Immersive and non immersive 3D virtual city: decision support tool for urban sustainability

Sustainable urban planning decisions must not only consider the physical structure of the urban development but the economic, social and environmental factors. Due to the prolonged times scales of major urban development projects the current and future impacts of any decision made must be fully understood. Many key project decisions are made early in the decision making process with decision makers later seeking agreement for proposals once the key decisions have already been made, leaving many stakeholders, especially the general public, feeling marginalised by the process. Many decision support tools have been developed to aid in the decision making process, however many of these are expert orientated, fail to fully address spatial and temporal issues and do not reflect the interconnectivity of the separate domains and their indicators. This paper outlines a platform that combines computer game techniques, modelling of economic, social and environmental indicators to provide an interface that presents a 3D interactive virtual city with sustainability information overlain. Creating a virtual 3D urban area using the latest video game techniques ensures: real-time rendering of the 3D graphics; exploitation of novel techniques of how complex multivariate data is presented to the user; immersion in the 3D urban development, via first person navigation, exploration and manipulation of the environment with consequences updated in real-time. The use of visualisation techniques begins to remove sustainability assessment’s reliance on the existing expert systems which are largely inaccessible to many of the stakeholder groups, especially the general public

Emotion-centred design : a human factors approach in affective web design : a thesis for fulfilment of a Master of Philosophy degree, College of Design, Fine Arts and Music

This thesis hypothesised that a major factor in the failure of many e-Commerce ventures was the lack of emotion imparted into the design, with trust barriers still being to the fore, and a lack of affective human factors like fun, pleasure and joy in the user experience. The human brain often acts emotionally before rationally and this affects initial reactions to experiences and the propensity to purchase online. A key to understanding human-computer communication is that form should follow emotion (as well as function). A wide range of design concepts and theories are analysed for linkages to human emotion due to the exploratory nature of this thesis. Aspects of New Media design such as video, sound, images, colour and virtual reality are covered along with previous research into affective human factors; transferability of emotional elements from other products; and the importance of trust and prevention of negative emotions. Case examples are provided throughout via screenshots and commentary, including a special section on the way that the Nike site has met many emotional design criteria. Research into the opinions of designers and users is undertaken via questionnaires to verify literary findings and measure views on emotional appeal within Websites. It was found that there are misunderstandings of human-computer communication - with designers not meeting user expectations in some areas, even though many designers agree that emotional design is important. In particular, there needs to be a better understanding of how to integrate fun, social contact, colour, trust and sound into designs. Emotion is core to human function, and evolution has seen the emotional parts of the brain grow long before rational areas arose. Given the importance of emotion it is only natural that an emphasis should be placed on it in design philosophies. Whilst some designers are realising the importance of this in consumer products this concept needs to be further emphasised in the world of e-Commerce. Designers surveyed in this thesis were nearly all following a form follows function or a subjective/intuitive design philosophy. However, it was found that there was a good level of support (70%) for emotional design. A gap was established from this fact because only 45% believe they are currently using a high level of emotional design in practice. Chi-square tests showed that there were a number of significant relationships between the level of education and other questionnaire variables such as the importance of colour and recontextualising from car and game design. Establishing trust helps to overcome the core human emotion of fear. Branding, seals of approval and high quality navigation are amongst the elements that can assist in bridging human-computer distrust. Predispositions and previous experiences can also affect initial trust values. Questionnaire results found that designers still believe that lack of trust is a major psychological barrier to purchasing online. Major trust dimensions from previous empirical research were all deemed important. It was also found that users and designers rated trust near the top of emotional themes to concentrate on in Web design. Negative emotions (anger and frustration) can also arise if the design is not inherently usable. Usability was the top-rating design theme amongst designers. There has to be a good balance between the rational and emotional sides. Further negative emotions can be evoked if the site is slow or if there are delays. Speed of loading was amongst the top emotional design elements for both users and designers. It is a difficult line for designers to tread - on one hand using speed to prevent negative emotions, but on the other hand balancing the need for other design elements that generate positive emotions through fun and pleasure characteristics (that might slow things down). Designers involved in this study were very much in agreement with the importance of choosing colours to match the emotions they wanted to evoke in visitors (based on understandings of colour-emotion stereotypes and 'temperatures'). Colour can achieve harmonious interactions or cause rejection by the human brain depending on its application. The survey of users revealed that almost half of the respondents counted colour in their top 5 emotional themes, whereas designers did not think, it was as important as other emotive dimensions. Different cultures may respond differently to metaphorical images, colours, and dimensions such as power-distance and masculinity. Nearly all designers believed that empathising with target users (a part of emotional intelligence) was very important, as was involving users in the design process (usercentred design). Only 50% of users felt that designers were respecting their demographies and culture, so there is still a large number of people who feel they could be more satisfied in this sense. It is proposed that more user testing be carried out in conjunction with frameworks that rate cultural dimensions based on target audiences. The use of video and streaming media was portrayed to be a proposition requiring careful consideration and application by previous non-empirical references. Streaming video can connect with people on an emotional level, bringing in a degree of surprise and variation, and fully highlight the appealing characteristics of the product(s) trying to be sold online. Other New Media technologies such as virtual reality (VR) and 3D have been around for quite awhile (in computer games and scientific applications) but are yet to achieve widespread usage in Website e-Commerce. Some literature is against the use of VR and 3D on the Web but several companies have been receiving accolades in this area because of the ability to bridge an emotional gap between brands and consumers. Questionnaire results showed that most design respondents did not think streaming media, 3D and VR were important in order to gain emotional connections. However, higher bandwidth speeds that will facilitate more use of streaming media and 3D are deemed favourable by designers in terms of increasing emotional appeal. The need for social contact, familiarity and recognition of expressions and gestures led to the proposition of using virtual shop assistants and agents. Contact in the form of live text chat can also fulfil some social needs and plays a big part in portraying trustworthiness since a real person is being interacted with. Designers surveyed in this study were reasonably evenly distributed amongst those in favour, unsure and in disagreement with the use of agents. Surprisingly, given that users would not have had much exposure to virtual agents and characters online, they actually deemed them amongst the highest rating emotional design elements - creating a gap between user expectations and designer actions. Resources revealed that sound can account for a large part of an overall experience. Sound creates mood and atmosphere, and is present in the physical retail environment. Although literature stresses the importance of sound to Web design, designers in this study were of quite the opposite view. Sound was not deemed to be an important experience (near the bottom of ranked emotional dimensions). Users, however, rated sound amongst the middle group of emotional elements. More use of sound is an opportunity for the future. Two broad product ranges - automobiles and computer games - were investigated to see what made them such emotion-centred items. Cars and games evoke feelings of pleasure, fun, flow and fantasy because of their design. Designers favoured interactivity, colour use and fun as gaming elements best applied to Web design. More than half of designer respondents believed that the design of cars and games can be recontextualised into Web design, and most users were definitely in favour of seeing emotional elements they like about cars and games placed into Websites. Dimensions and potential mechanisms for measuring or assessing the emotional intelligence of Websites are proposed, and these include the use of semantic maps to position and compare Websites based on their performance against dimensions such as fun, warmth, trustworthiness, use of colour and the ability to engage users on a social level. The capability of building emotion into a Website is then balanced with the need for high-quality navigation, functionality and usability - as poor efforts in these 'rational' areas can lead to negative emotions and distrust. The design also has to keep in line with the demands of the company wanting the Website built. This study was exploratory - with the aim of bringing out into the open some aspects of New Media e-Commerce design that could he better utilised in order to match the emotions and feelings of customers - potentially leading to higher degrees of sales success. This thesis is therefore hoped to be a catalyst for further study in this area.<

