MIRACLE Handbook : Guidelines for Mixed Reality Applications for Culture and Learning Experiences

Siirretty Doriast

The design-by-adaptation approach to universal access: learning from videogame technology

This paper proposes an alternative approach to the design of universally accessible interfaces to that provided by formal design frameworks applied ab initio to the development of new software. This approach, design-byadaptation, involves the transfer of interface technology and/or design principles from one application domain to another, in situations where the recipient domain is similar to the host domain in terms of modelled systems, tasks and users. Using the example of interaction in 3D virtual environments, the paper explores how principles underlying the design of videogame interfaces may be applied to a broad family of visualization and analysis software which handles geographical data (virtual geographic environments, or VGEs). One of the motivations behind the current study is that VGE technology lags some way behind videogame technology in the modelling of 3D environments, and has a less-developed track record in providing the variety of interaction methods needed to undertake varied tasks in 3D virtual worlds by users with varied levels of experience. The current analysis extracted a set of interaction principles from videogames which were used to devise a set of 3D task interfaces that have been implemented in a prototype VGE for formal evaluation

Analyzing the Impact of Spatio-Temporal Sensor Resolution on Player Experience in Augmented Reality Games

Along with automating everyday tasks of human life, smartphones have become one of the most popular devices to play video games on due to their interactivity. Smartphones are embedded with various sensors which enhance their ability to adopt new new interaction techniques for video games. These integrated sen- sors, such as motion sensors or location sensors, make the device able to adopt new interaction techniques that enhance usability. However, despite their mobility and embedded sensor capacity, smartphones are limited in processing power and display area compared to desktop computer consoles. When it comes to evaluat- ing Player Experience (PX), players might not have as compelling an experience because the rich graphics environments that a desktop computer can provide are absent on a smartphone. A plausible alternative in this regard can be substituting the virtual game world with a real world game board, perceived through the device camera by rendering the digital artifacts over the camera view. This technology is widely known as Augmented Reality (AR). Smartphone sensors (e.g. GPS, accelerometer, gyro-meter, compass) have enhanced the capability for deploying Augmented Reality technology. AR has been applied to a large number of smartphone games including shooters, casual games, or puzzles. Because AR play environments are viewed through the camera, rendering the digital artifacts consistently and accurately is crucial because the digital characters need to move with respect to sensed orientation, then the accelerometer and gyroscope need to provide su ciently accurate and precise readings to make the game playable. In particular, determining the pose of the camera in space is vital as the appropriate angle to view the rendered digital characters are determined by the pose of the camera. This defines how well the players will be able interact with the digital game characters. Depending in the Quality of Service (QoS) of these sensors, the Player Experience (PX) may vary as the rendering of digital characters are affected by noisy sensors causing a loss of registration. Confronting such problem while developing AR games is di cult in general as it requires creating wide variety of game types, narratives, input modalities as well as user-testing. Moreover, current AR games developers do not have any specific guidelines for developing AR games, and concrete guidelines outlining the tradeoffs between QoS and PX for different genres and interaction techniques are required. My dissertation provides a complete view (a taxonomy) of the spatio-temporal sensor resolution depen- dency of the existing AR games. Four user experiments have been conducted and one experiment is proposed to validate the taxonomy and demonstrate the differential impact of sensor noise on gameplay of different genres of AR games in different aspect of PX. This analysis is performed in the context of a novel instru- mentation technology, which allows the controlled manipulation of QoS on position and orientation sensors. The experimental outcome demonstrated how the QoS of input sensor noise impacts the PX differently while playing AR game of different genre and the key elements creating this differential impact are - the input modality, narrative and game mechanics. Later, concrete guidelines are derived to regulate the sensor QoS as complete set of instructions to develop different genres or AR games

The magic lens box: simplifying the development of mixed reality games

Mixed Reality games are becoming more and more popular these days and offer unique experiences to the players. However, development of such games typically still requires expert knowledge and access to Mixed Reality toolkits or frameworks. In this paper, we present the so-called Magic Lens Box that follows a different approach. Based on standard hardware The Magic Lens Box enables game designers with little technological background to create their own Mixed Reality games in a simple yet powerful fashion. We further outline the development process of the magic Lens Box, describe the conceptual model behind it and discuss three games that have been developed with our system. Evaluation of these games shows the viability of our approach, enabling the creation of a variety of rather different Mixed reality games while keeping the development process simple

