et al., 2010) e de outros fenómenos, tem permitido que estes sejam utilizados para potencializar uma resposta empática (Martingano et al., 2021) nos utilizadores/participantes. Esta é considerada “the ultimate empathy machine” (Chris Milk, 2015) motivando uma alteração do seu comportamento pró-social, especialmente em questões de justiça social (McRoberts, 2018). Deste modo, surge a criação da primeira experiência de não-ficção em RV em Portugal sobre transfobia, “Seu nome era Gisberta”. Este VRNF parte da história de vida de Gisberta Salce, uma vítima de um crime de ódio e Transfobia, ocorrido em 2006 na cidade do Porto, que espoletou o nascimento do movimento trans nacional (Saleiro, 2013) e impulsionou diversos movimentos LGBTQIA+ em Portugal. Este VRNF aplicará exercícios mediados de tomada de perspetiva (Van Loon et al., 2018 -VRPT), possibilitando a experiência de corporificar diferentes perspetivas à medida que estamos imersos na sua história. Através de relatos e de um extenso levantamento jornalístico, produzimos uma experiência imersiva que leva o utilizador/participante a conhecer a história de Gisberta com recurso à animação num vídeo em 360º. Neste documento iremos apresentar o processo de construção desta experiência imersiva, desde a sua base teórica fundamental até às suas escolhas estéticas, técnicas e conceptuais. Pretende-se com este projeto explorar e partilhar, novas ferramentas para fomentar a educação e intervenção social, não só para a humanização e redução do preconceito contra pessoas Trans, mas também para estimular novos criadores/investigadores a trabalhar questões de importância social e de ativismo nesta tipologia de produções

Bodily resonance: Exploring the effects of virtual embodiment on pain modulation and the fostering of empathy toward pain sufferers

Globally, around 20% of people suffer from chronic pain, an illness that cannot be cured and has been linked to numerous physical and mental conditions. According to the BioPsychoSocial model of pain, chronic pain presents patients with biological, psychological, and social challenges and difficulties. Immersive virtual reality (VR) has shown great promise in helping people manage acute and chronic pain, and facilitating empathy of vulnerable populations. Therefore, the first research trajectory of this dissertation targets chronic pain patients’ biological and psychological sufferings to provide VR analgesia, and the second research trajectory targets healthy people to build empathy and reduce patients’ social stigma. Researchers have taken the attention distraction approach to study how acute pain patients can manage their condition in VR, while the virtual embodiment approach has mostly been studied with healthy people exposed to pain stimulus. My first research trajectory aimed to understand how embodied characteristics affect users’ sense of embodiment and pain. Three studies have been carried out with healthy people under heat pain, complex regional pain syndrome patients, and phantom limb pain patients. My findings indicate that for all three studies, when users see a healthy or intact virtual body or body parts, they experience significant reductions in their self-reported pain ratings. Additionally, I found that the appearance of a virtual body has a significant impact on pain, whereas the virtual body’s motions do not. Despite the prevalence of chronic pain, public awareness of it is remarkably low, and pain patients commonly experience social stigma. Thus, having an embodied perspective of chronic pain patients is critical to understand their social stigma. Although there is a growing interest in using embodied VR to foster empathy towards gender or racial bias, few studies have focused on people with chronic pain. My second trajectory explored how researchers can foster empathy towards pain patients in embodied VR. To conclude, this dissertation uncovers the role of VR embodiment and dissects embodied characteristics in pain modulation and empathy generation. Finally, I summarized a novel conceptual design framework for embodied VR applications with design recommendations and future research directions

Second-Person Surveillance: Politics of User Implication in Digital Documentaries

