Actual and Imagined Movement in BCI Gaming

Most research on Brain-Computer Interfaces (BCI) focuses\ud on developing ways of expression for disabled people who are\ud not able to communicate through other means. Recently it has been\ud shown that BCI can also be used in games to give users a richer experience\ud and new ways to interact with a computer or game console.\ud This paper describes research conducted to find out what the differences\ud are between using actual and imagined movement as modalities\ud in a BCI game. Results show that there are significant differences\ud in user experience and that actual movement is a more robust way of\ud communicating through a BCI

GEMINI: A Generic Multi-Modal Natural Interface Framework for Videogames

In recent years videogame companies have recognized the role of player engagement as a major factor in user experience and enjoyment. This encouraged a greater investment in new types of game controllers such as the WiiMote, Rock Band instruments and the Kinect. However, the native software of these controllers was not originally designed to be used in other game applications. This work addresses this issue by building a middleware framework, which maps body poses or voice commands to actions in any game. This not only warrants a more natural and customized user-experience but it also defines an interoperable virtual controller. In this version of the framework, body poses and voice commands are respectively recognized through the Kinect's built-in cameras and microphones. The acquired data is then translated into the native interaction scheme in real time using a lightweight method based on spatial restrictions. The system is also prepared to use Nintendo's Wiimote as an auxiliary and unobtrusive gamepad for physically or verbally impractical commands. System validation was performed by analyzing the performance of certain tasks and examining user reports. Both confirmed this approach as a practical and alluring alternative to the game's native interaction scheme. In sum, this framework provides a game-controlling tool that is totally customizable and very flexible, thus expanding the market of game consumers.Comment: WorldCIST'13 Internacional Conferenc

Study of emotion in videogames : understanding presence and behaviour

Only when videogames are released are we able to look at them and analyse them. Nowadays, platforms to share our thoughts and opinions about a videogame, or part of it, are everywhere, with both positive and negative commentaries being shared daily. However, what makes a game be seen as a positive experience and what components satisfy and engage players in it? In this Dissertation, we aim to comprehend how players perceive videogames and what motivates and triggers emotions one has during play. We will take a look at several different concepts that all work together when playing a videogame. We will start by understanding what Interaction is and how humans behave. Afterwards, we will better investigate the widely used topic of Immersion, and its unknown and unrecognized brother Presence. From there, we will divide involvement in game play in two parts, the technological side, which relates to natural interfaces and mastery of controls, and the side of design and implementation of content, more specifically the concept of Agency and how it plays a huge part in making players feel part of the game.Só quando um videojogo é lançado é que o podemos analisar e rever. Atualmente, encontramos plataformas para partilhar a nossa opinião acerca de um videojogo, ou parte dele, em qualquer lado, com comentários positivos e negativos a serem partilhados diariamente. No entanto, o que é que faz um jogo ser visto como uma experiência positiva e quais são os componentes que satisfazem e envolvem jogadores? Nesta Dissertação, pretendemos compreender como é que jogadores percecionam um videojogo e que emoções são despoletadas que os motiva a jogar. Iremos analisar diferentes conceitos que contribuem para o jogar de um videojogo. Começaremos por ver o que é a Interação e como é que o ser humano se comporta e age. Prosseguindo, iremos analisar o já bastante usado conceito de Imersão, e o seu desconhecido e menos reconhecido irmão, Presença. Daí iremos dividir o envolvimento com um videojogo em duas partes, no lado tecnológico, relacionado com interfaces naturais e mestria de controlos, e no lado de design e implementação de conteúdo, mais especificamente no conceito de Agência e a maneira como esta integra os jogadores no jogo

Augmented Tangible Surfaces to Support Cognitive Games for Ageing People

The final publication is available at Springer via http://dx.doi.org/10.1007/978-3-319-19695-4_27The continuous and rapidly increasing elderly population requires a revision of technology design in order to devise systems usable and meaningful for this social group. Most applications for ageing people are built to provide supporting services, taking into account the physical and cognitive abilities that decrease over time. However, this paper focuses on building technology to improve such capacities, or at least slow down their decline, through cognitive games. This is achieved by means of a digitally-augmented table-like surface that combines touch with tangible input for a more natural, intuitive, and appealing means of interaction. Its construction materials make it an affordable device likely to be used in retirement homes in the context of therapeutic activities, and its form factor enables a versatile, quick, and scalable configuration, as well as a socializing experience.This work received financial support from Spanish Ministry of Economy and Competitiveness under the National Strategic Program of Research and Project TIN2010-20488, and from Universitat Politécnica de Valencia under Project UPV-FE-2014-24. It is also supported by fellowships APOST D/2013/013 and ACIF/2014/214 within the VALi+d program from Conselleria d’Educació, Cultura i Esport (GVA).García Sanjuan, F.; Jaén Martínez, FJ.; Catalá Bolós, A. (2015). Augmented Tangible Surfaces to Support Cognitive Games for Ageing People. En Ambient Intelligence - Software and Applications. Springer. 263-271. doi:10.1007/978-3-319-19695-4_27S26327

