User Experience of Interactive Omnidirectional Video: Case Hugo Simberg VR

Virtual reality technology is gaining popularity and market saturation with new types of head- mounted display devices reaching the market in the recent years. With more conventional uses, such as industrial simulators for flight lessons, the newer technologies have found their way on the consumer market, being used at home for entertainment and gaming. An emerging way to create these types of applications is using omnidirectional video as the basis. These Interactive omnidirectional video applications can be developed comparatively quickly, while still offering some challenges in the development process. User Experience Design in the field of virtual reality has been gaining more foothold in the field of virtual reality application development. User experience offers a multitude of design frameworks and approaches to find the user needs and to ensure for the best user experience. While this design process is suitable for development on this field, the user experience and design implications regarding virtual reality and interactive omnidirectional remain quite limited. User Experience design methods were used in a development process for an interactive omnidirectional video application, Hugo Simberg VR, which allows the user to explore a museum and a cathedral virtually. This thesis discusses this undertaken design process, from the initial exploratory design phases to the iterative refining design phases, and the evaluation of the finished application. The results of the evaluation identified nine experiential dimensions in interactive omnidirectional video, of which six were perceived with positive valence, and three with negative valence. These findings show that these dimensions should be considered in the design of interactive omnidirectional videos

Making Exhibitions, Brokering Meaning: Designing new connections across communities of practice

New media museum exhibits often see designers representing the research of expert content providers. Despite perceptions that such exhibits provide museum visitors with a greater depth and range of experience, differences in knowledge and practice between designers and content providers can see content development become an unruly, competitive process in which audience experience, digital mediation, visualisation techniques and meaning become contested territory. Drawing on Etienne Wenger’s theory of “communities of practice”, this paper argues that designers’ advocacy for audiences and distance from exhibition content well positions them to broker interdisciplinary goal setting so that exhibitions observe the representational objectives of content providers and meet the needs and preferences of museum visitors. A wide range of design literature already discusses the pragmatic benefits and ethical importance of user-centered design, while the literature on co-design suggests that designed outcomes are more successful if the design process considers the interests of all stakeholders. These discussions can be compelling, but the inherent challenges in engaging others’ perspectives and knowledge in the design process are less acknowledged, Wenger’s ideas on the social dynamics of group enterprise offering designers valuable insights into the actuality of negotiating designed outcomes with non-designer stakeholders. The paper has two main aspects. The first outlines the theory of communities of practice, focusing on the brokering of knowledge and practice between disciplines. This discussion frames an analysis of the design process for two museum exhibitions. Representing an original application of Wenger’s ideas, the discussion recognises the unique role of the designed artifact in brokering information visualization processes, transcending the actions and intentions of individual stakeholders. While accepting there are successful examples of interdisciplinary exchange in various areas of design, the interpretation of examples via Wenger contributes useful principles to the theorisation of co-design with non-designer stakeholders. Keywords: Information visualization; New media museum exhibits; Multidisciplinary projects; Communities of Practice; Brokering; User-centered design; Co-Design; Etienne Wenger</p

User-centred design of flexible hypermedia for a mobile guide: Reflections on the hyperaudio experience

A user-centred design approach involves end-users from the very beginning. Considering users at the early stages compels designers to think in terms of utility and usability and helps develop the system on what is actually needed. This paper discusses the case of HyperAudio, a context-sensitive adaptive and mobile guide to museums developed in the late 90s. User requirements were collected via a survey to understand visitors’ profiles and visit styles in Natural Science museums. The knowledge acquired supported the specification of system requirements, helping defining user model, data structure and adaptive behaviour of the system. User requirements guided the design decisions on what could be implemented by using simple adaptable triggers and what instead needed more sophisticated adaptive techniques, a fundamental choice when all the computation must be done on a PDA. Graphical and interactive environments for developing and testing complex adaptive systems are discussed as a further step towards an iterative design that considers the user interaction a central point. The paper discusses how such an environment allows designers and developers to experiment with different system’s behaviours and to widely test it under realistic conditions by simulation of the actual context evolving over time. The understanding gained in HyperAudio is then considered in the perspective of the developments that followed that first experience: our findings seem still valid despite the passed time

from e-Heritage systems to Interpretive Archaeology Systems.

The principal purpose of this paper is to examine which research approaches are best suited for determining the requirements of the next generation of interactive interpretation support systems for cultural heritage site. We are optimistic that such systems if properly designed to exploit the potential of advanced information and communication technologies (ICTs), can not only meet, but even exceed visitor-user expectations. The research framework proposed to achieve this ideal integrates insights from both Interpretive Archaeology and interpretive IS research. We call the application of ICT’s in systems for communicating cultural heritage information “e-Heritage Systems or e-HS. We define “Interpretive Archaeology Systems”(IAS) as a subclass of e-HS, the design of which is informed by hermeneutics and phenomenology, Therefore, the principal purpose of the paper is to promote a shift from e-HS to IAS. To illustrate the fruitfulness of our preferred approach for IAS requirements identification, we derive a set of criteria from our research philosophy and apply them to the evaluation of an existing e-HS: the ARCHEOGUIDE in Olympia.Information systems; Cultural heritage; Phenomenology; Interpretive Information Systems Research; Interpretive Archaeology; Hermeneutics; Interpretive Archaeology Systems;