This dissertation analyzes digital documentaries that utilize second-person address and roleplay to make users feel implicated in contemporary refugee crises, mass incarceration in the U.S., and state and corporate surveillances. Digital documentaries are seemingly more interactive and participatory than linear film and video documentary as they are comprised of a variety of auditory, visual, and written media, utilize networked technologies, and turn the documentary audience into a documentary user. I draw on scholarship from documentary, game, new media, and surveillance studies to analyze how second-person address in digital documentaries is configured through user positioning and direct address within the works themselves, in how organizations and creators frame their productions, and in how users and players respond in reviews, discussion forums, and Let’s Plays. I build on Michael Rothberg’s theorization of the implicated subject to explore how these digital documentaries bring the user into complicated relationality with national and international crises. Visually and experientially implying that users bear responsibility to the subjects and subject matter, these works can, on the one hand, replicate modes of liberal empathy for suffering, distant “others” and, on the other, simulate one’s own surveillant modes of observation or behavior to mirror it back to users and open up one’s offline thoughts and actions as a site of critique. This dissertation charts how second-person address shapes and limits the political potentialities of documentary projects and connects them to a lineage of direct address from educational and propaganda films, museum exhibits, and serious games. By centralizing the user’s individual experience, the interventions that second-person digital documentaries can make into social discourse change from public, institution-based education to more privatized forms of sentimental education geared toward personal edification and self-realization. Unless tied to larger initiatives or movements, I argue that digital documentaries reaffirm a neoliberal politics of individual self-regulation and governance instead of public education or collective, social intervention. Chapter one focuses on 360-degree virtual reality (VR) documentaries that utilize the feeling of presence to position users as if among refugees and as witnesses to refugee experiences in camps outside of Europe and various dwellings in European cities. My analysis of Clouds Over Sidra (Gabo Arora and Chris Milk 2015) and The Displaced (Imraan Ismail and Ben C. Solomon 2015) shows how these VR documentaries utilize observational realism to make believable and immersive their representations of already empathetic refugees. The empathetic refugee is often young, vulnerable, depoliticized and dehistoricized and is a well-known trope in other forms of humanitarian media that continues into VR documentaries. Forced to Flee (Zahra Rasool 2017), I am Rohingya (Zahra Rasool 2017), So Leben Flüchtlinge in Berlin (Berliner Morgenpost 2017), and Limbo: A Virtual Experience of Waiting for Asylum (Shehani Fernando 2017) disrupt easy immersions into realistic-looking VR experiences of stereotyped representations and user identifications and, instead, can reflect back the user’s political inaction and surveillant modes of looking. Chapter two analyzes web- and social media messenger-based documentaries that position users as outsiders to U.S. mass incarceration. Users are noir-style co-investigators into the crime of the prison-industrial complex in Fremont County, Colorado in Prison Valley: The Prison Industry (David Dufresne and Philippe Brault 2009) and co-riders on a bus transporting prison inmates’ loved ones for visitations to correctional facilities in Upstate New York in A Temporary Contact (Nirit Peled and Sara Kolster 2017). Both projects construct an experience of carceral constraint for users to reinscribe seeming “outside” places, people, and experiences as within the continuation of the racialized and classed politics of state control through mass incarceration. These projects utilize interfaces that create a tension between replicating an exploitative hierarchy between non-incarcerated users and those subject to mass incarceration while also de-immersing users in these experiences to mirror back the user’s supposed distance from this mode of state regulation. Chapter three investigates a type of digital game I term dataveillance simulation games, which position users as surveillance agents in ambiguously dystopian nation-states and force users to use their own critical thinking and judgment to construct the criminality of state-sanctioned surveillance targets. Project Perfect Citizen (Bad Cop Studios 2016), Orwell: Keeping an Eye on You (Osmotic Studios 2016), and Papers, Please (Lucas Pope 2013) all create a dual empathy: players empathize with bureaucratic surveillance agents while empathizing with surveillance targets whose emails, text messages, documents, and social media profiles reveal them to be “normal” people. I argue that while these games show criminality to be a construct, they also utilize a racialized fear of the loss of one’s individual privacy to make players feel like they too could be surveillance targets. Chapter four examines personalized digital documentaries that turn users and their data into the subject matter. Do Not Track (Brett Gaylor 2015), A Week with Wanda (Joe Derry Hall 2019), Stealing Ur Feelings (Noah Levenson 2019), Alfred Premium (Joël Ronez, Pierre Corbinais, and Émilie F. Grenier 2019), How They Watch You (Nick Briz 2021), and Fairly Intelligent™ (A.M. Darke 2021) track, monitor, and confront users with their own online behavior to reflect back a corporate surveillance that collects, analyzes, and exploits user data for profit. These digital documentaries utilize emotional fear- and humor-based appeals to persuade users that these technologies are controlling them, shaping their desires and needs, and dehumanizing them through algorithmic surveillance

Walking away from VR as ‘empathy-machine’: peripatetic animations with 360-photogrammetry

My research partakes in an expanded documentary practice that weaves together walking, immersive technologies, and moving image. Two lines of enquiry motivate the research journey: the first responds to the trope of VR as 'empathy-machine' (Milk, 2015), often accompanied by the expression 'walking in someone else's shoes'. Within a research project that begins on foot, the idiom’s significance demands investigation. The second line of enquiry pursues a collaborative artistic practice informed by dialogue and poetry, where the bipedals of walking and the binaries of the digital are entwined by phenomenology, hauntology, performance, and the in-betweens of animation. My practice-as-research methodology involves desk study, experimentation with VR, AR, digital photogrammetry, and CGI animation. Central to my approach is the multifaceted notion of Peripatos ̶ as a school of philosophy, a stroll-like walk, and the path where the stroll takes place ̶ manifested both corporeally and as 'playful curiosity'. The thread that interweaves practice and theory has my body-moving in the centre; I call it the ‘camera-walk’: a processional shoot that documents a real place and the bodies that make it, while my hand holds high a camera-on-a-stick shooting 360-video. The resulting spherical video feeds into photogrammetric digital processing, and reassembles into digital 3D models that form the starting ground for still images, a site-specific installation, augmented reality (AR) exchanges, and short films. Because 360-video includes the body that carries the camera, the digital meshes produced by the ‘camera-walk’ also reveal the documentarian during the act of documenting. Departing from the pursuit of perfect replicas, my research articulates the iconic lineage of photogrammetry, embracing imperfections as integral. Despite the planned obsolescence of my digital instruments, I treat my 360-camera as a ‘dangerous tool’, uncovering (and inventing) its hidden virtualities, via Vilém Flusser. Against its formative intentions as an accessory for extreme sports, I focus on everyday life, and become inspired by Harun Farocki’s ‘another kind of empathy’. Within the collaborative projects presented within my thesis, I move away from the colonialist-inspired ideal of ‘walking in someone else’s shoes’, and ‘tread softly’ along the footsteps of my co-walkers