Immersive 360° video for forensic education

Throughout the globe, training in the investigation of forensic crime scene work is a vital part of the overall training process within Police Academies and forensic programs throughout the world. However, the exposure of trainee forensic officers to real life scenes, by instructors, is minimal due to the delicate nature of information presented within them and the overall difficulty of Forensic investigations. Virtual Reality (VR) is computer technology utilising headsets, to produce lifelike imageries, sounds and perceptions simulating physical presence inside a virtual setting to a user. The user is able to look around the virtual world and often interact with virtual landscapes or objects. VR headsets are head‐mounted goggles with a screen in front of the eyes (Burdea & Coffet 2003). The use of VR varies widely from personal gaming to classroom learning. Uses also include computerised tools that are used solely online. The current use of VR within Forensic Science is that it is used widely in several capacities that include the training and examination of new forensic officers. However, there is minimal review and authentication of the efficiency of VR use for the teaching of forensic investigation. This is surprising, as the VR field has experienced rapid expansion in the educating of many varying fields over the past few years. Even though VR could enhance forensic training by offering another, perhaps more versatile, engaging way of learning, no devoted VR application has yet been commercially implemented for forensic examination education. Research into VR is a fairly young field, however the technology and use of it is still rapidly growing and the improvement of interactive tools is inevitably having an impact on all facets of learning and teaching

Tehostetun todellisuuden käyttäjävaatimukset ja käytettävyys

The aim of this thesis is to study user requirements and usability of mixed reality applications. The thesis consists of user studies, usability evaluations, literature review, and framework development. The initial mixed reality application's usability framework is based on a literature review and it is further developed according to the results from the user studies and usability evaluations. The first user studies resulted in context of use analysis (defined users, their tasks, used equipment and environment) and user requirements for the mixed reality applications. Usability studies (heuristic analysis, user tests, expert reviews, and summative evaluations) were conducted iteratively throughout the development process and the results were fed back to the developers for further improving the design. Mixed reality applications follow some of the traditional usability guidelines (consistency of the user interface) and virtual reality guidelines (the presentation of the virtual objects for the user). In addition to these guidelines mixed reality has specific guidelines. Mixed reality application is highly dependent of the environment of use, which cannot be ignored during the development and it still faces some technological problems, which highly affect usability: for example lack in the accuracy of tracking systems and lags caused by both dynamic and static errors.Tämän lisensiaatintyön tutkimuksen kohteena oli tehostetun todellisuuden tuotteiden käyttäjävaatimukset ja käytettävyys. Työ koostuu kirjallisuustutkimuksesta sekä käytettävyystutkimuksista ja käytettävyysarvioinneista, joissa tutkittiin kolmen tehostetun todellisuuden laitteen käyttäjävaatimuksia ja käytettävyyttä. Kirjallisuustutkimuksen perusteella kehitettiin alustava kehys tehostetun todellisuuden käytettävyyden ohjeistukselle. Käyttäjätutkimuksien ja käytettävyysarviointien tulokset analysoitiin kehyksen puitteissa, jonka jälkeen kehystä täydennettiin. Ensimmäisissä tutkimuksissa kartoitettiin käyttökontekstit eli käyttäjät, heidän tehtävänsä, työkalut ja ympäristö, mistä johdettiin käyttäjävaatimukset. Käyttäjävaatimuksia sovellettiin iteratiivisessa tuotekehityksessä, jonka eri versioille tehtiin käytettävyystestejä käyttäjillä ja ilman. Testien tulokset jaettiin kehittäjille ja niitä käytettiin tuotekehityksen tukena. Kehityksen lopussa suoritettiin loppuarvioinnit, joissa pohdittiin tulevaisuuden kehityssuuntia. Tehostetun todellisuuden tuotteiden tulee olla perinteisten käytettävyysohjeiden mukaisia (esimerkiksi käyttöliittymän tulee olla yhdenmukainen) ja ne hyötyvät myös virtuaalisen todellisuuden ohjeista (esimerkiksi virtuaalisten kohteiden esittäminen käyttäjälle). Nämä ovat kattavia ohjeistuksia, mutta niiden lisäksi tehostettu todellisuus sisältää erityisominaisuuksia, jotka tulee ottaa huomioon niiden käyttäjävaatimuksissa sekä käytettävyydessä. Tehostetun todellisuuden tuotteet ovat vahvasti sidoksissa käyttökontekstiin eli käyttöympäristöön tulee kiinnittää erityistä huomiota. Tuotteet kärsivät vielä teknologian kehittymättömyydestä, erityisesti erilaiset järjestelmäviiveet ja -virheet sekä paikannuksen puutteet vaikuttavat vahvasti tehostetun todellisuuden tuotteiden käytettävyyteen

