Embodiment Sensitivity to Movement Distortion and Perspective Taking in Virtual Reality

Despite recent technological improvements of immersive technologies, Virtual Reality suffers from severe intrinsic limitations, in particular the immateriality of the visible 3D environment. Typically, any simulation and manipulation in a cluttered environment would ideally require providing feedback of collisions to every body parts (arms, legs, trunk, etc.) and not only to the hands as has been originally explored with haptic feedback. This thesis addresses these limitations by relying on a cross modal perception and cognitive approach instead of haptic or force feedback. We base our design on scientific knowledge of bodily self-consciousness and embodiment. It is known that the instantaneous experience of embodiment emerges from the coherent multisensory integration of bodily signals taking place in the brain, and that altering this mechanism can temporarily change how one perceives properties of their own body. This mechanism is at stake during a VR simulation, and this thesis explores the new venues of interaction design based on these fundamental scientific findings about the embodied self. In particular, we explore the use of third person perspective (3PP) instead of permanently offering the traditional first person perspective (1PP), and we manipulate the user-avatar motor mapping to achieve a broader range of interactions while maintaining embodiment. We are guided by two principles, to explore the extent to which we can enhance VR interaction through the manipulation of bodily aspects, and to identify the extent to which a given manipulation affects the embodiment of a virtual body. Our results provide new evidence supporting strong embodiment of a virtual body even when viewed from 3PP, and in particular that voluntarily alternating point of view between 1PP and 3PP is not detrimental to the experience of ownership over the virtual body. Moreover, detailed analysis of movement quality show highly similar reaching behavior in both perspective conditions, and only obvious advantages or disadvantages of each perspective depending on the situation (e.g. occlusion of target by the body in 3PP, limited field of view in 1PP). We also show that subjects are insensitive to visuo-proprioceptive movement distortions when the nature of the distortion was not made explicit, and that subjects are biased toward self-attributing distorted movements that make the task easier

Bare-handed 3D drawing in augmented reality

Head-mounted augmented reality (AR) enables embodied in situ drawing in three dimensions (3D).We explore 3D drawing interactions based on uninstrumented, unencumbered (bare) hands that preserve the user’s ability to freely navigate and interact with the physical environment. We derive three alternative interaction techniques supporting bare-handed drawing in AR from the literature and by analysing several envisaged use cases. The three interaction techniques are evaluated in a controlled user study examining three distinct drawing tasks: planar drawing, path description, and 3D object reconstruction. The results indicate that continuous freehand drawing supports faster line creation than the control point-based alternatives, although with reduced accuracy. User preferences for the different techniques are mixed and vary considerably between the different tasks, highlighting the value of diverse and flexible interactions. The combined effectiveness of these three drawing techniques is illustrated in an example application of 3D AR drawing

3D (embodied) projection mapping and sensing bodies : a study in interactive dance performance

This dissertation identifies the synergies between physical and virtual environments when designing for immersive experiences in interactive dance performances. The integration of virtual information in physical space is transforming our interactions and experiences with the world. By using the body and creative expression as the interface between real and virtual worlds, dance performance creates a privileged framework to research and design interactive mixed reality environments and immersive augmented architectures. The research is primarily situated in the fields of visual art and interaction design. It combines performance with transdisciplinary fields and intertwines practice with theory. The theoretical and conceptual implications involved in designing and experiencing immersive hybrid environments are analyzed using the reality–virtuality continuum. These theories helped frame the ways augmented reality architectures are achieved through the integration of dance performance with digital software and reception displays. They also helped identify the main artistic affordances and restrictions in the design of augmented reality and augmented virtuality environments for live performance. These pervasive media architectures were materialized in three field experiments, the live dance performances. Each performance was created in three different stages of conception, design and production. The first stage was to “digitize” the performer’s movement and brain activity to the virtual environment and our system. This was accomplished through the use of depth sensor cameras, 3D motion capture, and brain computer interfaces. The second stage was the creation of the computational architecture and software that aggregates the connections and mapping between the physical body and the spatial dynamics of the virtual environment. This process created real-time interactions between the performer’s behavior and motion and the real-time generative computer 3D graphics. Finally, the third stage consisted of the output modality: 3D projector based augmentation techniques were adopted in order to overlay the virtual environment onto physical space. This thesis proposes and lays out theoretical, technical, and artistic frameworks between 3D digital environments and moving bodies in dance performance. By sensing the body and the brain with the 3D virtual environments, new layers of augmentation and interactions are established, and ultimately this generates mixed reality environments for embodied improvisational self-expression.Radio-Television-Fil

