Toward Content-Driven Intelligent Authoring of Mulsemedia Applications

Improvement of Higher Education Personnel—Brazil; 10.13039/501100004586-Fundação Carlos Chagas Filho de Amparo à Pesquisa do Estado do Rio de Janeiro; 10.13039/501100003593-Conselho Nacional de Desenvolvimento Científico e Tecnológico; CAPES PRINT

Semi-Automatic mulsemedia authoring analysis from the user's perspective

Mulsemedia (Multiple Sensorial Media) authoring is a complex task that requires the author to scan the media content to identify the moments to activate sensory effects. A novel proposal is to integrate content recognition algorithms into authoring tools to alleviate the authoring effort. Such algorithms could potentially replace the work of the human author when analyzing audiovisual content, by performing automatic extraction of sensory effects. Besides that, the semi-Automatic method proposes to maintain the author subjectivity, allowing the author to define which sensory effects should be automatically extracted. This paper presents an evaluation of the proposed semi-Automatic authoring considering the point of view of users. Experiments were done with the STEVE 2.0 mulsemedia authoring tool. Our work uses the GQM (Goal Question Metric) methodology, a questionnaire for collecting users' feedback, and analyzes the results. We conclude that users believe that the semi-Automatic authoring is a positive addition to the authoring method.CAPES, CAPES Print, CNPQ, INCT-MACC and FAPERJ

Integration of multi-sensorial effects in synchronised immersive hybrid TV scenarios

[EN] Traditionally, TV media content has exclusively involved 2D or 3D audiovisual streams consumed by using a simple TV device. However, in order to generate more immersive media consumption experiences, other new types of content (e.g., omnidirectional video), consumption devices (e.g., Head Mounted Displays or HMD) and solutions to stimulate other senses beyond the traditional ones of sight and hearing, can be used. Multi-sensorial media content (a.k.a. mulsemedia) facilitates additional sensory effects that stimulate other senses during the media consumption, with the aim of providing the consumers with a more immersive and realistic experience. They provide the users with a greater degree of realism and immersion, but can also provide greater social integration (e.g., people with AV deficiencies or attention span problems) and even contribute to creating better educational programs (e.g., for learning through the senses in educational content or scientific divulgation). Examples of sensory effects that can be used are olfactory effects (scents), tactile effects (e.g., vibration, wind or pressure effects), and ambient effects (e.g., temperature or lighting). In this paper, a solution for providing multi-sensorial and immersive hybrid (broadcast/broadband) TV content consumption experiences, including omnidirectional video and sensory effects, is presented. It has been designed, implemented, and subjectively evaluated (by 32 participants) in an end-to-end platform for hybrid content generation, delivery and synchronised consumption. The satisfactory results which were obtained regarding the perception of fine synchronisation between sensory effects and multimedia content, and regarding the users' perceived QoE, are summarised and discussed.This work was supported in part by the "Vicerrectorado de Investigacion de la Universitat Politecnica de Valencia'' under Project PAID-11-21 and Project PAID-12-21.Marfil, D.; Boronat, F.; González-Salinas, J.; Sapena Piera, A. (2022). Integration of multi-sensorial effects in synchronised immersive hybrid TV scenarios. IEEE Access. 10:79071-79089. https://doi.org/10.1109/ACCESS.2022.319417079071790891

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

Especificación, implementación y evaluación de soluciones de sincronización multimedia híbrida (broadcast/broadband) e inter-destinatario para posibilitar nuevas experiencias televisivas enriquecidas, personalizadas, inmersivas y compartidas.

