Immersive Pipeline white paper

This report examines immersive experiences in the context of social shared spaces. It presents the Immersive Pipeline research project led by Prof. Atau Tanaka and funded by the AHRC/EPSRC Research and Partnership Development call for the Next Generation of Immersive Experiences from January to June 2018. It covers a historical and technological overview of state of the art on this field, cases of study and interviews in depth with some of the participants

Examining the role of smart TVs and VR HMDs in synchronous at-a-distance media consumption

This article examines synchronous at-a-distance media consumption from two perspectives: How it can be facilitated using existing consumer displays (through TVs combined with smartphones), and imminently available consumer displays (through virtual reality (VR) HMDs combined with RGBD sensing). First, we discuss results from an initial evaluation of a synchronous shared at-a-distance smart TV system, CastAway. Through week-long in-home deployments with five couples, we gain formative insights into the adoption and usage of at-a-distance media consumption and how couples communicated during said consumption. We then examine how the imminent availability and potential adoption of consumer VR HMDs could affect preferences toward how synchronous at-a-distance media consumption is conducted, in a laboratory study of 12 pairs, by enhancing media immersion and supporting embodied telepresence for communication. Finally, we discuss the implications these studies have for the near-future of consumer synchronous at-a-distance media consumption. When combined, these studies begin to explore a design space regarding the varying ways in which at-a-distance media consumption can be supported and experienced (through music, TV content, augmenting existing TV content for immersion, and immersive VR content), what factors might influence usage and adoption and the implications for supporting communication and telepresence during media consumption

"Hegelian Buddhist Hypertextual Media Inhabitation, or, Criticism in the Age of Electronic Immersion"

What can it mean to criticize when you are inside the work itself? In a immersive electronic or digital environment critic is not distanced on a platform based on firm principles. Yet criticism self-awareness and commentary remain possible. This essay examines various techniques for dealing with immersive environments critically

Flexible virtual environments: Gamifying immersive learning

© Springer International Publishing AG 2017. The availability of Virtual Reality (VR) and Virtual Environment (VE) equipment - with the launch of domestic technologies such as the Oculus Rift, Microsoft Hololens and Sony Playstation VR) - offer new ways to enable interactive immersive experiences [16]. The opportunities these create in learning and training applications are immense: but create new challenges . Meanwhile, current virtual learning environments are typically web or app based technologies, sometimes perceived as having little value added from a user perspective beyond improved User Interfaces to access some content [6]. The challenge is how the human computer interaction features of such VE platforms may be used in education in a way that adds value, especially for computer mediated instruction. This paper will outline some of the issues, and opportunities, as well as some of the open questions about how such technologies can be used effectively in a higher education context, along with a proposed framework for embedding a learning engine within a virtual reality or environment system. Three-dimensional technologies: from work-walls, through CAVES to the latest headsets offer new ways to immerse users in computer generated environments. Immersive learning [1] is increasingly common in training applications, and is beginning to make inroads into formal education. The recent rise in such off-the-shelf technologies means that Augmented Learning becomes a realistic mainstream tool [13]. Much of this use is built in game environments using game engines, where these serious games provide learning effects as an intended consequence of playing

Community building and virtual teamwork in an online learning environment

In the world of OTIS, an online Internet School for occupational therapists, students from four European countries were encouraged to work collaboratively through problem based learning by interacting with each other in a virtual semi-immersive environment. This paper aims to explore the issues that there was little interaction between students from different tutorial groups and virtual teamwork developed in each of the cross cultural tutorial groups. Synchronous data from European students was captured during tutorial sessions and peer booked meetings and evidence suggests that communities of interest were established. It is possible to conclude that collaborative systems can be designed, which encourage students to build trust and teamwork in a cross cultural online learning environment. </p

Audience Participation and Neoliberal Value: Risk, agency and responsibility in immersive theatre

This article identifies a value set shared between the neoliberal ethos and modes of audience participation frequently promoted in immersive theatre: values such as risk-taking, individual freedoms and personal responsibility. The promotion of self-made opportunity, premised either on opportunistic risk-taking, or the savvy attitude that comes with experience and familiarity with immersive theatre participation, will be addressed as valorising another shared value: entrepreneurialism. A participatory mode will be introduced that I call ‘entrepreneurial participation’: a kind of audience participation privileged in much immersive theatre performance identifying the enactment of neoliberal value. While entrepreneurial participation may be deliberately deployed by audiences as a participatory tactic, it will be argued that this particular participatory mode is frequently expected of audiences, or at least privileged as a means of engaging with performance. Work by the British immersive theatre company Punchdrunk will be taken as a means of illustrating this suggestion, particularly The Masque of the Red Death (2007). The article begins with a definition of immersive theatre that focuses on the figuring of participating audiences, paying particular attention to the relativity of participatory freedoms and the centrality of experience production. Hedonistic and narcissistic experiences will pull focus and will be approached as a possible reason behind immersive theatre's susceptibility to absorption within the experience industry and co-optation by innovative marketers. The article then establishes a set of shared values between the neoliberal ethos and audience participation in The Masque of the Red Death. Risk perception research, especially that arising from the Oregon Group and Stephen Lyng, will be touched on as a means of introducing some political considerations arising from the notion of entrepreneurial participation. A more optimistic, but ultimately sobering set of responses will be offered in conclusion

Measuring and understanding photo sharing experiences in social virtual reality

Millions of photos are shared online daily, but the richness of interaction compared with face-to-face (F2F) sharing is still missing. While this may change with social Virtual Reality (socialVR), we still lack tools to measure such immersive and interactive experiences. In this paper, we investigate photo sharing experiences in immersive environments, focusing on socialVR. Running context mapping (N=10), an expert creative session (N=6), and an online experience clustering questionnaire (N=20), we develop and statistically evaluate a questionnaire to measure photo sharing experiences. We then ran a controlled, within-subject study (N=26 pairs) to compare photo sharing under F2F, Skype, and Facebook Spaces. Using interviews, audio analysis, and our questionnaire, we found that socialVR can closely approximate F2F sharing. We contribute empirical findings on the immersiveness differences between digital communication media, and propose a socialVR questionnaire that can in the future generalize beyond photo sharing

Evaluation Report of Prospero’s Island: an Immersive Approach to Literacy at Key Stage 3.

Prospero's Island is an immersive theatre project created by Punchdrunk Enrichment and sponsored by Learning Partner, London Borough of Hackney (Hackney Learning Trust). The project sought to inspire and motivate students’ engagement with the English curriculum, and to develop an immersive approach to teaching literacy that would improve students’ learning. Prospero’s Island took place in a secondary academy in Hackney, London over two school terms (autumn 2014-spring 2015). The project was embedded in existing schemes of work, and included the following elements: • An immersive theatre installation for Year 7-8 students (aged 11-13 years); this took the form of an interactive game based on The Tempest; over a two-week period groups of students participated in this experience for a morning or afternoon (autumn term); • A Teaching and Learning Day (TALD) and eight twilight CPD sessions on immersive learning techniques for school staff and teachers across London (autumn term); • A return to the installation for one lesson, led by English teachers (autumn term); • Follow-on work by teachers to develop immersive learning in English lessons (spring term); • An independent evaluation of the project (autumn and spring terms)