MetaSpace II: Object and full-body tracking for interaction and navigation in social VR

MetaSpace II (MS2) is a social Virtual Reality (VR) system where multiple users can not only see and hear but also interact with each other, grasp and manipulate objects, walk around in space, and get tactile feedback. MS2 allows walking in physical space by tracking each user's skeleton in real-time and allows users to feel by employing passive haptics i.e., when users touch or manipulate an object in the virtual world, they simultaneously also touch or manipulate a corresponding object in the physical world. To enable these elements in VR, MS2 creates a correspondence in spatial layout and object placement by building the virtual world on top of a 3D scan of the real world. Through the association between the real and virtual world, users are able to walk freely while wearing a head-mounted device, avoid obstacles like walls and furniture, and interact with people and objects. Most current virtual reality (VR) environments are designed for a single user experience where interactions with virtual objects are mediated by hand-held input devices or hand gestures. Additionally, users are only shown a representation of their hands in VR floating in front of the camera as seen from a first person perspective. We believe, representing each user as a full-body avatar that is controlled by natural movements of the person in the real world (see Figure 1d), can greatly enhance believability and a user's sense immersion in VR.Comment: 10 pages, 9 figures. Video: http://living.media.mit.edu/projects/metaspace-ii

An aesthetics of touch: investigating the language of design relating to form

How well can designers communicate qualities of touch? This paper presents evidence that they have some capability to do so, much of which appears to have been learned, but at present make limited use of such language. Interviews with graduate designer-makers suggest that they are aware of and value the importance of touch and materiality in their work, but lack a vocabulary to fully relate to their detailed explanations of other aspects such as their intent or selection of materials. We believe that more attention should be paid to the verbal dialogue that happens in the design process, particularly as other researchers show that even making-based learning also has a strong verbal element to it. However, verbal language alone does not appear to be adequate for a comprehensive language of touch. Graduate designers-makers’ descriptive practices combined non-verbal manipulation within verbal accounts. We thus argue that haptic vocabularies do not simply describe material qualities, but rather are situated competences that physically demonstrate the presence of haptic qualities. Such competencies are more important than groups of verbal vocabularies in isolation. Design support for developing and extending haptic competences must take this wide range of considerations into account to comprehensively improve designers’ capabilities

Measuring user experience for virtual reality

In recent years, Virtual Reality (VR) and 3D User Interfaces (3DUI) have seen a drastic increase in popularity, especially in terms of consumer-ready hardware and software. These technologies have the potential to create new experiences that combine the advantages of reality and virtuality. While the technology for input as well as output devices is market ready, only a few solutions for everyday VR - online shopping, games, or movies - exist, and empirical knowledge about performance and user preferences is lacking. All this makes the development and design of human-centered user interfaces for VR a great challenge. This thesis investigates the evaluation and design of interactive VR experiences. We introduce the Virtual Reality User Experience (VRUX) model based on VR-specific external factors and evaluation metrics such as task performance and user preference. Based on our novel UX evaluation approach, we contribute by exploring the following directions: shopping in virtual environments, as well as text entry and menu control in the context of everyday VR. Along with this, we summarize our findings by design spaces and guidelines for choosing optimal interfaces and controls in VR.In den letzten Jahren haben Virtual Reality (VR) und 3D User Interfaces (3DUI) stark an Popularität gewonnen, insbesondere bei Hard- und Software im Konsumerbereich. Diese Technologien haben das Potenzial, neue Erfahrungen zu schaffen, die die Vorteile von Realität und Virtualität kombinieren. Während die Technologie sowohl für Eingabe- als auch für Ausgabegeräte marktreif ist, existieren nur wenige Lösungen für den Alltag in VR - wie Online-Shopping, Spiele oder Filme - und es fehlt an empirischem Wissen über Leistung und Benutzerpräferenzen. Dies macht die Entwicklung und Gestaltung von benutzerzentrierten Benutzeroberflächen für VR zu einer großen Herausforderung. Diese Arbeit beschäftigt sich mit der Evaluation und Gestaltung von interaktiven VR-Erfahrungen. Es wird das Virtual Reality User Experience (VRUX)- Modell eingeführt, das auf VR-spezifischen externen Faktoren und Bewertungskennzahlen wie Leistung und Benutzerpräferenz basiert. Basierend auf unserem neuartigen UX-Evaluierungsansatz leisten wir einen Beitrag, indem wir folgende interaktive Anwendungsbereiche untersuchen: Einkaufen in virtuellen Umgebungen sowie Texteingabe und Menüsteuerung im Kontext des täglichen VR. Die Ergebnisse werden außerdem mittels Richtlinien zur Auswahl optimaler Schnittstellen in VR zusammengefasst