[ES] Actualmente, existe una gran variedad de tecnologías de distribución de contenidos multimedia, de dispositivos de consumo, así como de tipos de contenidos. En cuanto a tecnologías de distribución, dichos contenidos se pueden enviar bien a través de redes broadcast, como las redes DVB, o bien a través de redes broadband, como las redes IP (por ejemplo, a través de Internet). La coordinación y convergencia entre los dos tipos de tecnologías para distribuir contenidos relacionados ofrece un gran potencial a los proveedores de contenidos, así como grandes beneficios a los consumidores (una prueba de ello es el estándar Hybrid Broadcast Broadband TV o HbbTV). Sin embargo, la recepción de contenidos relacionados procedentes de diferentes redes híbridas (broadcast/broadband) conlleva una variabilidad de retardos significativa, por lo que se deben superar una serie de retos importantes, como, por ejemplo, la necesidad de mecanismos que garanticen un consumo sincronizado de dichos contenidos, bien en un mismo dispositivo o bien en distintos dispositivos (locales o remotos). Se han especificado, implementado y evaluado soluciones de sincronización de los procesos de reproducción de contenidos híbridos (prevenientes de redes broadcast y/o broadband) tanto en entornos multidispositivo, entre dispositivos locales (Inter-Device Synchronization o IDES), como en entornos multiusuario, entre destinatarios distribuidos en red (Inter-Destination Media Synchronization o IDMS), incluyendo la sincronización de efectos multisensoriales. Se ha diseñado e implementado una plataforma extremo-a-extremo para la generación, distribución (adaptativa) y consumo de contenidos híbridos relacionados, tanto en un mismo dispositivo como en múltiples dispositivos locales (por ejemplo, escenario multipantalla) o remotos (por ejemplo, TV Social). Se han generado y preparado contenidos multimedia tradicionales (2D) y omnidireccionales (360), enriquecidos con efectos multisensoriales que mejoran el grado de realismo y la inmersividad de los usuarios. La plataforma es compatible con el estándar HbbTV y, además, incluye soluciones eficientes para aspectos clave que no están especificados en dicho estándar, pero que son necesarios para la implementación satisfactoria de servicios de TV híbridos y multidispositivo en la misma, como, por ejemplo: la necesidad de un buffer para el contenido broadcast (existente y opcional hasta la especificación HbbTV 2.0.2); mecanismos de señalización, asociación y descripción de contenido disponible y relacionado con el contenido principal; mecanismos de coordinación e interacción entre los dispositivos de consumo; o soluciones de sincronización para alinear en el tiempo el consumo de contenidos de forma satisfactoria. Los resultados obtenidos en la evaluación realizada muestran que el nivel de sincronización adquirido entre los procesos de reproducción de los diversos tipos de contenido disponibles a través de distintas tecnologías de transmisión alcanza unos valores suficientes para proporcionar al usuario un consumo con un nivel de asincronías imperceptible. Dicha precisión alcanzada ha resultado en una QoE para el consumidor muy satisfactoria, ofreciéndole al mismo un completo ecosistema de consumo de contenidos que incluye tanto contenido multimedia tradicional, como contenido omnidireccional y mulsemedia.[CA] Actualment, hi ha una gran varietat de tecnologies de distribució de contingut multimèdia, dispositius de consum, així com tipus de contingut. Pel que fa a les tecnologies de distribució, aquest contingut es pot lliurar a través de xarxes de difusió, com ara xarxes DVB, o a través de xarxes de banda ampla, com les xarxes IP (per exemple, a través d'Internet). La coordinació i convergència entre els dos tipus de tecnologies per distribuir continguts relacionats ofereix un gran potencial als proveïdors de continguts, així com grans beneficis per als consumidors (una prova d'això és l'estàndard Hybrid Broadcast Broadband TV o HbbTV). Tanmateix, la recepció de continguts relacionats des de diferents xarxes híbrides (emissió/banda ampla) comporta una important variabilitat de retard, per la qual cosa s'han de superar una sèrie de reptes importants, com la necessitat de mecanismes que garanteixin el consum sincronitzat d'aquests continguts, ja siga en el mateix dispositiu. o en diferents dispositius (locals o remots). S'han especificat, implementat i evaluat solucions de sincronització per a processos de reproducció de continguts híbrids (xarxes de broadcast i/o de banda ampla) tant en entorns multidispositiu, entre dispositius locals (Inter-Device Synchronization o IDES), com en entorns IDMS (Inter-Destination Media Synchronization o IDMS), incloent la sincronització d'efectes multisensorials. S'ha dissenyat i implementat una plataforma d'extrem a extrem per a la generació, distribució (adaptativa) i consum de contingut híbrid relacionat, tant en un sol dispositiu com en múltiples locals (p. ex., escenari multipantalla) o remots (p. ex., Social TV). dispositius. S'han generat i preparat contingut multimèdia tradicional (2D) i omnidireccional (360), enriquit amb efectes multisensorials que milloren el grau de realisme i immersivitat dels usuaris. La plataforma és compatible amb l'estàndard HbbTV i, a més, inclou solucions eficients per a aspectes clau que no s'especifiquen en aquest estàndard, però que són necessaris per a la implantació amb èxit de serveis de televisió híbrids i multidispositiu en el mateix, com ara: la necessitat per a un buffer per a continguts de difusió (existent i opcional fins a HbbTV 2. 