Affordances In The Design Of Virtual Environments

Human-computer interaction design principles largely focus on static representations and have yet to fully incorporate theories of perception appropriate for the dynamic multimodal interactions inherent to virtual environment (VE) interaction. Theories of direct perception, in particular affordance theory, may prove particularly relevant to enhancing VE interaction design. The present research constructs a conceptual model of how affordances are realized in the natural world and how lack of sensory stimuli may lead to realization failures in virtual environments. Implications of the model were empirically investigated by examining three affordances: passability, catchability, and flyability. The experimental design involved four factors for each of the three affordances and was implemented as a 2 [subscript IV] [superscript 4-1] fractional factorial design. The results demonstrated that providing affording cues led to behavior closely in-line with real-world behavior. More specifically, when given affording cues participants tended to rotate their virtual bodies when entering narrow passageways, accurately judge balls as catchable, and fly when conditions warranted it. The results support the conceptual model and demonstrate 1) that substituting designed cues via sensory stimuli in available sensory modalities for absent or impoverished modalities may enable the perception of affordances in VEs; 2) that sensory stimuli substitutions provide potential approaches for enabling the perception of affordances in a VE which in the real world are cross-modal; and 3) that affordances relating to specific action capabilities may be enabled by designed sensory stimuli. This research lays an empirical foundation for a science of VE design based on choosing and implementing design properties so as to evoke targeted user behavio

I know it is not real (and that matters):Media awareness vs. presence shape the VR experience

Inspired by the widely recognized idea that in VR/XR, not only presence but also encountered plausibility is relevant (Slater, 2009), we propose a general psychological parallel processing account to explain users' VR and XR experience. The model adopts a broad psychological view by building on interdisciplinary literature on the dualistic nature of perceiving and experiencing (mediated) representations. It proposes that perceptual sensations like presence are paralleled by users' belief that "this is not really happening", which we refer to as media awareness. We review the developmental underpinnings of basic media awareness, and argue that it is triggered in users’ conscious exposure to VR/XR. During exposure the salience of media awareness can vary dynamically due to factors like encountered sensory and semantic (in)consistencies. Our account sketches media awareness and presence as two parallel processes that together define a situation as a media exposure situation. We also review potential joint effects on subsequent psychological and behavioral responses that characterize the user experience in VR/XR. We conclude the article with a programmatic outlook on testable assumptions and open questions for future research

The power of immersive technologies: a sociopsychological analysis of the relationship between immersive environments, storytelling, sentiment, and the impact on user experience

This dissertation initially focused on exploring the potential of immersive technologies for the distant future. However, the emergence of the COVID-19 virus in late 2019 disrupted the world, causing a pause in many areas. Nevertheless, the butterfly effect of the pandemic spurred the development of immersive technologies, resulting in the rise of the metaverse, web3, non-fungible tokens (NFT), and avatars, which are gaining increasing popularity. The excitement for the metaverse is growing in both academia and industry, leading to new avenues of research, digital marketing, video games, tourism, and social media. This dissertation explores this rapidly emerging technological revolution and its effects on user experience (UX)

Sensory Communication

Contains table of contents for Section 2, an introduction and reports on twelve research projects.National Institutes of Health Grant 5 R01 DC00117National Institutes of Health Contract 2 P01 DC00361National Institutes of Health Grant 5 R01 DC00126National Institutes of Health Grant R01-DC00270U.S. Air Force - Office of Scientific Research Contract AFOSR-90-0200National Institutes of Health Grant R29-DC00625U.S. Navy - Office of Naval Research Grant N00014-88-K-0604U.S. Navy - Office of Naval Research Grant N00014-91-J-1454U.S. Navy - Office of Naval Research Grant N00014-92-J-1814U.S. Navy - Naval Training Systems Center Contract N61339-93-M-1213U.S. Navy - Naval Training Systems Center Contract N61339-93-C-0055U.S. Navy - Naval Training Systems Center Contract N61339-93-C-0083U.S. Navy - Office of Naval Research Grant N00014-92-J-4005U.S. Navy - Office of Naval Research Grant N00014-93-1-119

Mixed Reality Interiors: Exploring Augmented Reality Immersive Space Planning Design Archetypes for the Creation of Interior Spatial Volume 3D User Interfaces

