The virtual playground: an educational virtual reality environment for evaluating interactivity and conceptual learning

The research presented in this paper aims at investigating user interaction in immersive virtual learning environments (VLEs), focusing on the role and the effect of interactivity on conceptual learning. The goal has been to examine if the learning of young users improves through interacting in (i.e. exploring, reacting to, and acting upon) an immersive virtual environment (VE) compared to non interactive or non-immersive environments. Empirical work was carried out with more than 55 primary school students between the ages of 8 and 12, in different between-group experiments: an exploratory study, a pilot study, and a large-scale experiment. The latter was conducted in a virtual environment designed to simulate a playground. In this ‘Virtual Playground’, each participant was asked to complete a set of tasks designed to address arithmetical ‘fractions’ problems. Three different conditions, two experimental virtual reality (VR) conditions and a non-VR condition, that varied the levels of activity and interactivity, were designed to evaluate how children accomplish the various tasks. Pre-tests, post-tests, interviews, video, audio, and log files were collected for each participant, and analyzed both quantitatively and qualitatively. This paper presents a selection of case studies extracted from the qualitative analysis, which illustrate the variety of approaches taken by children in the VEs in response to visual cues and system feedback. Results suggest that the fully interactive VE aided children in problem solving but did not provide as strong evidence of conceptual change as expected; rather, it was the passive VR environment, where activity was guided by a virtual robot, that seemed to support student reflection and recall, leading to indications of conceptual change

An Analysis of Eye Scanpath Entropy in a Progressively Forming Virtual Environment

A sign of presence in virtual environments is that people respond to situations and events as if they were real, where response may be considered at many different levels, ranging from unconscious physiological responses through to overt behavior,emotions, and thoughts. In this paper we consider two responses that gave different indications of the onset of presence in a gradually forming environment. Two aspects of the response of people to an immersive virtual environment were recorded: their eye scanpath, and their skin conductance response (SCR). The scenario was formed over a period of 2 min, by introducing an increasing number of its polygons in random order in a head-tracked head-mounted display. For one group of experimental participants (n 8) the environment formed into one in which they found themselves standing on top of a 3 m high column. For a second group of participants (n 6) the environment was otherwise the same except that the column was only 1 cm high, so that they would be standing at normal ground level. For a third group of participants (n 14) the polygons never formed into a meaningful environment. The participants who stood on top of the tall column exhibited a significant decrease in entropy of the eye scanpath and an increase in the number of SCR by 99 s into the scenario, at a time when only 65% of the polygons had been displayed. The ground level participants exhibited a similar decrease in scanpath entropy, but not the increase in SCR. The random scenario grouping did not exhibit this decrease in eye scanpath entropy. A drop in scanpath entropy indicates that the environment had cohered into a meaningful perception. An increase in the rate of SCR indicates the perception of an aversive stimulus. These results suggest that on these two dimensions (scanpath entropy and rate of SCR) participants were responding realistically to the scenario shown in the virtual environment. In addition, the response occurred well before the entire scenario had been displayed, suggesting that once a set of minimal cues exists within a scenario,it is enough to form a meaningful perception. Moreover, at the level of the sympathetic nervous system, the participants who were standing on top of the column exhibited arousal as if their experience might be real. This is an important practical aspect of the concept of presence

“We Wait”—The Impact of Character Responsiveness and Self Embodiment on Presence and Interest in an Immersive News Experience

A virtual reality scenario called “We Wait” gives people an immersive experience of the plight of refugees waiting to be picked up by a boat on a shore in Turkey to be illegally taken to Europe, crossing a dangerous stretch of sea. This was based on BBC news reporting of the refugee situation, but deliberately depicted as an animation with cartoon-like characters representing the refugees. Of interest was the level of presence that might be experienced by participants and the extent to which the scenario might prompt participants to follow-up further information about the refugee crisis. By presence we refer to both Place Illusion, the illusion of being in the rendered space, and Plausibility, the illusion that the unfolding events were really happening. The follow-up was assessed by whether and when participants accessed a web page that contained further information about the refugee crisis after the experiment. Two factors were considered in a balanced between-groups design with 32 participants. The Responsiveness factor was either “None” or “Look at.” In the first the virtual characters in the scenario never responded to actions of the participant, and in the second they would occasionally look at the participant after the participant looked at them. The second factor was Embodiment, which was either “No Body” or “Body.” In the No Body condition participants had no virtual body, and in the Body condition they would see a virtual body spatially congruent with their own if they looked down toward themselves. The virtual body was animated by the head tracking move the upper body. The results showed that the major factor positively contributing to presence was Responsiveness (“Look at”), and that Embodiment (“Body”) may have contributed but to a lesser extent. There were important differences between men and woman in the degree of follow-up, with men more likely to do so than women. The experiment shows that adding in some simple responses in an immersive journalism scenario, where the characters acknowledge the presence of the participant through gaze, can enhance the degree of presence felt by the participants

Drift and ownership toward a distant virtual body.