Virtual reality as an artistic medium: A study on creative projects using contemporary head-mounted displays

There has been a lack of discussion concerning virtual reality as an expressive medium. It is essential to emphasise the aesthetic dimension of virtual reality in order to develop the medium as a powerful artistic mode of expression. This thesis examines how head-mounted display-based virtual reality can be used for artistic expression, focussing on the aesthetic pleasures of the medium. Pioneering first-generation VR artworks are reviewed through the scope of artistic exploration, and four key aesthetic pleasures in VR experience are proposed: immersion, agency, navigation, and transformation. The demonstration of VR aesthetics is investigated through the qualitative content analysis of four contemporary VR installations. The study reveals following findings: (1) the coherence of a virtual environment is more crucial than a realistic representation of the physical world in inducing a sense of immersion; (2) the degree of agency is inverse in proportion to the degree of authorship in VR experiences; (3) placing constraints on participants’ movements can bring about a strong emotional impact; and (4) the participant’s attitude and behaviour changes according to the given identity in a virtual environment. It is suggested that the capacity of virtual reality is not currently used to its full extent when it comes to artistic manifestation. It is therefore the responsibility of artists, developers, and researchers to establish the language of virtual reality as an artistic medium for the future production of VR experience

Collaborative geographic visualization

Dissertação apresentada na Faculdade de Ciências e Tecnologia da Universidade Nova de Lisboa para a obtenção do grau de Mestre em Engenharia do Ambiente, perfil Gestão e Sistemas AmbientaisThe present document is a revision of essential references to take into account when developing ubiquitous Geographical Information Systems (GIS) with collaborative visualization purposes. Its chapters focus, respectively, on general principles of GIS, its multimedia components and ubiquitous practices; geo-referenced information visualization and its graphical components of virtual and augmented reality; collaborative environments, its technological requirements, architectural specificities, and models for collective information management; and some final considerations about the future and challenges of collaborative visualization of GIS in ubiquitous environment