Embodiment in skateboarding videogames

This article analyses the avatar in action games as both object of perception and instrument of action and perception. This allows for a picture to emerge of the way in which avatars in 3D action games serve as a kind of commentary on what it is to have a body in space. Two skateboarding games are analysed primarily through the lens of Martin Heidegger’s exposition of equipmentality in Being and Time. These skating games are chosen since they are examples of games which on the one hand provide spectacular images of the body in performance and on the other allow the player to feel in a heightened, focused and distorted way what it feels like to skate. By attending to the formal characteristics of the avatar as object of perception and instrument of perception and action and placing these within the context of the games’ different ideological positionings and assertions, it is possible to unpack some of the ways in which these games investigate embodiment as a culturally constituted phenomenon

A semiotic and usability analysis of Diegetic UI: Metro - Last Light

A narrativa de um jogo é um dos principais componentes da criação da imersão do jogador. À medida que a tecnologia avança, novas ferramentas possibilitam aos desenvolvedores de jogos a criação mundos digitais cada vez mais complexos. A Interface de Usuário tem um papel crucial, fornecendo ao jogador feedback sobre os vários atributos e mecânicas do jogo. Alguns jogos buscaram integrar a interface tradicionalmente intrusiva dentro da narrativa e da arte do jogo, por meio das Interfaces Diegética. O objetivo desta tese é entender como a integração da interface na arte e na narrativa do jogo - criando o que é chamado de Interface Diegética - pode aumentar a sensação de imersão do jogador. Para identificar os processos através dos quais o significado é observado na Interface Diegética, contamos com a Semiótica Discursiva proposta por A.J. Greimas e para avaliar se essas representações Diegéticas afetam a Usabilidade, empregamos as Heurísticas proposta por Desurvire e Wiberg. A metodologia mostrou resultados interessantes acerca das relações entre Interface e Narrativa, bem como o impacto de Usabilidade derivado de tal implementação no jogo Metro: Last Light.A Game’s narrative is one of the key components of creating Player immersion. As technology advances, game developers increase their toolset for creating increasingly complex game worlds. The UI has a crucial role, providing the Player with feedback about the various attributes and mechanics within the game. Some games sought to integrate the traditionally intrusive UI within the game’s narrative and art, by the means of Diegetic UI. The goal of this Thesis is to understand how integrating the User Interface into the game’s art and narrative – creating what is called a Diegetic Interface – can increase the feeling of immersion for the Player. To identify the processes through which meaning is observed in Diegetic UI, we’ve relied on the Discoursive Semiotics proposed by A.J. Greimas and to assess if these Diegetic Representations affect usability, we employed Game Usability Heuristics proposed by Desurvire and Wiberg. The methodology proved to yield interesting results regarding the relationships between UI and Narrative as well as the Usability impact derived from such implementation in the game Metro: Last Light

Conducting a virtual ensemble with a kinect device

This paper presents a gesture-based interaction technique for the implementation of an orchestra conductor and a virtual ensemble, using a 3D camera-based sensor to capture user’s gestures. In particular, a human-computer interface has been developed to recognize conducting gestures using a Microsoft Kinect device. The system allows the conductor to control both the tempo in the piece played as well as the dynamics of each instrument set independently. In order to modify the tempo in the playback, a time-frequency processing-based algorithmis used. Finally, an experiment was conducted to assess user’s opinion of the system as well as experimentally confirm if the features in the system were effectively improving user experience or not.This work has been funded by the Ministerio de Economia y Competitividad of the Spanish Government under Project No. TIN2010-21089-C03-02 and Project No. IPT-2011-0885-430000 and by the Junta de Andalucia under Project No. P11-TIC-7154. The work has been done at Universidad de Malaga. Campus de Excelencia Internacional Andalucia Tech

The motivational pull of video game feedback, rules, and social interaction: Another self-determination theory approach

This paper argues that most video game enjoyment can be understood in terms of the type of feedback used, the rules set out by the game and the social elements of the game - concepts that have been identified as critical to video games. Self-determination theory (SDT) is used as a lens for understanding the mechanism by which these traits might lead to enjoyment. Specifically, the argument is that feedback, rules, and social elements of games will fulfill the dimensions of SDT - competence autonomy, and relatedness. Then, the dimensions of SDT will predict enjoyment. Participants were presented with a game that emphasized feedback, rules, or social elements. Games that emphasized flexible rules led to feelings of competence while games that emphasized social elements led to feelings of relatedness. Competence and elatedness then led to feelings of enjoyment. In doing so, this study identifies key elements of video games while illuminating ways to understand video game enjoyment

Skyler and Bliss

Hong Kong remains the backdrop to the science fiction movies of my youth. The city reminds me of my former training in the financial sector. It is a city in which I could have succeeded in finance, but as far as art goes it is a young city, and I am a young artist. A frustration emerges; much like the mould, the artist also had to develop new skills by killing off his former desires and manipulating technology. My new series entitled HONG KONG surface project shows a new direction in my artistic research in which my technique becomes ever simpler, reducing the traces of pixelation until objects appear almost as they were found and photographed. Skyler and Bliss presents tectonic plates based on satellite images of the Arctic. Working in a hot and humid Hong Kong where mushrooms grow ferociously, a city artificially refrigerated by climate control, this series provides a conceptual image of a imaginary typographic map for survival. (Laurent Segretier