Spatial Interaction for Immersive Mixed-Reality Visualizations

Growing amounts of data, both in personal and professional settings, have caused an increased interest in data visualization and visual analytics. Especially for inherently three-dimensional data, immersive technologies such as virtual and augmented reality and advanced, natural interaction techniques have been shown to facilitate data analysis. Furthermore, in such use cases, the physical environment often plays an important role, both by directly influencing the data and by serving as context for the analysis. Therefore, there has been a trend to bring data visualization into new, immersive environments and to make use of the physical surroundings, leading to a surge in mixed-reality visualization research. One of the resulting challenges, however, is the design of user interaction for these often complex systems. In my thesis, I address this challenge by investigating interaction for immersive mixed-reality visualizations regarding three core research questions: 1) What are promising types of immersive mixed-reality visualizations, and how can advanced interaction concepts be applied to them? 2) How does spatial interaction benefit these visualizations and how should such interactions be designed? 3) How can spatial interaction in these immersive environments be analyzed and evaluated? To address the first question, I examine how various visualizations such as 3D node-link diagrams and volume visualizations can be adapted for immersive mixed-reality settings and how they stand to benefit from advanced interaction concepts. For the second question, I study how spatial interaction in particular can help to explore data in mixed reality. There, I look into spatial device interaction in comparison to touch input, the use of additional mobile devices as input controllers, and the potential of transparent interaction panels. Finally, to address the third question, I present my research on how user interaction in immersive mixed-reality environments can be analyzed directly in the original, real-world locations, and how this can provide new insights. Overall, with my research, I contribute interaction and visualization concepts, software prototypes, and findings from several user studies on how spatial interaction techniques can support the exploration of immersive mixed-reality visualizations.Zunehmende Datenmengen, sowohl im privaten als auch im beruflichen Umfeld, führen zu einem zunehmenden Interesse an Datenvisualisierung und visueller Analyse. Insbesondere bei inhärent dreidimensionalen Daten haben sich immersive Technologien wie Virtual und Augmented Reality sowie moderne, natürliche Interaktionstechniken als hilfreich für die Datenanalyse erwiesen. Darüber hinaus spielt in solchen Anwendungsfällen die physische Umgebung oft eine wichtige Rolle, da sie sowohl die Daten direkt beeinflusst als auch als Kontext für die Analyse dient. Daher gibt es einen Trend, die Datenvisualisierung in neue, immersive Umgebungen zu bringen und die physische Umgebung zu nutzen, was zu einem Anstieg der Forschung im Bereich Mixed-Reality-Visualisierung geführt hat. Eine der daraus resultierenden Herausforderungen ist jedoch die Gestaltung der Benutzerinteraktion für diese oft komplexen Systeme. In meiner Dissertation beschäftige ich mich mit dieser Herausforderung, indem ich die Interaktion für immersive Mixed-Reality-Visualisierungen im Hinblick auf drei zentrale Forschungsfragen untersuche: 1) Was sind vielversprechende Arten von immersiven Mixed-Reality-Visualisierungen, und wie können fortschrittliche Interaktionskonzepte auf sie angewendet werden? 2) Wie profitieren diese Visualisierungen von räumlicher Interaktion und wie sollten solche Interaktionen gestaltet werden? 3) Wie kann räumliche Interaktion in diesen immersiven Umgebungen analysiert und ausgewertet werden? Um die erste Frage zu beantworten, untersuche ich, wie verschiedene Visualisierungen wie 3D-Node-Link-Diagramme oder Volumenvisualisierungen für immersive Mixed-Reality-Umgebungen angepasst werden können und wie sie von fortgeschrittenen Interaktionskonzepten profitieren. Für die zweite Frage untersuche ich, wie insbesondere die räumliche Interaktion bei der Exploration von Daten in Mixed Reality helfen kann. Dabei betrachte ich die Interaktion mit räumlichen Geräten im Vergleich zur Touch-Eingabe, die Verwendung zusätzlicher mobiler Geräte als Controller und das Potenzial transparenter Interaktionspanels. Um die dritte Frage zu beantworten, stelle ich schließlich meine Forschung darüber vor, wie Benutzerinteraktion in immersiver Mixed-Reality direkt in der realen Umgebung analysiert werden kann und wie dies neue Erkenntnisse liefern kann. Insgesamt trage ich mit meiner Forschung durch Interaktions- und Visualisierungskonzepte, Software-Prototypen und Ergebnisse aus mehreren Nutzerstudien zu der Frage bei, wie räumliche Interaktionstechniken die Erkundung von immersiven Mixed-Reality-Visualisierungen unterstützen können

Landscapes of ephemeral embrace : a painter's exploration of immersive virtual space as a medium for transforming perception

The following text has been written to illuminate the research embodied In Ephemere, a fullyimmersive virtual environment which integrates stereoscopic 3D computer-generated images and spatialized 3D sound, with a user interface based on breathing, balance, and gaze. This artwork was begun when I entered the doctoral program at CAiNA (Centre of Advanced Inquiry Into the Interactive Arts) in 1997, and was completed in 1998. The work Ephemere is grounded in a very personal vision, developed over more than 25 years of artistic practice, including, most significantly, painting. Ephemere follows on its predecessor Osmose, and as such, Is a continuation of my efforts to: (I) explore and communicate my sensibility of what it means to be embodied, here now, in the living Rowing world; and (ii) use the medium of immersive virtual space to do so, necessarily subverting its culturally-biased conventions to achieve this goal. The contents of this text are most clearly indicated by its title: Landscapes of Ephemeral Embrace: A Painter's Exploration of the Medium of Immersive Virtual Space for Transforming Perception. And further, by its chapter headings: (I) Context: Rethinking Technology in the "Reign of King Logos ; (II) Defining Terms: Key Concepts and Concerns in the Work; (III) Origins of the Work in Prior Artistic Practice: Emergence of Key Concerns and Strategies; (IV) First Explorations in Immersive Virtual Space: Osmose; (V) Continuing Explorations In Immersive Virtual Space: Ephemere; and (VI) Strategies and Their Implications In the Immersive Experience. In this text, I have focused my discussion on artistic Intent, rather than on whether I have been successful, for this can only be evaluated with the passing of time

Immersive design engineering

Design Engineering is an innovative field that usually combines a number of disciplines, such as material science, mechanics, electronics, and/or biochemistry, etc. New immersive technologies, such as Virtual Reality (VR) and Augmented Reality (AR), are currently in the process of being widely adapted in various engineering fields. It is a proven fact that the modeling of spatial structures is supported by immersive exploration. But the field of Design Engineering reaches beyond standard engineering tasks. With this review paper we want to achieve the following: define the term “Immersive Design Engineering”, discuss a number of recent immersive technologies in this context, and provide an inspiring overview of work that belongs to, or is related to the field of Immersive Design Engineering. Finally, the paper concludes with definitions of research questions as well as a number of suggestions for future developments