FACING EXPERIENCE: A PAINTER’S CANVAS IN VIRTUAL REALITY

Full version unavailable due to 3rd party copyright restrictions.This research investigates how shifts in perception might be brought about through the development of visual imagery created by the use of virtual environment technology. Through a discussion of historical uses of immersion in art, this thesis will explore how immersion functions and why immersion has been a goal for artists throughout history. It begins with a discussion of ancient cave drawings and the relevance of Plato’s Allegory of the Cave. Next it examines the biological origins of “making special.” The research will discuss how this concept, combined with the ideas of “action” and “reaction,” has reinforced the view that art is fundamentally experiential rather than static. The research emphasizes how present-day virtual environment art, in providing a space that engages visitors in computer graphics, expands on previous immersive artistic practices. The thesis examines the technical context in which the research occurs by briefly describing the use of computer science technologies, the fundamentals of visual arts practices, and the importance of aesthetics in new media and provides a description of my artistic practice. The aim is to investigate how combining these approaches can enhance virtual environments as artworks. The computer science of virtual environments includes both hardware and software programming. The resultant virtual environment experiences are technologically dependent on the types of visual displays being used, including screens and monitors, and their subsequent viewing affordances. Virtual environments fill the field of view and can be experienced with a head mounted display (HMD) or a large screen display. The sense of immersion gained through the experience depends on how tracking devices and related peripheral devices are used to facilitate interaction. The thesis discusses visual arts practices with a focus on how illusions shift our cognition and perception in the visual modalities. This discussion includes how perceptual thinking is the foundation of art experiences, how analogies are the foundation of cognitive experiences and how the two intertwine in art experiences for virtual environments. An examination of the aesthetic strategies used by artists and new media critics are presented to discuss new media art. This thesis investigates the visual elements used in virtual environments and prescribes strategies for creating art for virtual environments. Methods constituting a unique virtual environment practice that focuses on visual analogies are discussed. The artistic practice that is discussed as the basis for this research also concentrates on experiential moments and shifts in perception and cognition and references Douglas Hofstadter, Rudolf Arnheim and John Dewey. iv Virtual environments provide for experiences in which the imagery generated updates in real time. Following an analysis of existing artwork and critical writing relative to the field, the process of inquiry has required the creation of artworks that involve tracking systems, projection displays, sound work, and an understanding of the importance of the visitor. In practice, the research has shown that the visitor should be seen as an interlocutor, interacting from a first-person perspective with virtual environment events, where avatars or other instrumental intermediaries, such as guns, vehicles, or menu systems, do not to occlude the view. The aesthetic outcomes of this research are the result of combining visual analogies, real time interactive animation, and operatic performance in immersive space. The environments designed in this research were informed initially by paintings created with imagery generated in a hypnopompic state or during the moments of transitioning from sleeping to waking. The drawings often emphasize emotional moments as caricatures and/or elements of the face as seen from a number of perspectives simultaneously, in the way of some cartoons, primitive artwork or Cubist imagery. In the imagery, the faces indicate situations, emotions and confrontations which can offer moments of humour and reflective exploration. At times, the faces usurp the space and stand in representation as both face and figure. The power of the placement of the caricatures in the paintings become apparent as the imagery stages the expressive moment. The placement of faces sets the scene, establishes relationships and promotes the honesty and emotions that develop over time as the paintings are scrutinized. The development process of creating virtual environment imagery starts with hand drawn sketches of characters, develops further as paintings on “digital canvas”, are built as animated, three-dimensional models and finally incorporated into a virtual environment. The imagery is generated while drawing, typically with paper and pencil, in a stream of consciousness during the hypnopompic state. This method became an aesthetic strategy for producing a snappy straightforward sketch. The sketches are explored further as they are worked up as paintings. During the painting process, the figures become fleshed out and their placement on the page, in essence brings them to life. These characters inhabit a world that I explore even further by building them into three dimensional models and placing them in computer generated virtual environments. The methodology of developing and placing the faces/figures became an operational strategy for building virtual environments. In order to open up the range of art virtual environments, and develop operational strategies for visitors’ experience, the characters and their facial features are used as navigational strategies, signposts and methods of wayfinding in order to sustain a stream of consciousness type of navigation. Faces and characters were designed to represent those intimate moments of self-reflection and confrontation that occur daily within ourselves and with others. They sought to reflect moments of wonderment, hurt, curiosity and humour that could subsequently be relinquished for more practical or purposeful endeavours. They were intended to create conditions in which visitors might reflect upon their emotional state, v enabling their understanding and trust of their personal space, in which decisions are made and the nature of world is determined. In order to extend the split-second, frozen moment of recognition that a painting affords, the caricatures and their scenes are given new dimensions as they become characters in a performative virtual reality. Emotables, distinct from avatars, are characters confronting visitors in the virtual environment to engage them in an interactive, stream of consciousness, non-linear dialogue. Visitors are also situated with a role in a virtual world, where they were required to adapt to the language of the environment in order to progress through the dynamics of a drama. The research showed that imagery created in a context of whimsy and fantasy could bring ontological meaning and aesthetic experience into the interactive environment, such that emotables or facially expressive computer graphic characters could be seen as another brushstroke in painting a world of virtual reality

