Dialectical Polyptych: an interactive movie installation

Most of the known video games developed by important software companies usually establish an approach to the cinematic language in an attempt to create a perfect combination of narrative, visual technique and interaction. Unlike most video games, interactive film narratives normally involve an interruption in time whenever the spectator has to make choices. “Dialectical Polyptych” is an interactive movie included in a project called “Characters looking for a spectactor”, which aims to give the spectator on-the-fly control over film editing, thus exploiting the role of the spectator as an active subject in the presented narrative. This paper presents an installation based on a mobile device, which allows seamless real-time interactivity with the movie. Different finger touches in the screen allow the spectator to alternate between two parallel narratives, both producing a complementary narrative, and change the angle or shot within each narrative.info:eu-repo/semantics/publishedVersio

Which game narratives do adolescents of different gameplay and sociodemographic backgrounds prefer? a mixed-methods analysis

OBJECTIVE: The aim of this study was to investigate which narrative elements of digital game narratives are preferred by the general adolescent population, and to examine associations with gender, socioeconomic status (SES), and gameplay frequency. Further, the study aims to discuss how results can be translated to serious digital games. MATERIALS AND METHODS: Adolescents were recruited through school to complete a survey on narrative preferences in digital games. The survey included questions on sociodemographic information, frequency of gameplay, and an open-ended question on what could be an appealing narrative for them. Data were analyzed in a mixed-methods approach, using thematic analysis and chi-square analyses to determine narrative preferences and the associations between game narrative elements and player characteristics (gender, SES, and frequency of gameplay). RESULTS: The sample consisted of 446 adolescents (12-15 years old) who described 30 narrative subthemes. Preferences included human characters as protagonists; nonhuman characters only as antagonists; realistic settings, such as public places or cities; and a strong conflict surrounding crime, catastrophe, or war. Girls more often than boys defined characters by their age, included avatars, located the narrative in private places, developed profession-related skills, and included a positive atmosphere. Adolescents of nonacademic education more often than adolescents of academic education defined characters by criminal actions. Infrequent players more often included human characters defined by their age than frequent players. After performing a Bonferroni correction, narrative preferences for several gender differences remained. CONCLUSION: Different narrative elements related to subgroups of adolescents by gender, SES, and frequency of gameplay. Customization of narratives in serious digital health games should be warranted for boys and girls; yet, further research is needed to specify how to address girls in particular

The threshold of the real: A site for participatory resistance in Blast Theory's Uncle Roy all around you (2003)

This article examines the collision of virtual and real spaces through simultaneous live and online play in Uncle Roy All Around You, and how this disruption of immersion is used to expose the habitual engagements associated with the digital interface. The nature of the participants' immersion and the subsequent reintegration into the real will be explored, before attempting to articulate what defines this piece as politically resistant, through discussion of a self reflexive participation, which undermines what Baudrillard terms the 'simulated response' (Baudrillard 1985/1988 p.216

From Personalization to Adaptivity: Creating Immersive Visits through Interactive Digital Storytelling at the Acropolis Museum

Storytelling has recently become a popular way to guide museum visitors, replacing traditional exhibit-centric descriptions by story-centric cohesive narrations with references to the exhibits and multimedia content. This work presents the fundamental elements of the CHESS project approach, the goal of which is to provide adaptive, personalized, interactive storytelling for museum visits. We shortly present the CHESS project and its background, we detail the proposed storytelling and user models, we describe the provided functionality and we outline the main tools and mechanisms employed. Finally, we present the preliminary results of a recent evaluation study that are informing several directions for future work

Exploitation of multiplayer interaction and development of virtual puppetry storytelling using gesture control and stereoscopic devices