Computational interaction techniques for 3D selection, manipulation and navigation in immersive VR

3D interaction provides a natural interplay for HCI. Many techniques involving diverse sets of hardware and software components have been proposed, which has generated an explosion of Interaction Techniques (ITes), Interactive Tasks (ITas) and input devices, increasing thus the heterogeneity of tools in 3D User Interfaces (3DUIs). Moreover, most of those techniques are based on general formulations that fail in fully exploiting human capabilities for interaction. This is because while 3D interaction enables naturalness, it also produces complexity and limitations when using 3DUIs. In this thesis, we aim to generate approaches that better exploit the high potential human capabilities for interaction by combining human factors, mathematical formalizations and computational methods. Our approach is focussed on the exploration of the close coupling between specific ITes and ITas while addressing common issues of 3D interactions. We specifically focused on the stages of interaction within Basic Interaction Tasks (BITas) i.e., data input, manipulation, navigation and selection. Common limitations of these tasks are: (1) the complexity of mapping generation for input devices, (2) fatigue in mid-air object manipulation, (3) space constraints in VR navigation; and (4) low accuracy in 3D mid-air selection. Along with two chapters of introduction and background, this thesis presents five main works. Chapter 3 focusses on the design of mid-air gesture mappings based on human tacit knowledge. Chapter 4 presents a solution to address user fatigue in mid-air object manipulation. Chapter 5 is focused on addressing space limitations in VR navigation. Chapter 6 describes an analysis and a correction method to address Drift effects involved in scale-adaptive VR navigation; and Chapter 7 presents a hybrid technique 3D/2D that allows for precise selection of virtual objects in highly dense environments (e.g., point clouds). Finally, we conclude discussing how the contributions obtained from this exploration, provide techniques and guidelines to design more natural 3DUIs

Haptic Media Scenes

The aim of this thesis is to apply new media phenomenological and enactive embodied cognition approaches to explain the role of haptic sensitivity and communication in personal computer environments for productivity. Prior theory has given little attention to the role of haptic senses in influencing cognitive processes, and do not frame the richness of haptic communication in interaction design—as haptic interactivity in HCI has historically tended to be designed and analyzed from a perspective on communication as transmissions, sending and receiving haptic signals. The haptic sense may not only mediate contact confirmation and affirmation, but also rich semiotic and affective messages—yet this is a strong contrast between this inherent ability of haptic perception, and current day support for such haptic communication interfaces. I therefore ask: How do the haptic senses (touch and proprioception) impact our cognitive faculty when mediated through digital and sensor technologies? How may these insights be employed in interface design to facilitate rich haptic communication? To answer these questions, I use theoretical close readings that embrace two research fields, new media phenomenology and enactive embodied cognition. The theoretical discussion is supported by neuroscientific evidence, and tested empirically through case studies centered on digital art. I use these insights to develop the concept of the haptic figura, an analytical tool to frame the communicative qualities of haptic media. The concept gauges rich machine- mediated haptic interactivity and communication in systems with a material solution supporting active haptic perception, and the mediation of semiotic and affective messages that are understood and felt. As such the concept may function as a design tool for developers, but also for media critics evaluating haptic media. The tool is used to frame a discussion on opportunities and shortcomings of haptic interfaces for productivity, differentiating between media systems for the hand and the full body. The significance of this investigation is demonstrating that haptic communication is an underutilized element in personal computer environments for productivity and providing an analytical framework for a more nuanced understanding of haptic communication as enabling the mediation of a range of semiotic and affective messages, beyond notification and confirmation interactivity

