ics2208 lecture6
TRANSCRIPT
Topic 5: Non Textual
Interfaces• VR, AR & MR
• Overview of different realities
• Immersion & Reality tradeoffs
• Design guidelines
• Perceptual Models & Modalities
• Affecting Behaviour
2
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)
• Consider Gorillaz’s new music video:
http://vrscout.com/news/watch-gorillaz-360-music-
video-vr-headset/
Watch using Google Cardboard
• 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?
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
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);
Two types of Communication:
• Direct Communication
• Structural communication
• Visceral communication
• Indirect Communication
Realities
• 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.
Realities
• 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?
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.
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.
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
• 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.
• Hand-held Displays;Output devices that can be held
with the hand and do not require precise alignment
with the head.
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.
Haptics
• Passive vs. Active
• Tactile vs. Proprioceptive
• Self-grounded vs. World-grounded
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).
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.
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.
Illusions of Presence
• Illusion of being in a stable spatial place;
• Illusion of self-embodiment;
• Illusion of physical interaction;
• Illusion of social communication
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.
Design GuidelinesHow 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
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.
Design GuidelinesHow 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.
Perceptual Models &
Processes
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
• 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.
• 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.
NLP Communication Model
Thank you