Virtual Heritage: new technologies for edutainment

Cultural heritage represents an enormous amount of information and knowledge. Accessing this treasure chest allows not only to discover the legacy of physical and intangible attributes of the past but also to provide a better understanding of the present. Museums and cultural institutions have to face the problem of providing access to and communicating these cultural contents to a wide and assorted audience, meeting the expectations and interests of the reference end-users and relying on the most appropriate tools available. Given the large amount of existing tangible and intangible heritage, artistic, historical and cultural contents, what can be done to preserve and properly disseminate their heritage significance? How can these items be disseminated in the proper way to the public, taking into account their enormous heterogeneity? Answering this question requires to deal as well with another aspect of the problem: the evolution of culture, literacy and society during the last decades of 20th century. To reflect such transformations, this period witnessed a shift in the museum’s focus from the aesthetic value of museum artifacts to the historical and artistic information they encompass, and a change into the museums’ role from a mere "container" of cultural objects to a "narrative space" able to explain, describe, and revive the historical material in order to attract and entertain visitors. These developments require creating novel exhibits, able to tell stories about the objects and enabling visitors to construct semantic meanings around them. The objective that museums presently pursue is reflected by the concept of Edutainment, Education + Entertainment. Nowadays, visitors are not satisfied with ‘learning something’, but would rather engage in an ‘experience of learning’, or ‘learning for fun’, being active actors and players in their own cultural experience. As a result, institutions are faced with several new problems, like the need to communicate with people from different age groups and different cultural backgrounds, the change in people attitude due to the massive and unexpected diffusion of technology into everyday life, the need to design the visit by a personal point of view, leading to a high level of customization that allows visitors to shape their path according to their characteristics and interests. In order to cope with these issues, I investigated several approaches. In particular, I focused on Virtual Learning Environments (VLE): real-time interactive virtual environments where visitors can experience a journey through time and space, being immersed into the original historical, cultural and artistic context of the work of arts on display. VLE can strongly help archivists and exhibit designers, allowing to create new interesting and captivating ways to present cultural materials. In this dissertation I will tackle many of the different dimensions related to the creation of a cultural virtual experience. During my research project, the entire pipeline involved into the development and deployment of VLE has been investigated. The approach followed was to analyze in details the main sub-problems to face, in order to better focus on specific issues. Therefore, I first analyzed different approaches to an effective recreation of the historical and cultural context of heritage contents, which is ultimately aimed at an effective transfer of knowledge to the end-users. In particular, I identified the enhancement of the users’ sense of presence in VLE as one of the main tools to reach this objective. Presence is generally expressed as the perception of 'being there', i.e. the subjective belief of users that they are in a certain place, even if they know that the experience is mediated by the computer. Presence is related to the number of senses involved by the VLE and to the quality of the sensorial stimuli. But in a cultural scenario, this is not sufficient as the cultural presence plays a relevant role. Cultural presence is not just a feeling of 'being there' but of being - not only physically, but also socially, culturally - 'there and then'. In other words, the VLE must be able to transfer not only the appearance, but also all the significance and characteristics of the context that makes it a place and both the environment and the context become tools capable of transferring the cultural significance of a historic place. The attention that users pay to the mediated environment is another aspect that contributes to presence. Attention is related to users’ focalization and concentration and to their interests. Thus, in order to improve the involvement and capture the attention of users, I investigated in my work the adoption of narratives and storytelling experiences, which can help people making sense of history and culture, and of gamification approaches, which explore the use of game thinking and game mechanics in cultural contexts, thus engaging users while disseminating cultural contents and, why not?, letting them have fun during this process. Another dimension related to the effectiveness of any VLE is also the quality of the user experience (UX). User interaction, with both the virtual environment and its digital contents, is one of the main elements affecting UX. With respect to this I focused on one of the most recent and promising approaches: the natural interaction, which is based on the idea that persons need to interact with technology in the same way they are used to interact with the real world in everyday life. Then, I focused on the problem of presenting, displaying and communicating contents. VLE represent an ideal presentation layer, being multiplatform hypermedia applications where users are free to interact with the virtual reconstructions by choosing their own visiting path. Cultural items, embedded into the environment, can be accessed by users according to their own curiosity and interests, with the support of narrative structures, which can guide them through the exploration of the virtual spaces, and conceptual maps, which help building meaningful connections between cultural items. Thus, VLE environments can even be seen as visual interfaces to DBs of cultural contents. Users can navigate the VE as if they were browsing the DB contents, exploiting both text-based queries and visual-based queries, provided by the re-contextualization of the objects into their original spaces, whose virtual exploration can provide new insights on specific elements and improve the awareness of relationships between objects in the database. Finally, I have explored the mobile dimension, which became absolutely relevant in the last period. Nowadays, off-the-shelf consumer devices as smartphones and tablets guarantees amazing computing capabilities, support for rich multimedia contents, geo-localization and high network bandwidth. Thus, mobile devices can support users in mobility and detect the user context, thus allowing to develop a plethora of location-based services, from way-finding to the contextualized communication of cultural contents, aimed at providing a meaningful exploration of exhibits and cultural or tourist sites according to visitors’ personal interest and curiosity

Designing a Simulation showcasing the Pharmacological Effects of Beta-2-Agonists in Asthma Treatment; Virtual Reality as a supplement to traditional teaching methods

As educational technology evolves, there is a growing interest in applying VR in teaching complex scientific concepts that benefit from a visual and immersive learning environment. Motivated by the promising results of VR in medical education across multiple disciplines, we aimed to investigate the applicability and effectiveness of this technology in pharmacology education. This discipline, which involves understanding how drugs work within the human body, is often considered complex and challenging for students. However, it is a critical component of medical education and is essential in treating and preventing various diseases. The study was driven by two research inquiries. The primary inquiry aimed to explore the potential design possibilities of a virtual reality (VR) simulation for visualizing the pharmacological effects of beta-2-agonists in asthma treatment. The secondary question focused on evaluating the perspectives of students and educators regarding the efficacy of the VR application in learning pharmacology concepts compared to conventional teaching approaches. The application underwent two rounds of evaluation sessions with both students and teachers. Participants responded positively to the immersive learning experience, particularly appreciating the detailed visualizations and interactivity offered by the VR application. Their feedback highlighted the potential of VR to create a more intuitive understanding of complex pharmacological processes. Despite the evaluation phase featuring a limited number of participants, the received feedback suggested a promising potential for VR as an additional tool. The study, therefore, serves as a proof of concept, showcasing the possibilities of VR in enhancing pharmacology education and paving the way for future research and development in this area.Masteroppgave i Programvareutvikling samarbeid med HVLPROG399MAMN-PRO