Retelling narrative in 360º videos : Implications for audio description

The aim of this article is to question whether the approach for producing audio description (AD) in 2D films needs to be revisited for 360  narrative videos, a new media format characterized by its immersive capacity. To provide answers, a two-step research methodology was designed. First, an extensive literature review was performed. The data obtained during the first step was then used to design and carry out focus groups. The first part of the article discusses the findings from the literature review, comparing standard narratives with 360  narrative videos. It draws some conclusions for audio describers in relation to AD content selection, a key task in the translation of visuals into words. In the second part of the article, data obtained from the focus groups held with describers and AD users is presented. The results suggest possible approaches to AD for 360  content, such as the use of spatial sound and elements of interaction

Spatial audio and immersive journalism: production, narrative design, and sense of presence

This article presents the findings from an experimental study on the use of binaural audio in two long-form journalistic features broadcast on Portuguese radio. From a production and narrative design perspective, our objective is to examine whether/how binaural audio implies a transformation of previously established news radio production work principles and practices, as well as of storytelling ideation and techniques. From a user experience viewpoint, we examine whether the use of binaural audio translates into higher levels of self-reported immersion and place illusion (n = 77). Despite the spread of new audio journalism formats, media and communication studies have until now largely neglected the role of spatial audio in the construction of immersion and the illusion of place. We argue that this epistemic omission translates into an image-centric conception and operationalization of the immersive journalism proposal, which stands out as a knowledge gap regarding the work of journalistic storytellers and relating to participants’ actual experience. The original contribution of this article is threefold: (1) conceptual, by broadening the perspective of journalism studies’ scholars and media professionals on the concept of immersive journalism, which, in our view, is often incorrectly considered to be synonymous with that of virtual reality journalism; (2) practical, by generating a more nuanced understanding of how actual practitioners perceive and employ immersive journalism; (3) phenomenological, by developing an examination of the factors that influence listeners’ ultimate perception of the immersive experience

Instructional Message Design: Theory, Research, and Practice

Message design is all around us, from the presentations we see in meetings and classes, to the instructions that come with our latest tech gadgets, to multi-million-dollar training simulations. In short, instructional message design is the real-world application of instructional and learning theories to design the tools and technologies used to communicate and effectively convey information. This field of study pulls from many applied sciences including cognitive psychology, industrial design, graphic design, instructional design, and human performance technology to name just a few. In this book we visit several foundational theories that guide our research, look at different real-world applications, and begin to discuss directions for future best practice. For instance, cognitive load and multimedia learning theories provide best practice, PowerPoint and simulations are only a few of the multitude of applications, and special needs learners and designing for cultural inclusiveness are only two of many areas where effective messages design can improve outcomes. Studying effective instructional message design tools and techniques has and will continue to be a critical aspect of the overall instructional design process. Hopefully, this book will serve as an introduction to these topics and inspire your curiosity to explore further

Immersive Journalism as Storytelling

"This book sets out cutting-edge new research and examines future prospects on 360-degree video, virtual reality (VR), and augmented reality (AR) in journalism, analyzing and discussing virtual world experiments from a range of perspectives. Featuring contributions from a diverse range of scholars, Immersive Journalism as Storytelling highlights both the opportunities and the challenges presented by this form of storytelling. The book discusses how immersive journalism has the potential to reach new audiences, change the way stories are told, and provide more interactivity within the news industry. Aside from generating deeper emotional reactions and global perspectives, the book demonstrates how it can also diversify and upskill the news industry. Further contributions address the challenges, examining how immersive storytelling calls for reassessing issues of journalism ethics and truthfulness, transparency, privacy, manipulation, and surveillance, and questioning what it means to cover reality when a story is told in virtual reality. Chapters are grounded in empirical data such as content analyses and expert interviews, alongside insightful case studies that discuss Euronews, Nonny de la Peña’s Project Syria, and The New York Times’ NYTVR application. This book is written for journalism teachers, educators, and students, as well as scholars, politicians, lawmakers, and citizens with an interest in emerging technologies for media practice.

AURA_ A MEDIA DEVICE FOR NEW NARRATION SPACES IN MUSEUM CONTEXTS

The long months of social distance to which the pandemic has forced us have certainly accelerated the idea that the remediation of the concept of distance in a digital horizon can open up new spaces of negotiation for many social and cultural practices in the future. But it has also, dramatically, highlighted the limits and risks contained in the very idea that the experience of the meta-universe can really do without the mediation of physical reality and human direct intervention. The reflections and design experience proposed here therefore aim to reflect on the role that the new technologies and traditional professionals are playing in relation with the phygital cultural experience. The idea of the contemporary museum is indagated, questioning, however, the quality of the 'relationship' between the work of art and the user and the ways in which design can respond creatively to the demand for cultural consumption by activating new processes of attribution of meaning