Remote Visual Observation of Real Places Through Virtual Reality Headsets

Virtual Reality has always represented a fascinating yet powerful opportunity that has attracted studies and technology developments, especially since the latest release on the market of powerful high-resolution and wide field-of-view VR headsets. While the great potential of such VR systems is common and accepted knowledge, issues remain related to how to design systems and setups capable of fully exploiting the latest hardware advances. The aim of the proposed research is to study and understand how to increase the perceived level of realism and sense of presence when remotely observing real places through VR headset displays. Hence, to produce a set of guidelines that give directions to system designers about how to optimize the display-camera setup to enhance performance, focusing on remote visual observation of real places. The outcome of this investigation represents unique knowledge that is believed to be very beneficial for better VR headset designs towards improved remote observation systems. To achieve the proposed goal, this thesis presents a thorough investigation of existing literature and previous researches, which is carried out systematically to identify the most important factors ruling realism, depth perception, comfort, and sense of presence in VR headset observation. Once identified, these factors are further discussed and assessed through a series of experiments and usability studies, based on a predefined set of research questions. More specifically, the role of familiarity with the observed place, the role of the environment characteristics shown to the viewer, and the role of the display used for the remote observation of the virtual environment are further investigated. To gain more insights, two usability studies are proposed with the aim of defining guidelines and best practices. The main outcomes from the two studies demonstrate that test users can experience an enhanced realistic observation when natural features, higher resolution displays, natural illumination, and high image contrast are used in Mobile VR. In terms of comfort, simple scene layouts and relaxing environments are considered ideal to reduce visual fatigue and eye strain. Furthermore, sense of presence increases when observed environments induce strong emotions, and depth perception improves in VR when several monocular cues such as lights and shadows are combined with binocular depth cues. Based on these results, this investigation then presents a focused evaluation on the outcomes and introduces an innovative eye-adapted High Dynamic Range (HDR) approach, which the author believes to be of great improvement in the context of remote observation when combined with eye-tracked VR headsets. Within this purpose, a third user study is proposed to compare static HDR and eye-adapted HDR observation in VR, to assess that the latter can improve realism, depth perception, sense of presence, and in certain cases even comfort. Results from this last study confirmed the author expectations, proving that eye-adapted HDR and eye tracking should be used to achieve best visual performances for remote observation in modern VR systems

The Effect of Stereoscopic (3D) Movies on Psychological and Physiological Experiences

Despite the recent rise in the popularity of 3D entertainment technology, there is surprisingly little research on the psychophysiological experience of watching 3D movies. Previous studies suggest that exposure to stereoscopic (3D) images in training environments (e.g., flight simulators) can cause discomforts including eyestrain and visually induced motion sickness. However, existing research on 3D entertainment has been mixed and has relied primarily on retrospective, non-experimental research designs, which do not allow us to draw clear causal conclusions. The purpose of this study was to examine the psychological and physiological effects of viewing 3D movies using a controlled, manipulated experiment. Eighty-two participants were randomly assigned to watch a segment of a nature movie in either stereoscopic (3D) or standard (2D) format and were measured on their psychological and physiological experiences. A multivariate analysis of covariance (MANCOVA) revealed statistically significant adverse effects of the 3D movie format. Specifically, watching a movie segment in 3D resulted in significantly more ocular discomfort (e.g., eyestrain) and feelings of disorientation compared to watching the same segment in 2D. Most notably, these results were observed after controlling for an individual’s self-reported level of intolerance for physical discomfort and pre-existing attitudes towards 3D movies. Interestingly, although nausea is often reported anecdotally in reaction to 3D movies, we did not find significant effects of the 3D format on feelings of nausea. These results suggest that the direct psychophysiological experience of 3D movies is complex and continued research is necessary to improve the comfort and safety of consumers

Beyond virtual cultural tourism: history-living experiences with cinematic virtual reality

Virtual reality offers unprecedented opportunities for creating cultural tourism experiences that tell visitors emotionally engaging stories about the past.  This paper focuses onthe latest frontier of immersive storytelling rivalling feature films, cinematic virtual reality, which can immerse users into 360-degree films making them feel like living the story. Through a qualitative analysis of five projects, this paper explores how this new media form has been applied for cultural heritage storytelling and analyses the reactions of users to the historyliving experiences with an emphasis on their emotional responses. Based on the findings of the analysis, implications are discussed for the design of VR experiences in cultural tourism

Methods for reducing visual discomfort in stereoscopic 3D: A review

This work was supported by the EPSRC Grant EP/M01469X/1, “Geometric Evaluation of Stereoscopic Video”

Embosom: Exploring the Concept of Home Through a Multi-sensory Virtual Reality Installation