Children and Virtual Reality: Emerging Possibilities and Challenges

Virtual Reality is fast becoming a reality, with estimates that over 200m headsets will have been sold by 2020, and the market value for VR hardware and software reaching well over $20bn by then. Key players in the market currently include PlayStation with PSVR, Facebook with Oculus Rift, Google Cardboard and Daydream, Mattel with Viewmaster, and many other brands investing in content production for various audiences. One of those audiences is young people and children. “Children and Virtual Reality” is a collaboration between Dubit, Turner, WEARVR and the COST (European Cooperation in Science and Technology) Action DigiLitEY. Dubit, Turner and WEARVR are companies that specialise in digital, TV and VR content, with an interest in developing best practices around VR and children. DigiLitEY is a five year (2013-2017) academic network that focuses on existing and emerging communicative technologies for young children. This includes wearable technologies, 3D printers, robots, augmented reality, toys and games and relevant aspects of the Internet of Things. This report brings together industry research into the effects of VR on 8 to 12 year olds, and ideas that arose from a COST funded Think Tank to explore what the research findings might mean for the use of VR by under 8s

A Future for Entertainment-Defense Research Collaboration

In 1997, the National Research Council (NRC) issued a report that specified a joint research agenda for defense and entertainment modeling and simulation. This report showed the excellent opportunities for synergy between the entertainment and defense industries. For years, they have been solving similar problems for very different application areas. While those two communities' opposing cultures have been difficult to reconcile, recent efforts have proven promising. The looming question is whether the military sector can follow the leaping technological pace in the entertainment sector. That pace indicates tremendous growth in the entertainment industry, which will be coupled with continued technological innovation. The article shows how those advances will be equally vital for future defense applications, thereby demonstrating the importance of continued and increased defense-entertainment collaboration.Army Research OfficeAssistant Secretary of the Army for Manpower and Reserve AffairsNational Reconnaissance Office, Advanced Network and ServicesNavy Modeling and Simulation Management Offic

Miracle Handbook : Guidelines for Mixed Reality applications for Culture and Learning experiences

The purpose of this Handbook is to summarize the knowledge collected in the MIRACLE research project, and deliver application design guidelines based on the project results, all in one compact document. The Handbook provides a summary about possibilities of applying augmented and virtual reality technologies in cultural travel and education. It includes • Guidelines for designing and building successful Augmented Reality applications • Advice for experts in one profession about working with people of another profession • Toolkit: a list of software components, tools and methods for developing augmented reality applications serving cultural travel • Chapter 2 describes the potential 1. Futuristic History: uses of mixed reality in museums http://ar.utu.fi/ar/research/futurisand other cultural sites, and the tic-history/ pedagogical aspects involved in it. • Multidisciplinary co-operation in • MR creation and maintenance is discussed. • Chapter 3 concentrates in the actual production and maintenance processes, business opportunities and connections to social media. • Chapter 4 describes the individual pilot applications that were implemented in the MIRACLE project: how they were planned and built, what were the research targets and what was learned. • Chapter 5 summarizes the outcome of the project. • Chapter 6 describes the Toolkit, • i.e. the collection of software tools and components tested and developed within the MIRACLE project. • References and related literature • are listed at the end of each chapter. • A glossary is at the end of the • document

Telling interactive stories: A practice-based investigation into new media interactive storytelling

This thesis was submitted for the degree of Doctor of Philosophy and awarded by Brunel University.Telling Interactive Stories is a practice-based thesis, which theoretically and practically probes the field of digital fictional interactive storytelling. The submission takes the form of the interactive cinema installation Crossed Lines together with a written element of the thesis which interrogates historical, contextual, theoretical, technical and critical aspects of the field of interactive narrative using new media. Crossed Lines is an original fictional interactive AV piece, amalgamating multiform plots, a multi-screen viewing environment, an interactive interface and an interactive story navigation form. The installation tells the stories of nine characters in a way that the viewer can constantly explore and switch between all nine forms, using a telephone keypad and handset as an interface, and can simultaneously observe all characters’ presence between the nine remote locations. Several research methodologies are utilised to analyse and evaluate the installation. Quantitative methodologies include the use of user tracking systems where the computational output of the installation provides measurements and timings of user choices and behaviours. Qualitative methodologies include theoretical and visual analysis, and in depth analysis of user responses using interviews, questionnaires, video recordings and cuttingedge eye-tracking technologies