0.2); mecanismes de senyalització, associació i descripció dels continguts disponibles i relacionats amb el contingut principal; mecanismes de coordinació i interacció entre dispositius de consum; o solucions de sincronització per alinear en el temps el consum de continguts de manera satisfactòria. Els resultats obtinguts en l'avaluació realitzada mostren que el nivell de sincronització adquirit entre els processos de reproducció dels diferents tipus de continguts disponibles a través de diferents tecnologies de transmissió assoleix valors suficients per proporcionar a l'usuari un consum amb un nivell d'asincronies imperceptibles. La precisió aconseguida ha donat com a resultat una QoE molt satisfactòria per al consumidor, oferint-li un ecosistema complet de consum de continguts que inclou tant contingut multimèdia tradicional com contingut omnidireccional i mulsemedia.[EN] Currently, there is a wide variety of multimedia content distribution technologies, consumer devices, as well as types of content. In terms of distribution technologies, such content can be delivered either over broadcast networks, such as DVB networks, or over broadband networks, such as IP networks (e.g. over the Internet). The coordination and convergence between the two types of technologies to distribute related content offers great potential to content providers, as well as great benefits to consumers (a proof of this is the Hybrid Broadcast Broadband TV or HbbTV standard). However, the reception of related content from different hybrid networks (broadcast/broadband) entails significant delay variability, so a number of important challenges must be overcome, such as the need for mechanisms to ensure synchronized consumption of such content, either on the same device or on different devices (local or remote). We have specified, implemented and evaluated synchronization solutions for hybrid content playback processes (broadcast and/or broadband networks) both in multi-device environments, between local devices (Inter-Device Synchronization or IDES), and in multi-user environments, between distributed network recipients (Inter-Destination Media Synchronization or IDMS), including the synchronization of multi-sensory effects. An end-to-end platform has been designed and implemented for the generation, distribution (adaptive) and consumption of related hybrid content, both on a single device and on multiple local (e.g., multiscreen scenario) or remote (e.g., Social TV) devices. Traditional (2D) and omnidirectional (360) multimedia content has been generated and prepared, enriched with multisensory effects that enhance the degree of realism and immersiveness for users. The platform is compatible with the HbbTV standard and, in addition, includes efficient solutions for key aspects that are not specified in that standard, but are necessary for the successful implementation of hybrid and multi-device TV services on it, such as: the need for a buffer for broadcast content (existing and optional up to the HbbTV 2. 0.2); mechanisms for signaling, association and description of content available and related to the main content; coordination and interaction mechanisms between consumption devices; or synchronization solutions to align in time the consumption of content in a satisfactory way. The results obtained in the evaluation carried out show that the level of synchronization acquired between the reproduction processes of the different types of content available through different transmission technologies reaches sufficient values to provide the user with a consumption with an imperceptible level of asynchronies. The accuracy achieved has resulted in a very satisfactory QoE for the consumer, offering him a complete content consumption ecosystem that includes traditional multimedia content as well as omnidirectional and mulsemedia content.Marfil Reguero, D. (2022). Especificación, implementación y evaluación de soluciones de sincronización multimedia híbrida (broadcast/broadband) e inter-destinatario para posibilitar nuevas experiencias televisivas enriquecidas, personalizadas, inmersivas y compartidas [Tesis doctoral]. Universitat Politècnica de València. https://doi.org/10.4995/Thesis/10251/18574