In body ownership illusions participants feel that a mannequin or virtual body (VB) is their own. Earlier results suggest that body ownership over a body seen from behind in extra personal space is possible when the surrogate body is visually stroked and tapped on its back, while spatially and temporal synchronous tactile stimulation is applied to the participant's back. This result has been disputed with the claim that the results can be explained by self-recognition rather than somatic body ownership. We carried out an experiment with 30 participants in a between-groups design. They all saw the back of a VB 1.2 m in front, that moved in real-time determined by upper body motion capture. All felt tactile stimulation on their back, and for 15 of them this was spatially and temporally synchronous with stimulation that they saw on the back of the VB, but asynchronous for the other 15. After 3 min a revolving fan above the VB descended and stopped at the position of the VB neck. A questionnaire assessed referral of touch to the VB, body ownership, the illusion of drifting forwards toward the VB, and the VB drifting backwards. Heart rate deceleration (HRD) and the amount of head movement during the threat period were used to assess the response to the threat from the fan. Results showed that although referral of touch was significantly greater in the synchronous condition than the asynchronous, there were no other differences between the conditions. However, a further multivariate analysis revealed that in the visuotactile synchronous condition HRD and head movement increased with the illusion of forward drift and decreased with backwards drift. Body ownership contributed positively to these drift sensations. Our conclusion is that the setup results in a contradiction-somatic feelings associated with a distant body-that the brain attempts to resolve by generating drift illusions that would make the two bodies coincide

Dancing with physio: a mobile game with physiologically aware virtual humans

This study presents an evaluation of a mobile game with physiologically aware virtual humans as an approach to modulate the participant's affective and physiological state. We developed a mobile version of a virtual reality scenario where the participants were able to interact with virtual human characters through their psychophysiological activity. Music was played in the background of the scenario and, depending on the experimental condition, the virtual humans were initially either barely dancing or dancing very euphorically. The task of the participants was to encourage the apathetic virtual humans to dance or to calm down the frenetically dancing characters, through the modulation of their own mood and physiological activity. Results from our study show that by using this mobile game with the physiologically aware and affective virtual humans the participants were able to emotionally arouse themselves in the Activation condition and were able to relax themselves in the Relaxation condition, during the same session with only a brief break between conditions. The self-reported affective data was also corroborated by the physiological data (heart rate, respiration and skin conductance) which significantly differed between the Activation and Relaxation conditions

The Sense of embodiment in virtual reality

What does it feel like to own, to control, and to be inside a body? The multidimensional nature of this experience together with the continuous presence of one's biological body, render both theoretical and experimental approaches problematic. Nevertheless, exploitation of immersive virtual reality has allowed a reframing of this question to whether it is possible to experience the same sensations towards a virtual body inside an immersive virtual environment as toward the biological body, and if so, to what extent. The current paper addresses these issues by referring to the Sense of Embodiment (SoE). Due to the conceptual confusion around this sense, we provide a working definition which states that SoE consists of three subcomponents: the sense of self-location, the sense of agency, and the sense of body ownership. Under this proposed structure, measures and experimental manipulations reported in the literature are reviewed and related challenges are outlined. Finally, future experimental studies are proposed to overcome those challenges, toward deepening the concept of SoE and enhancing it in virtual applications

Drumming in immersive virtual reality: the body shapes the way we play

It has been shown that it is possible to generate perceptual illusions of ownership in immersive virtual reality (IVR) over a virtual body seen from first person perspective, in other words over a body that visually substitutes the person's real body. This can occur even when the virtual body is quite different in appearance from the person's real body. However, investigation of the psychological, behavioral and attitudinal consequences of such body transformations remains an interesting problem with much to be discovered. Thirty six Caucasian people participated in a between-groups experiment where they played a West-African Djembe hand drum while immersed in IVR and with a virtual body that substituted their own. The virtual hand drum was registered with a physical drum. They were alongside a virtual character that played a drum in a supporting, accompanying role. In a baseline condition participants were represented only by plainly shaded white hands, so that they were able merely to play. In the experimental condition they were represented either by a casually dressed dark-skinned virtual body (Casual Dark-Skinned - CD) or by a formal suited light-skinned body (Formal Light-Skinned - FL). Although participants of both groups experienced a strong body ownership illusion towards the virtual body, only those with the CD representation showed significant increases in their movement patterns for drumming compared to the baseline condition and compared with those embodied in the FL body. Moreover, the stronger the illusion of body ownership in the CD condition, the greater this behavioral change. A path analysis showed that the observed behavioral changes were a function of the strength of the illusion of body ownership towards the virtual body and its perceived appropriateness for the drumming task. These results demonstrate that full body ownership illusions can lead to substantial behavioral and possibly cognitive changes depending on the appearance of the virtual body. This could be important for many applications such as learning, education, training, psychotherapy and rehabilitation using IVR

Transcending the self in immersive virtual reality

Cognitive neuroscientists have discovered various experimental setups that suggest that our body representation is surprisingly flexible, where the brain can easily be tricked into the illusion that a rubber hand is your hand or that a manikin body is your body. These multisensory illusions work well in immersive virtual reality (IVR). What is even more surprising is that such embodiment induces perceptual, attitudinal and behavioural changes that are concomitant with the displayed body type. Here we outline some recent findings in this field, and suggest that this offers a powerful tool for neuroscience, psychology and a new path for IVR

The Impact of a Character Posture Model on the Communication of Affect in an Immersive Virtual Environment

This paper presents the quantitative and qualitative findings from an experiment designed to evaluate a developing model of affective postures for full-body virtual characters in immersive virtual environments (IVEs). Forty-nine participants were each requested to explore a virtual environment by asking two virtual characters for instructions. The participants used a CAVE-like system to explore the environment. Participant responses and their impression of the virtual characters were evaluated through a wide variety of both quantitative and qualitative methods. Combining a controlled experimental approach with various data-collection methods provided a number of advantages such as providing a reason to the quantitative results. The quantitative results indicate that posture plays an important role in the communication of affect by virtual characters. The qualitative findings indicated that participants attribute a variety of psychological states to the behavioral cues displayed by virtual characters. In addition, participants tended to interpret the social context portrayed by the virtual characters in a holistic manner. This suggests that one aspect of the virtual scene colors the perception of the whole social context portrayed by the virtual characters. We conclude by discussing the importance of designing holistically congruent virtual characters especially in immersive settings