Designing multi-sensory displays for abstract data

The rapid increase in available information has lead to many attempts to automatically locate patterns in large, abstract, multi-attributed information spaces. These techniques are often called data mining and have met with varying degrees of success. An alternative approach to automatic pattern detection is to keep the user in the exploration loop by developing displays for perceptual data mining. This approach allows a domain expert to search the data for useful relationships and can be effective when automated rules are hard to define. However, designing models of the abstract data and defining appropriate displays are critical tasks in building a useful system. Designing displays of abstract data is especially difficult when multi-sensory interaction is considered. New technology, such as Virtual Environments, enables such multi-sensory interaction. For example, interfaces can be designed that immerse the user in a 3D space and provide visual, auditory and haptic (tactile) feedback. It has been a goal of Virtual Environments to use multi-sensory interaction in an attempt to increase the human-to-computer bandwidth. This approach may assist the user to understand large information spaces and find patterns in them. However, while the motivation is simple enough, actually designing appropriate mappings between the abstract information and the human sensory channels is quite difficult. Designing intuitive multi-sensory displays of abstract data is complex and needs to carefully consider human perceptual capabilities, yet we interact with the real world everyday in a multi-sensory way. Metaphors can describe mappings between the natural world and an abstract information space. This thesis develops a division of the multi-sensory design space called the MS-Taxonomy. The MS-Taxonomy provides a concept map of the design space based on temporal, spatial and direct metaphors. The detailed concepts within the taxonomy allow for discussion of low level design issues. Furthermore the concepts abstract to higher levels, allowing general design issues to be compared and discussed across the different senses. The MS-Taxonomy provides a categorisation of multi-sensory design options. However, to design effective multi-sensory displays requires more than a thorough understanding of design options. It is also useful to have guidelines to follow, and a process to describe the design steps. This thesis uses the structure of the MS-Taxonomy to develop the MS-Guidelines and the MS-Process. The MS-Guidelines capture design recommendations and the problems associated with different design choices. The MS-Process integrates the MS-Guidelines into a methodology for developing and evaluating multi-sensory displays. A detailed case study is used to validate the MS-Taxonomy, the MS-Guidelines and the MS-Process. The case study explores the design of multi-sensory displays within a domain where users wish to explore abstract data for patterns. This area is called Technical Analysis and involves the interpretation of patterns in stock market data. Following the MS-Process and using the MS-Guidelines some new multi-sensory displays are designed for pattern detection in stock market data. The outcome from the case study includes some novel haptic-visual and auditory-visual designs that are prototyped and evaluated

A Comparison of the Effects of Haptic and Visual Feedback on Presence in Virtual Reality

In the current consumer market, Virtual reality experiences are predominantly generated through visual and auditory feedback. Haptics are not yet well established, but are increasingly introduced to enhance the user’s sense of ‘reality’. With haptic (vibrotactile) feedback now part of the built-in mechanism of VR consumer devices, there is an urgent need to understand how different modalities work together to improve the user experience. This paper reports an experiment that explores the contributions made to participants’ sense of presence by haptic and visual feedback in a virtual environment. Participants experienced a virtual ball bouncing on a virtual stick resting across their avatar hands. We found that presence was enhanced when they could both see and feel the ball’s action; with a strong suggestion that haptic feedback alone gave rise to a greater sense of presence than visual alone. Similarly, whilst visual or bimodal feedback enhanced participants’ ability to locate where the ball bounced on the stick, our results suggest that the action itself was more readily discerned haptically than visually