What is the Avatar? Fiction and Embodiment in Avatar-Based Singleplayer Computer Games: Revised and Commented Edition

What are the characteristic features of avatar-based singleplayer videogames, from Super Mario Bros. to Grand Theft Auto? The author examines this question with a particular focus on issues of fictionality and realism, and their relation to cinema and Virtual Reality. Through close-up analysis and philosophical discussion, the author argues that avatar-based gaming is a distinctive and dominant form of virtual self-embodiment in digital culture. This book is a revised edition of Rune Klevjer's pioneering work from 2007, featuring a new introduction by the author and afterword by Stephan Günzel, Jörg Sternagel, and Dieter Mersch

What is the Avatar?

What are the characteristic features of avatar-based singleplayer videogames, from Super Mario Bros. to Grand Theft Auto? Rune Klevjer examines this question with a particular focus on issues of fictionality and realism, and their relation to cinema and Virtual Reality. Through close-up analysis and philosophical discussion, Klevjer argues that avatar-based gaming is a distinctive and dominant form of virtual self-embodiment in digital culture. This book is a revised edition of Rune Klevjer's pioneering work from 2007, featuring a new introduction by the author and afterword by Stephan Günzel, Jörg Sternagel, and Dieter Mersch

User-Defined Gestures with Physical Props in Virtual Reality

When building virtual reality (VR) environments, designers use physical props to improve immersion and realism. However, people may want to perform actions that would not be supported by physical objects, for example, duplicating an object in a Computer-Aided Design (CAD) program or darkening the sky in an open-world game. In this thesis, I present an elicitation study where I asked 21 participants to choose from 95 props to perform manipulative gestures for 20 referents (actions), typically found in CAD software or open-world games. I describe the resulting gestures as context-free grammars, capturing the actions taken by our participants, their prop choices, and how the props were used in each gesture. I present agreement scores between gesture choices and prop choices; to accomplish the latter, I developed a generalized agreement score that compares sets of selections rather than a single selection, enabling new types of elicitation studies. I found that props were selected according to their resemblance to virtual objects and the actions they afforded; that gesture and prop agreement depended on the referent, with some referents leading to similar gesture choices, while others led to similar prop choices; and that a small set of carefully chosen props can support a wide variety of gestures

Tangible user interfaces : past, present and future directions

In the last two decades, Tangible User Interfaces (TUIs) have emerged as a new interface type that interlinks the digital and physical worlds. Drawing upon users' knowledge and skills of interaction with the real non-digital world, TUIs show a potential to enhance the way in which people interact with and leverage digital information. However, TUI research is still in its infancy and extensive research is required in or- der to fully understand the implications of tangible user interfaces, to develop technologies that further bridge the digital and the physical, and to guide TUI design with empirical knowledge. This paper examines the existing body of work on Tangible User In- terfaces. We start by sketching the history of tangible user interfaces, examining the intellectual origins of this field. We then present TUIs in a broader context, survey application domains, and review frame- works and taxonomies. We also discuss conceptual foundations of TUIs including perspectives from cognitive sciences, phycology, and philoso- phy. Methods and technologies for designing, building, and evaluating TUIs are also addressed. Finally, we discuss the strengths and limita- tions of TUIs and chart directions for future research

User-defined interaction using everyday objects for augmented reality first-person action games.

This thesis covers research into the use of everyday objects as props in first-person augmented reality action games. The thesis aims to answer three research questions: • RQ: Do more commonly chosen everyday objects provide a more immersive experience when used as props in a first-person augmented reality action game? – SQ1: Can a consensus be reached for what types of everyday objects are used as props in a first-person augmented reality action game? – SQ2: How can everyday objects be used as props in a first-person augmented reality action game? An elicitation study was performed to investigate these research questions. Participants in the study were offered a range of everyday objects that they could select as a prop to control a virtual sword, shield and then crossbow. Each participant completed a short game task with each virtual object, using their selection, filled in a questionnaire to measure their immersion and completed a short interview after all tasks were completed. Results from the study indicate that no, more commonly chosen everyday objects do not necessarily provide a more immersive experience when used as props in a first-person augmented reality action game - due to no significant differences found between immersion scores for the consensus and remaining objects. Yes, a consensus can be reached for what types of everyday objects are used as props in a first-person augmented reality action game but not necessarily for all virtual objects - the sword was found to have medium agreement with a shoehorn as the most popular choice, the shield was found to have high agreement with a pot-lid as the most popular choice and no consensus was found for the crossbow object. The qualitative results indicated that everyday objects can be used as props in a first-person augmented reality action game by providing intuitive ways to use the everyday objects that mimic how players would expect the virtual objects to be used and activated

Exploitation of multiplayer interaction and development of virtual puppetry storytelling using gesture control and stereoscopic devices