Understanding the challenges of immersive technology use in the architecture and construction industry: A systematic review

Despite the increasing scholarly attention being given to immersive technology applications in the architecture and construction industry, very few studies have explored the key challenges associated with their usage, with no aggregation of findings or knowledge. To bridge this gap and gain a better understanding of the state-of-the-art immersive technology application in the architecture and construction sector, this study reviews and synthesises the existing research evidence through a systematic review. Based on rigorous inclusion and exclusion criteria, 51 eligible articles published between 2010 and 2019 (inclusive) were selected for the final review. Predicted upon a wide range of scholarly journals, this study develops a generic taxonomy consisting of various dimensions. The results revealed nine (9) critical challenges which were further ranked in the following order: Infrastructure; Algorithm Development; Interoperability; General Health and Safety; Virtual Content Modelling; Cost; Skills Availability; Multi-Sensory Limitations; and Ethical Issues

Leveraging eXtented Reality & Human-Computer Interaction for User Experi- ence in 360◦ Video

EXtended Reality systems have resurged as a medium for work and entertainment. While 360o video has been characterized as less immersive than computer-generated VR, its realism, ease of use and affordability mean it is in widespread commercial use. Based on the prevalence and potential of the 360o video format, this research is focused on improving and augmenting the user experience of watching 360o video. By leveraging knowledge from Extented Reality (XR) systems and Human-Computer Interaction (HCI), this research addresses two issues affecting user experience in 360o video: Attention Guidance and Visually Induced Motion Sickness (VIMS). This research work relies on the construction of multiple artifacts to answer the de- fined research questions: (1) IVRUX, a tool for analysis of immersive VR narrative expe- riences; (2) Cue Control, a tool for creation of spatial audio soundtracks for 360o video, as well as enabling the collection and analysis of captured metrics emerging from the user experience; and (3) VIMS mitigation pipeline, a linear sequence of modules (including optical flow and visual SLAM among others) that control parameters for visual modi- fications such as a restricted Field of View (FoV). These artifacts are accompanied by evaluation studies targeting the defined research questions. Through Cue Control, this research shows that non-diegetic music can be spatialized to act as orientation for users. A partial spatialization of music was deemed ineffective when used for orientation. Addi- tionally, our results also demonstrate that diegetic sounds are used for notification rather than orientation. Through VIMS mitigation pipeline, this research shows that dynamic restricted FoV is statistically significant in mitigating VIMS, while mantaining desired levels of Presence. Both Cue Control and the VIMS mitigation pipeline emerged from a Research through Design (RtD) approach, where the IVRUX artifact is the product of de- sign knowledge and gave direction to research. The research presented in this thesis is of interest to practitioners and researchers working on 360o video and helps delineate future directions in making 360o video a rich design space for interaction and narrative.Sistemas de Realidade EXtendida ressurgiram como um meio de comunicação para o tra- balho e entretenimento. Enquanto que o vídeo 360o tem sido caracterizado como sendo menos imersivo que a Realidade Virtual gerada por computador, o seu realismo, facili- dade de uso e acessibilidade significa que tem uso comercial generalizado. Baseado na prevalência e potencial do formato de vídeo 360o, esta pesquisa está focada em melhorar e aumentar a experiência de utilizador ao ver vídeos 360o. Impulsionado por conhecimento de sistemas de Realidade eXtendida (XR) e Interacção Humano-Computador (HCI), esta pesquisa aborda dois problemas que afetam a experiência de utilizador em vídeo 360o: Orientação de Atenção e Enjoo de Movimento Induzido Visualmente (VIMS). Este trabalho de pesquisa é apoiado na construção de múltiplos artefactos para res- ponder as perguntas de pesquisa definidas: (1) IVRUX, uma ferramenta para análise de experiências narrativas imersivas em VR; (2) Cue Control, uma ferramenta para a criação de bandas sonoras de áudio espacial, enquanto permite a recolha e análise de métricas capturadas emergentes da experiencia de utilizador; e (3) canal para a mitigação de VIMS, uma sequência linear de módulos (incluindo fluxo ótico e SLAM visual entre outros) que controla parâmetros para modificações visuais como o campo de visão restringido. Estes artefactos estão acompanhados por estudos de avaliação direcionados para às perguntas de pesquisa definidas. Através do Cue Control, esta pesquisa mostra que música não- diegética pode ser espacializada para servir como orientação para os utilizadores. Uma espacialização parcial da música foi considerada ineficaz quando usada para a orientação. Adicionalmente, os nossos resultados demonstram que sons diegéticos são usados para notificação em vez de orientação. Através do canal para a mitigação de VIMS, esta pesquisa mostra que o campo de visão restrito e dinâmico é estatisticamente significante ao mitigar VIMS, enquanto mantem níveis desejados de Presença. Ambos Cue Control e o canal para a mitigação de VIMS emergiram de uma abordagem de Pesquisa através do Design (RtD), onde o artefacto IVRUX é o produto de conhecimento de design e deu direcção à pesquisa. A pesquisa apresentada nesta tese é de interesse para profissionais e investigadores tra- balhando em vídeo 360o e ajuda a delinear futuras direções em tornar o vídeo 360o um espaço de design rico para a interação e narrativa

Development of interactive and distributed virtual environments for immersive communication in the furniture, fixture and equipment sector

