Emphatic agents to reduce user frustration: The effects of varying agent characteristics

There is now growing interest in the development of computer systems which respond to users’ emotion and affect. We report three small scale studies (with a total of 42 participants) which investigate the extent to which affective agents, using strategies derived from human-human interaction, can reduce user frustration within human-computer interaction. The results confirm the previous findings of Klein et al (2002) that such interventions can be effective. We also obtained results that suggest that embodied agents can be more effective at reducing frustration than non-embodied agents, and that female embodied agents may be more effective than male embodied agents. These results are discussed in light of the existing research literature

A Web Application for Audience Participation in Live Music Performance: The Open Symphony Use Case

This paper presents a web-based application enabling au- diences to collaboratively contribute to the creative pro- cess during live music performances. The system aims at enhancing audience engagement and creating new forms of live music experiences. Interaction between audience and performers is made possible through a client/server architecture enabling bidirectional communication of cre- ative data. Audience members can vote for pre-determined musical attributes using a smartphone-friendly and cross- platform web application. The system gathers audience members' votes and provide feedback through visualisations that can be tailored for speci c needs. In order to sup- port multiple performers and large audiences, automatic audience-to-performer groupings are handled by the appli- cation. The framework was applied to support live interac- tive musical improvisations where creative roles are shared amongst audience and performers (Open Symphony). Qual- itative analyses of user surveys highlighted very positive feedback related to themes such as engagement and cre- ativity and also identi ed further design challenges around audience sense of control and latency

MediaSync: Handbook on Multimedia Synchronization

This book provides an approachable overview of the most recent advances in the fascinating field of media synchronization (mediasync), gathering contributions from the most representative and influential experts. Understanding the challenges of this field in the current multi-sensory, multi-device, and multi-protocol world is not an easy task. The book revisits the foundations of mediasync, including theoretical frameworks and models, highlights ongoing research efforts, like hybrid broadband broadcast (HBB) delivery and users' perception modeling (i.e., Quality of Experience or QoE), and paves the way for the future (e.g., towards the deployment of multi-sensory and ultra-realistic experiences). Although many advances around mediasync have been devised and deployed, this area of research is getting renewed attention to overcome remaining challenges in the next-generation (heterogeneous and ubiquitous) media ecosystem. Given the significant advances in this research area, its current relevance and the multiple disciplines it involves, the availability of a reference book on mediasync becomes necessary. This book fills the gap in this context. In particular, it addresses key aspects and reviews the most relevant contributions within the mediasync research space, from different perspectives. Mediasync: Handbook on Multimedia Synchronization is the perfect companion for scholars and practitioners that want to acquire strong knowledge about this research area, and also approach the challenges behind ensuring the best mediated experiences, by providing the adequate synchronization between the media elements that constitute these experiences

Virtual Reality Games for Motor Rehabilitation

This paper presents a fuzzy logic based method to track user satisfaction without the need for devices to monitor users physiological conditions. User satisfaction is the key to any product’s acceptance; computer applications and video games provide a unique opportunity to provide a tailored environment for each user to better suit their needs. We have implemented a non-adaptive fuzzy logic model of emotion, based on the emotional component of the Fuzzy Logic Adaptive Model of Emotion (FLAME) proposed by El-Nasr, to estimate player emotion in UnrealTournament 2004. In this paper we describe the implementation of this system and present the results of one of several play tests. Our research contradicts the current literature that suggests physiological measurements are needed. We show that it is possible to use a software only method to estimate user emotion

Zwischenräume - A Case Study in the Evaluation of Interactive Sound Installations

(Abstract to follow

Design For Auditory Displays: Identifying Temporal And Spatial Information Conveyance Principles