Visualising mixed reality simulation for multiple users

Cowling, MA ORCiD: 0000-0003-1444-1563Blended reality seeks to encourage co-presence in the classroom, blending student experience across virtual and physical worlds. In a similar way, Mixed Reality, a continuum between virtual and real environments, is now allowing learners to work in both the physical and the digital world simultaneously, especially when combined with an immersive headset experience. This experience provides innovative new experiences for learning, but faces the challenge that most of these experiences are single user, leaving others outside the new environment. The question therefore becomes, how can a mixed reality simulation be experienced by multiple users, and how can we present that simulation effectively to users to create a true blended reality environment? This paper proposes a study that uses existing screen production research into the user and spectator to produce a mixed reality simulation suitable for multiple users. A research method using Design Based Research is also presented to assess the usability of the approach

Architecture and Design of Medical Processor Units for Medical Networks

This paper introduces analogical and deductive methodologies for the design medical processor units (MPUs). From the study of evolution of numerous earlier processors, we derive the basis for the architecture of MPUs. These specialized processors perform unique medical functions encoded as medical operational codes (mopcs). From a pragmatic perspective, MPUs function very close to CPUs. Both processors have unique operation codes that command the hardware to perform a distinct chain of subprocesses upon operands and generate a specific result unique to the opcode and the operand(s). In medical environments, MPU decodes the mopcs and executes a series of medical sub-processes and sends out secondary commands to the medical machine. Whereas operands in a typical computer system are numerical and logical entities, the operands in medical machine are objects such as such as patients, blood samples, tissues, operating rooms, medical staff, medical bills, patient payments, etc. We follow the functional overlap between the two processes and evolve the design of medical computer systems and networks.Comment: 17 page

Coming Out of the Dungeon: Mathematics and Role-Playing Games

After hiding it for many years, I have a confession to make. Throughout middle school and high school my friends and I would gather almost every weekend, spending hours using numbers, probability, and optimization to build models that we could use to simulate almost anything. That’s right. My big secret is simple. I was a high school mathematical modeler. Of course, our weekend mathematical models didn’t bear any direct relationship to the models we explored in our mathematics and science classes. You would probably not even recognize our regular gatherings as mathematical exercises. If you looked into the room, you’d see a group of us gathered around a table, scribbling on sheets of paper, rolling dice, eating pizza, and talking about dragons, magical spells, and sword fighting. So while I claim we were engaged in mathematical modeling, I suspect that very few math classes built models like ours. After all, how many math teachers have constructed or had their students construct a mathematical representation of a dragon, a magical spell, or a swordfight? And yet, our role-playing games (RPGs) were very much mathematical models of reality — certainly not the reality of our everyday experience, but a reality nonetheless, one intended to simulate a particular kind of world. Most often for us this was the medieval, high-fantasy world of Dungeons & Dragons (D&D), but we also played games with science fiction or modern-day espionage settings. We learned a lot about math, mythology, medieval history, teamwork, storytelling, and imagination in the process. And, when existing games were inadequate vehicles for our imagination, we modified them or created new ones. In doing so, we learned even more about math. Now that I am a mathematics professor, I find myself reflecting on those days as a “fantasy modeler” and considering various questions. What is the relationship between my two interests of fantasy games and mathematics? Does having been a gamer make me a better mathematician or modeler? Does my mathematical experience make me a better gamer? These different aspects of my life may seem mostly unconnected; indeed, the “nerd” stereotype is associated with both activities, but despite public perception, the community of role-players includes many people who are not scientifically-minded. So we cannot say that role-players like math, or math-lovers role-play, because “that is simply what nerds do.” To get at the deeper question of how mathematics and role-playing are related, we first need to look at the processes of gaming, game designing, and modeling