Despite the significance of the furniture fixture and equipment (FFE) sector to the UK’s economy and the construction industry, this sector faces challenges that impede its productivity and performance, including an inability to meet end-user expectations in the delivery of its services. Lack of adoption of digitalisation and poor design communication between the stakeholders have been identified as one of the issues leading to challenges in the FFE Sector. In this context, visual representation offered by virtual reality (VR) can play a critical role in communicating the designs with the stakeholders effectively. However, evidence suggests that the current state of the VR application in the FFE sector lacks three critical advancements namely BIM-data interaction (interaction with the meta-data associated with the FFE elements), human-building interaction (interaction of stakeholders with FFE elements in the virtual environment) and human-human interactions (multi-user interaction). Therefore, the aim of this study was to bridge this gap through the development and testing of novel virtual environments for immersive communication between FFE and its construction project stakeholders. Furthermore, pre-conditions for the successful implementation of the developed VR applications were evaluated in this study through experimentation.A sequential, exploratory, mixed-method research design was adopted for this study in three phases. In phase one, an extensive literature investigation was carried out to acquire deeper knowledge of existing literature to understand the state-of-the-art developments of immersive technologies in the construction industry with a specific focus on the current challenges and benefits of implementing immersive technology. Phase two of the study involved the development and testing of immersive, distributed and interactive VR applications for various scenarios of the FFE communications for construction. Each application was developed by applying rapid application development methodologies and combining BIM, game engine and low latency cloud server development paradigm. The developments were tested through quasi-experiments and evaluation by stakeholders to ascertain usefulness and utility in the FFE sector context. The first development focused on interactive VR for FFE and was tested among (n = 12) stakeholders using a quasi-experiment in a single-group, pre-test-post-test design. The second development focused on distributed immersion for FFE design communication and was tested among construction stakeholders involved in FFE design decision-making (n = 26). The distributed VR application was further tested further among (n = 9) stakeholders in the context of FFE retail and showcasing of FFE products. The experimental approaches in the second phase adopted combined quantitative and qualitative evaluations to ascertain system usability which fed into further development and finetuning of applications. Finally, in the third phase of the study, the interactive and distributed VR applications were validated among wider group of construction stakeholders (n = 117) using a survey to ascertain industry-wide utility and usefulness as well as establish factors that influence their wider adoption in the sector. A combination of descriptive and inferential statistics was applied to establish findings including Kruskal-Wallis and ANOVA to measure variations in views across different segments of the population of respondents.Findings indicated that the interactive distributed immersive virtual FFE environment can enhance the productivity of the design team through a collaborative virtual workspace offering a synchronised networked design testing and review platform. Furthermore, it can reduce the time required for the stakeholders (Client/end-user, architect, FFE designer/contractor, FFE manufacturer) to comprehend and test the design options. In addition, the developed VR applications can enhance the design communication and quality of the design and encourage a collaborative culture in the industry and improve the design satisfaction of the stakeholders. It was also identified that the VR applications developed for this study can reduce the time required for design decision-making significantly when compared with traditional methods. In the retail and product showcasing context, the system was found to be a highly efficient and viable tool, which can deliver a compelling and richer experience similar to an FFE in-store experience. The testing also revealed that the proposed system not only improves the sense of presence but also brings in a new dimension of a sense of being together, which has a positive impact on decision making. Cumulative findings of this study revealed that distributed and interactive VR has become essential to digitalising the FFE sector’s design communication, with improved design communication being regarded as the most important benefit of its use. Conversely, the most critical challenge that inhibits the implementation of these two VR applications in the FFE sector is the perceived cost. This research proposes a step change in the way furniture design is communicated and coordinated through an immersive virtual experience, thus allowing informed decisions making and creating shared understanding before the commencement of the construction activity

21st International Congress of Aesthetics, Possible Worlds of Contemporary Aesthetics Aesthetics Between History, Geography and Media, Book of Abstracts

The Faculty of Architecture, University of Belgrade and the Society for Aesthetics of Architecture and Visual Arts of Serbia (DEAVUS) are proud to be able to organize the 21st ICA Congress on “Possible Worlds of Contemporary Aesthetics: Aesthetics Between History, Geography and Media”. We are proud to announce that we received over 500 submissions from 56 countries, which makes this Congress the greatest gathering of aestheticians in this region in the last 40 years. The ICA 2019 Belgrade aims to map out contemporary aesthetics practices in a vivid dialogue of aestheticians, philosophers, art theorists, architecture theorists, culture theorists, media theorists, artists, media entrepreneurs, architects, cultural activists and researchers in the fields of humanities and social sciences. More precisely, the goal is to map the possible worlds of contemporary aesthetics in Europe, Asia, North and South America, Africa and Australia. The idea is to show, interpret and map the unity and diverseness in aesthetic thought, expression, research, and philosophies on our shared planet. Our goal is to promote a dialogue concerning aesthetics in those parts of the world that have not been involved with the work of the International Association for Aesthetics to this day. Global dialogue, understanding and cooperation are what we aim to achieve. That said, the 21st ICA is the first Congress to highlight the aesthetic issues of marginalised regions that have not been fully involved in the work of the IAA. This will be accomplished, among others, via thematic round tables discussing contemporary aesthetics in East Africa and South America. Today, aesthetics is recognized as an important philosophical, theoretical and even scientific discipline that aims at interpreting the complexity of phenomena in our contemporary world. People rather talk about possible worlds or possible aesthetic regimes rather than a unique and consistent philosophical, scientific or theoretical discipline