Designing auditory interfaces is a challenge for current human-systems developers. This is largely due to a lack of theoretical guidance for directing how best to use sounds in today\u27s visually-rich graphical user interfaces. This dissertation provided a framework for guiding the design of audio interfaces to enhance human-systems performance. This doctoral research involved reviewing the literature on conveying temporal and spatial information using audio, using this knowledge to build three theoretical models to aid the design of auditory interfaces, and empirically validating select components of the models. The three models included an audio integration model that outlines an end-to-end process for adding sounds to interactive interfaces, a temporal audio model that provides a framework for guiding the timing for integration of these sounds to meet human performance objectives, and a spatial audio model that provides a framework for adding spatialization cues to interface sounds. Each model is coupled with a set of design guidelines theorized from the literature, thus combined, the developed models put forward a structured process for integrating sounds in interactive interfaces. The developed models were subjected to a three phase validation process that included review by Subject Matter Experts (SMEs) to assess the face validity of the developed models and two empirical studies. For the SME review, which assessed the utility of the developed models and identified opportunities for improvement, a panel of three audio experts was selected to respond to a Strengths, Weaknesses, Opportunities, and Threats (SWOT) validation questionnaire. Based on the SWOT analysis, the main strengths of the models included that they provide a systematic approach to auditory display design and that they integrate a wide variety of knowledge sources in a concise manner. The main weaknesses of the models included the lack of a structured process for amending the models with new principles, some branches were not considered parallel or completely distinct, and lack of guidance on selecting interface sounds. The main opportunity identified by the experts was the ability of the models to provide a seminal body of knowledge that can be used for building and validating auditory display designs. The main threats identified by the experts were that users may not know where to start and end with each model, the models may not provide comprehensive coverage of all uses of auditory displays, and the models may act as a restrictive influence on designers or they may be used inappropriately. Based on the SWOT analysis results, several changes were made to the models prior to the empirical studies. Two empirical evaluation studies were conducted to test the theorized design principles derived from the revised models. The first study focused on assessing the utility of audio cues to train a temporal pacing task and the second study combined both temporal (i.e., pace) and spatial audio information, with a focus on examining integration issues. In the pace study, there were four different auditory conditions used for training pace: 1) a metronome, 2) non-spatial auditory earcons, 3) a spatialized auditory earcon, and 4) no audio cues for pace training. Sixty-eight people participated in the study. A pre- post between subjects experimental design was used, with eight training trials. The measure used for assessing pace performance was the average deviation from a predetermined desired pace. The results demonstrated that a metronome was not effective in training participants to maintain a desired pace, while, spatial and non-spatial earcons were effective strategies for pace training. Moreover, an examination of post-training performance as compared to pre-training suggested some transfer of learning. Design guidelines were extracted for integrating auditory cues for pace training tasks in virtual environments. In the second empirical study, combined temporal (pacing) and spatial (location of entities within the environment) information were presented. There were three different spatialization conditions used: 1) high fidelity using subjective selection of a best-fit head related transfer function, 2) low fidelity using a generalized head-related transfer function, and 3) no spatialization. A pre- post between subjects experimental design was used, with eight training trials. The performance measures were average deviation from desired pace and time and accuracy to complete the task. The results of the second study demonstrated that temporal, non-spatial auditory cues were effective in influencing pace while other cues were present. On the other hand, spatialized auditory cues did not result in significantly faster task completion. Based on these results, a set of design guidelines was proposed that can be used to direct the integration of spatial and temporal auditory cues for supporting training tasks in virtual environments. Taken together, the developed models and the associated guidelines provided a theoretical foundation from which to direct user-centered design of auditory interfaces

Virtual Audio - Three-Dimensional Audio in Virtual Environments

Three-dimensional interactive audio has a variety ofpotential uses in human-machine interfaces. After lagging seriously behind the visual components, the importance of sound is now becoming increas-ingly accepted. This paper mainly discusses background and techniques to implement three-dimensional audio in computer interfaces. A case study of a system for three-dimensional audio, implemented by the author, is described in great detail. The audio system was moreover integrated with a virtual reality system and conclusions on user tests and use of the audio system is presented along with proposals for future work at the end of the paper. The thesis begins with a definition of three-dimensional audio and a survey on the human auditory system to give the reader the needed knowledge of what three-dimensional audio is and how human auditory perception works