Augmented reality is an increasingly relevant medium of interaction and media reception with the advances in user worn or hand-held input/output technologies endowing perception of the digital nested within and reactive to the native physical. Our interior spaces are becoming the media interface and this emergence affords designers the opportunity to delve further into crafting an aesthetics for the medium. Beyond having the virtual assets and applications in correct registration with the real-world environment, critical topics are addressed such as the compositional roles of virtual and physical design features including their purpose, modulation, interaction potentials and implementation into varying indoor settings. Examining and formulating methodologies for mixed reality interior 3D UI schemes derived from the convergence of digital media and interior design disciplines comprise the scope of this design research endeavor. A holistic approach is investigated to produce a framework for augmented reality 3D user interface interiors through research and development of pattern language systems for the balanced blending of complimentary digital and physical design elements. These foundational attributes serve in the creation, organization and exploration of interactive possibilities and implications of these hybrid futuristic spatial interface layouts.M.S., Digital Media -- Drexel University, 201

Development of a virtual reality simulation for practitioners

Within social work education there has been extensive interest and use of simulation for learning purposes. In recent years, this interest has broadened to the use of Virtual Reality Simulation (VRS) for teaching because of the benefits that include a safe environment in which to learn, flexibility and self-efficacy. Several examples of VRS have been developed that range from specifically designed computer-based programs through to Google Cardboard VR. While such efforts are to be lauded, what is missing is a deliberate attempt to build on the knowledge of such developments. This article will detail the creation and implementation of a VRS with Social Work and Early Help practitioners, but unlike previous examples, the study builds on the practitioners’ sense of presence and reality. In doing so, it was found that the practitioners’ practice experience and knowledge influenced their perception of the VRS. This finding has significant implications for the development of VRS for social work, in particular showing that there is a need to make a distinction between students and practitioners, and to appreciate that learners are not passive beings

Immersive Participation:Futuring, Training Simulation and Dance and Virtual Reality

Dance knowledge can inform the development of scenario design in immersive digital simulation environments by strengthening a participant’s capacity to learn through the body. This study engages with processes of participatory practice that question how the transmission and transfer of dance knowledge/embodied knowledge in immersive digital environments is activated and applied in new contexts. These questions are relevant in both arts and industry and have the potential to add value and knowledge through crossdisciplinary collaboration and exchange. This thesis consists of three different research projects all focused on observation, participation, and interviews with experts on embodiment in digital simulation. The projects were chosen to provide a range of perspectives across dance, industry and futures studies. Theories of embodied cognition, in particular the notions of the extended body, distributed cognition, enactment and mindfulness, offer critical lenses through which to explore the relationship of embodied integration and participation within immersive digital environments. These areas of inquiry lead to the consideration of how language from the field of computer science can assist in describing somatic experience in digital worlds through a discussion of the emerging concepts of mindfulness, wayfinding, guided movement and digital kinship. These terms serve as an example of how the mutability of language became part of the process as terms applied in disparate disciplines were understood within varying contexts. The analytic tools focus on applying a posthuman view, speculation through a futures ethnography, and a cognitive ethnographical approach to my research project. These approaches allowed me to examine an ecology of practices in order to identify methods and processes that can facilitate the transmission and transfer of embodied knowledge within a community of practice. The ecological components include dance, healthcare, transport, education and human/computer interaction. These fields drove the data collection from a range of sources including academic papers, texts, specialists’ reports, scientific papers, interviews and conversations with experts and artists.The aim of my research is to contribute both a theoretical and a speculative understanding of processes, as well as tools applicable in the transmission of embodied knowledge in virtual dance and arts environments as well as digital simulation across industry. Processes were understood theoretically through established studies in embodied cognition applied to workbased training, reinterpreted through my own movement study. Futures methodologies paved the way for speculative processes and analysis. Tools to choreograph scenario design in immersive digital environments were identified through the recognition of cross purpose language such as mindfulness, wayfinding, guided movement and digital kinship. Put together, the major contribution of this research is a greater understanding of the value of dance knowledge applied to simulation developed through theoretical and transformational processes and creative tools

An aesthetics of touch: investigating the language of design relating to form

How well can designers communicate qualities of touch? This paper presents evidence that they have some capability to do so, much of which appears to have been learned, but at present make limited use of such language. Interviews with graduate designer-makers suggest that they are aware of and value the importance of touch and materiality in their work, but lack a vocabulary to fully relate to their detailed explanations of other aspects such as their intent or selection of materials. We believe that more attention should be paid to the verbal dialogue that happens in the design process, particularly as other researchers show that even making-based learning also has a strong verbal element to it. However, verbal language alone does not appear to be adequate for a comprehensive language of touch. Graduate designers-makers’ descriptive practices combined non-verbal manipulation within verbal accounts. We thus argue that haptic vocabularies do not simply describe material qualities, but rather are situated competences that physically demonstrate the presence of haptic qualities. Such competencies are more important than groups of verbal vocabularies in isolation. Design support for developing and extending haptic competences must take this wide range of considerations into account to comprehensively improve designers’ capabilities