This research delves into the potential of multi-sensory Virtual Reality (VR) installations in exploring the notion of home from the perspective of diaspora. Through Embosom, a VR sculpture installation that blends virtual reality, sound, and touch, a distinctive dual spatial environment is created that enhances the viewer's sensory experience and evokes physical and emotional comfort. This research also explores the relationship between the concepts of "home" and "diaspora," recognizing that they are intertwined. Viewers are enveloped by a soft sculpture that resembles a home, manifested through the form of a hugging sculpture. Simultaneously, wearing a VR headset, they are presented with dreamy motion graphics depicting homes made of sparkling particles, along with various structures such as windows and doors. Embosom offers an experience providing reflection on the concept of home by intersecting the boundaries of the real and virtual worlds and taking viewers on an imaginative journey. As viewers navigate through Embosom, a sound piece plays in the background, adding to the overall experience with its calming and meditative effects. This research draws on principles from the fields of phenomenology and psychology of home that inform the design process. Utilizing research creation and case study approaches, participants' feedback was gathered via an interview questionnaire and a survey, indicating that the installation reduced anxiety and increased calmness. This research underlines the potential that arises when art and technology converge to explore how individuals from a diasporic background perceive and imagine the concept of home within a multi-sensory VR installation

Looking at the Lanham Act: Images in Trademark and Advertising Law

Words are the prototypical regulatory subjects for trademark and advertising law, despite our increasingly audiovisual economy. This word-focused baseline means that the Lanham Act often misconceives its object, resulting in confusion and incoherence. This Article explores some of the ways courts have attempted to fit images into a word-centric model, while not fully recognizing the particular ways in which images make meaning in trademark and other forms of advertising. While problems interpreting images are likely to persist, this Article suggests some ways in which courts could pay closer attention to the special features of images as compared to words

The Chart Excites Me! Exploring How Data Visualization Design Influences Affective Arousal

As data visualizations have been increasingly applied in mass communication, designers often seek to grasp viewers immediately and motivate them to read more. Such goals, as suggested by previous research, are closely associated with the activation of emotion, namely affective arousal. Given this motivation, this work takes initial steps toward understanding the arousal-related factors in data visualization design. We collected a corpus of 265 data visualizations and conducted a crowdsourcing study with 184 participants during which the participants were asked to rate the affective arousal elicited by data visualization design (all texts were blurred to exclude the influence of semantics) and provide their reasons. Based on the collected data, first, we identified a set of arousal-related design features by analyzing user comments qualitatively. Then, we mapped these features to computable variables and constructed regression models to infer which features are significant contributors to affective arousal quantitatively. Through this exploratory study, we finally identified four design features (e.g., colorfulness, the number of different visual channels) cross-validated as important features correlated with affective arousal

Perceived Depth Control in Stereoscopic Cinematography

Despite the recent explosion of interest in the stereoscopic 3D (S3D) technology, the ultimate prevailing of the S3D medium is still significantly hindered by adverse effects regarding the S3D viewing discomfort. This thesis attempts to improve the S3D viewing experience by investigating perceived depth control methods in stereoscopic cinematography on desktop 3D displays. The main contributions of this work are: (1) A new method was developed to carry out human factors studies on identifying the practical limits of the 3D Comfort Zone on a given 3D display. Our results suggest that it is necessary for cinematographers to identify the specific limits of 3D Comfort Zone on the target 3D display as different 3D systems have different ranges for the 3D Comfort Zone. (2) A new dynamic depth mapping approach was proposed to improve the depth perception in stereoscopic cinematography. The results of a human-based experiment confirmed its advantages in controlling the perceived depth in viewing 3D motion pictures over the existing depth mapping methods. (3) The practicability of employing the Depth of Field (DoF) blur technique in S3D was also investigated. Our results indicate that applying the DoF blur simulation on stereoscopic content may not improve the S3D viewing experience without the real time information about what the viewer is looking at. Finally, a basic guideline for stereoscopic cinematography was introduced to summarise the new findings of this thesis alongside several well-known key factors in 3D cinematography. It is our assumption that this guideline will be of particular interest not only to 3D filmmaking but also to 3D gaming, sports broadcasting, and TV production

Neural narratives and natives: cognitive attention schema theory and empathy in Avatar

Text in EnglishThis study offers a fine-grained analysis of James Cameron’s film, Avatar (2009), on several theoretical fronts to provide a view of the film from a cognitive cultural studies perspective. The insights gained from cognitive theory are used to situate the debate by indicating the value cognitive theories have in cultural criticism. The critical discourse analysis of Avatar that results is a vehicle for the central concern of this study, which is to understand the diverse, often contradictory, meaning-making exhibited by Avatar audiences. A focus on the construction of empathic responses to the film’s messages investigates the success of this polysemy. Ihe central propositions of the study are that meanings and interpretations of the experience of viewing Avatar are made discursively; they are situated in definable traditions, mores and values; and this meaning-making takes place in a cognitive framework which allows for the technical reproduction and reception of the experience while providing powerful, emerging and cognitively plausible narratives. In an attempt to situate the film’s commercial success and its plethora of awards, including an Oscar for best art direction, the analysis takes a critical view of Cameron’s use of cultural stereotypes and the framing of the exotic other, and considers the continuing development of these elements over the whole series and product line or, as Henry Jenkins (2007) defines it, “transmedia”. In drawing the theoretical boundaries of the methodologies used in this study and in arguing for their complementarities, the study contributes to a renewal of Raymond Williams’ (1961) mostly forgotten claim of the cross-disciplinary cognitive dimension of cultural studies and demonstrates an affirmation of this formulation as cognitive cultural studies.Art History, Visual Arts and MusicologyM.A. (Art History