With the rapid development of human-computer interaction technologies, the new media generation demands novel learning experiences with natural interaction and immersive experience. Considering that digital storytelling is a powerful pedagogical tool for young children, in this paper, we design an immersive storytelling environment that allows multiple players to use naturally interactive hand gestures to manipulate virtual puppetry for assisting narration. A set of multimodal interaction techniques is presented for a hybrid user interface that integrates existing 3D visualization and interaction devices including head-mounted displays and depth motion sensor. In this system, the young players could intuitively use hand gestures to manipulate virtual puppets to perform a story and interact with props in a virtual stereoscopic environment. We have conducted a user experiment with four young children for pedagogical evaluation, as well as system acceptability and interactivity evaluation by postgraduate students. The results show that our framework has great potential to stimulate learning abilities of young children through collaboration tasks. The stereoscopic head-mounted display outperformed the traditional monoscopic display in a comparison between the two

Communicating engineering heritage through immersive technology:A VR framework for enhancing users' interpretation process in virtual immersive environments

The recent advancement in immersive technologies opens up opportunities for the way individuals perceive and engage with information in public spaces to be innovated. This article discusses a study that investigates the application of Virtual Reality (VR) as an instrument for communicating engineering heritage in museum environments with the aim to enhance visitor experience. The study adopted Shannon’s communication theory as the main principle for contextualising heritage objects within virtual environments. This approach can benefit curators in informing the way the intended meaning, value, and context behind museum artefacts to be delivered through visual narratives and aesthetics. In this study, three VR scenarios have been developed using the Unreal engine to investigate the aspects of learning, interaction, and immersion during the virtual experience. One-way ANOVA approach was used to determine the significant differences between the proposed factors in the study. The study found that the absence of interaction in the immersive scenario reduced the mean score leading to a lack of constructive guidance during navigation. Whereas using Gamified and narrated approaches significantly increased the mean value of the participants compared to the control group. While many researchers argue that the utilisation of VR could improve the users’ level of presence, the study outcomes suggest that there are certain conditions that should be structured during the development process to facilitate better engagement with virtual content. To achieve these conditions, gamification and storytelling strategies have been found to be effective in delivering an interactive immersive experience for engaging with heritage artefacts and contents

Viewing the Future? Virtual Reality In Journalism

Journalism underwent a flurry of virtual reality content creation, production and distribution starting in the final months of 2015. The New York Times distributed more than 1 million cardboard virtual reality viewers and released an app showing a spherical video short about displaced refugees. The Los Angeles Times landed people next to a crater on Mars. USA TODAY took visitors on a ride-along in the "Back to the Future" car on the Universal Studios lot and on a spin through Old Havana in a bright pink '57 Ford. ABC News went to North Korea for a spherical view of a military parade and to Syria to see artifacts threatened by war. The Emblematic Group, a company that creates virtual reality content, followed a woman navigating a gauntlet of anti- abortion demonstrators at a family planning clinic and allowed people to witness a murder-suicide stemming from domestic violence.In short, the period from October 2015 through February 2016 was one of significant experimentation with virtual reality (VR) storytelling. These efforts are part of an initial foray into determining whether VR is a feasible way to present news. The year 2016 is shaping up as a period of further testing and careful monitoring of potential growth in the use of virtual reality among consumers

Updating the art history curriculum: incorporating virtual and augmented reality technologies to improve interactivity and engagement

Master's Project (M.Ed.) University of Alaska Fairbanks, 2017This project investigates how the art history curricula in higher education can borrow from and incorporate emerging technologies currently being used in art museums. Many art museums are using augmented reality and virtual reality technologies to transform their visitors' experiences into experiences that are interactive and engaging. Art museums have historically offered static visitor experiences, which have been mirrored in the study of art. This project explores the current state of the art history classroom in higher education, which is historically a teacher-centered learning environment and the learning effects of that environment. The project then looks at how art museums are creating visitor-centered learning environments; specifically looking at how they are using reality technologies (virtual and augmented) to transition into digitally interactive learning environments that support various learning theories. Lastly, the project examines the learning benefits of such tools to see what could (and should) be implemented into the art history curricula at the higher education level and provides a sample section of a curriculum demonstrating what that implementation could look like. Art and art history are a crucial part of our culture and being able to successfully engage with it and learn from it enables the spread of our culture through digital means and of digital culture