ICS2208 lecture6
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The document provides an overview of non-textual interfaces such as virtual reality (VR), augmented reality (AR), and mixed reality (MR). It discusses different realities on a virtuality continuum and guidelines for designing experiences for immersion and presence. Perceptual models and processes that can influence user behavior and experience are also covered, including mental models, neuro-linguistic processing, and the NLP communication model. Design considerations are outlined for VR communication, different realities, immersion, and presence. Modalities like visual displays, audio, haptics, and motion are described.
ICS2208 lecture6
- 2. Topic 5: Non Textual Interfaces • VR, AR & MR • Overview of different realities • Immersion & Reality tradeoffs • Design guidelines • Perceptual Models & Modalities • Affecting Behaviour 2
- 3. VR, AR & MR VR is “an artificial environment which is experienced through sensory stimuli (as sights and sounds) provided by a computer and in which one’s actions partially determine what happens in the environment” (Merriam-Webster, 2015)
- 5. • Consider Gorillaz’s new music video: http://vrscout.com/news/watch-gorillaz-360-music- video-vr-headset/ Watch using Google Cardboard
- 6. • Now try the Oscar nominated short film Pearl – produced by Google Spotlight Stories https://atap.google.com/spotlight-stories/ • Compare it with the Music Video by Gorillaz – can you compare the two experiences based on the definition of VR?
- 7. The VR experience “the ultimate display would of course be a room within which the computer can control the existence of matter. A chair displayed in such a room would be good enough to sit in. Handcuffs displayed in such a room would be confining, and a bullet displayed in such a room would be fatal.” - Ivan Sutherland, 1965
- 9. VR Communication • The VR design has to focus on: A. How the VW works; B. How that world and its objects are controlled; C. The relationship between the user and the content (ideally users are focused on the experience not on the technology);
- 10. Two types of Communication: • Direct Communication • Structural communication • Visceral communication • Indirect Communication
- 11. Realities
- 12. • Think of Pokemon Go… this was hugely popular for some time… what aspects has made this popular? Why has it decreased in popularity? Discuss. Find examples of how it was used, videos of its popularity, etc.
- 13. Realities
- 14. • Think about Second Life…have you ever experienced it? Why or why not? What are your perceptions about this VW? Can you think about another VW that you have used – what has contributed to the sense of presence?
- 15. VR Systems • The screen is a window through which one sees a virtual world. The challenge is to make that world look real, act real, sound real, feel real.
- 16. The system can be broken down into these components: • Input – collects data from the user such as where the eyes are located, where the hands are located, button presses, etc. • Application – includes the non-rendering aspects of the VW including dynamic geometry, user interaction, physics simulation. • Rendering – the transformation of computer-friendly format to a user-friendly format that gives the illusion of some form of reality, and includes visual rendering, auditory rendering (auralization) and haptic rendering. • Output – is the physical representation directly perceived by the user.
- 17. Visual Displays • Head mounted Displays; visual display that is more or less rigidly attached to the head. Position and orientation tracking of HMDs is essential for VR because the display and ear phones move with the head. • Non-see-through: blocks real world out completely • Optical-see-through: ideal for an AR experience
- 19. • World-fixed Displays; Render graphics onto surfaces & audio through speakers that do not move with the head. Display can take many forms: standard monitor (fish-tank VR) e.g. CAVE systems. World fixed displays are considered to be part VR and part AR.
- 21. • Hand-held Displays;Output devices that can be held with the hand and do not require precise alignment with the head.
- 22. Audio • Spatialized audio provide a sense of where sounds are coming from. Headphones are preferred for a fully immersive system as they block out more of the real world.
- 23. Haptics • Passive vs. Active • Tactile vs. Proprioceptive • Self-grounded vs. World-grounded
- 24. Motion Platforms A hardware device that moves the entire body resulting in a sense of physical motion and gravity. These help convey a sense of orientation, vibration, acceleration, and jerking. Common uses are for racing games, flight simulation, location-based entertainment. Motion platforms can be active (controlled by the computer) or passive (controlled by the user).
- 25. Immersion, Presence & Reality Trade-offs • Immersion is the objective degree to which a VR system and application projects stimuli onto the sensory receptors of users in a way that is extensive, matching, surrounding, vivid, interactive and plot informing.
- 26. Immersion, Presence & Reality Trade-offs • Presence is a sense of being there inside a space, even when physically located in a different location. • Whereas immersion is about the characteristics of a technology, presence is about the internal psychological and physiological state of the user. • Immersion is capable of producing a sense of presence but immersion does not always induce presence.
- 27. Illusions of Presence • Illusion of being in a stable spatial place; • Illusion of self-embodiment; • Illusion of physical interaction; • Illusion of social communication
- 28. Reality Trade-offs • When does reality in VR become too much? • When do the characters, if they do, become too creepy with their realism? This is called the uncanny valley – one has to attribute power to simplicity.
- 30. Design Guidelines How to design for VR Communication: • Focus on the user experience rather than the technology; • Simplify and harmonise the communication between user and technology • Focus on making the technical intermediary between the user and content transparent so users feel they have direct access to the virtual world and its entities. • Design for visceral communication to induce presence and inspire awe in users
- 31. Design Guidelines How to design for various Realities: • Choose what form of reality you wish to create. Where does it fall on the virtuality continuum? • Choose what type of input and output hardware to use • VR is more than just the hardware and technology. Create a strong conceptual story, an interesting design or layout of the environment and engaging characters.
- 32. Design Guidelines How to design for Immersion & Presence: • Minimise break-in presence • For maximum presence, focus first on world stability and depth cues. Then consider adding physical user interactions, cues of one’s own body and social communication • Avoid the uncanny valley by not trying to make characters appear too close to the way real humans look • Choose the level of fidelity you want to create.
- 34. Mental Models • A mental model is an explanation in the mind of how the world or some specific aspect of the world works. • The primary purpose of a mental model is prediction. • A good mental model need not be complete as long as it is useful
- 35. • VR creators should use signifying cues, feedback and constraints to help the user form quality mental models and to make assumptions explicit. • Learned helplessness is the decision that something cannot be done due to a perceived absence of control. • It has been difficult for VR to gain wide adoption most often due to poor interfaces. Bad interaction design for VR can lead to learned helplessness.
- 36. • Neuro-linguisting Processing (NLP) is a psychological approach to communication, personal development, and psychotherapy that is built on mental models. • NLP itself is a model that explains how humans process stimuli that enter into the mind through the senses and helps explain how we perceive, communicate, learn and behave. • In the case of VR we can control what stimuli are presented to the users and influence, not control, what that person experiences.
- 38. Thank you