With the rapid development of human-computer interaction technologies, the new media generation demands novel learning experiences with natural interaction and immersive experience. Considering that digital storytelling is a powerful pedagogical tool for young children, in this paper, we design an immersive storytelling environment that allows multiple players to use naturally interactive hand gestures to manipulate virtual puppetry for assisting narration. A set of multimodal interaction techniques is presented for a hybrid user interface that integrates existing 3D visualization and interaction devices including head-mounted displays and depth motion sensor. In this system, the young players could intuitively use hand gestures to manipulate virtual puppets to perform a story and interact with props in a virtual stereoscopic environment. We have conducted a user experiment with four young children for pedagogical evaluation, as well as system acceptability and interactivity evaluation by postgraduate students. The results show that our framework has great potential to stimulate learning abilities of young children through collaboration tasks. The stereoscopic head-mounted display outperformed the traditional monoscopic display in a comparison between the two

Gesture Object Interfaces to enable a world of multiple projections

Thesis (Ph. D.)--Massachusetts Institute of Technology, School of Architecture and Planning, Program in Media Arts and Sciences, 2010.Cataloged from PDF version of thesis.Includes bibliographical references (p. [209]-226).Tangible Media as an area has not explored how the tangible handle is more than a marker or place-holder for digital data. Tangible Media can do more. It has the power to materialize and redefine our conception of space and content during the creative process. It can vary from an abstract token that represents a movie to an anthropomorphic plush that reflects the behavior of a sibling during play. My work begins by extending tangible concepts of representation and token-based interactions into movie editing and play scenarios. Through several design iterations and research studies, I establish tangible technologies to drive visual and oral perspectives along with finalized creative works, all during a child's play and exploration. I define the framework, Gesture Object Interfaces, expanding on the fields of Tangible User Interaction and Gesture Recognition. Gesture is a mechanism that can reinforce or create the anthropomorphism of an object. It can give the object life. A Gesture Object is an object in hand while doing anthropomorphized gestures. Gesture Object Interfaces engender new visual and narrative perspectives as part of automatic film assembly during children's play. I generated a suite of automatic film assembly tools accessible to diverse users. The tools that I designed allow for capture, editing and performing to be completely indistinguishable from one another. Gestures integrated with objects become a coherent interface on top of natural play. I built a distributed, modular camera environment and gesture interaction to control that environment. The goal of these new technologies is to motivate children to take new visual and narrative perspectives. In this dissertation I present four tangible platforms that I created as alternatives to the usual fragmented and sequential capturing, editing and performing of narratives available to users of current storytelling tools. I developed Play it by Eye, Frame it by hand, a new generation of narrative tools that shift the frame of reference from the eye to the hand, from the viewpoint (where the eye is) to the standpoint (where the hand is). In Play it by Eye, Frame it by Hand environments, children discover atypical perspectives through the lens of everyday objects. When using Picture This!, children imagine how an object would appear relative to the viewpoint of the toy. They iterate between trying and correcting in a world of multiple perspectives. The results are entirely new genres of child-created films, where children finally capture the cherished visual idioms of action and drama. I report my design process over the course of four tangible research projects that I evaluate during qualitative observations with over one hundred 4- to 14-year-old users. Based on these research findings, I propose a class of moviemaking tools that transform the way users interpret the world visually, and through storytelling.by Catherine Nicole Vaucelle.Ph.D

A 3D pedagogical heritage tool using game technology

This paper will propose and address issues that contribute to a serious challenge for virtual heritage: that there are few successful, accessible and durable examples of computer game technology and genres applied to heritage. Secondly, it will argue that the true potential of computers for heritage has not been fully leveraged and it will provide a case study of a game engine technology not used explicitly as a game but as a serious pedagogical tool for 3D digital heritage environments

Design and semantics of form and movement (DeSForM 2006)

Design and Semantics of Form and Movement (DeSForM) grew from applied research exploring emerging design methods and practices to support new generation product and interface design. The products and interfaces are concerned with: the context of ubiquitous computing and ambient technologies and the need for greater empathy in the pre-programmed behaviour of the ‘machines’ that populate our lives. Such explorative research in the CfDR has been led by Young, supported by Kyffin, Visiting Professor from Philips Design and sponsored by Philips Design over a period of four years (research funding £87k). DeSForM1 was the first of a series of three conferences that enable the presentation and debate of international work within this field: • 1st European conference on Design and Semantics of Form and Movement (DeSForM1), Baltic, Gateshead, 2005, Feijs L., Kyffin S. & Young R.A. eds. • 2nd European conference on Design and Semantics of Form and Movement (DeSForM2), Evoluon, Eindhoven, 2006, Feijs L., Kyffin S. & Young R.A. eds. • 3rd European conference on Design and Semantics of Form and Movement (DeSForM3), New Design School Building, Newcastle, 2007, Feijs L., Kyffin S. & Young R.A. eds. Philips sponsorship of practice-based enquiry led to research by three teams of research students over three years and on-going sponsorship of research through the Northumbria University Design and Innovation Laboratory (nuDIL). Young has been invited on the steering panel of the UK Thinking Digital Conference concerning the latest developments in digital and media technologies. Informed by this research is the work of PhD student Yukie Nakano who examines new technologies in relation to eco-design textiles