Am I in the theater?

He, Linjia; Li, Hongsong; Xue, Ting; Sun, Deyuan; Zhu, Shoulun; Ding, Guofu

doi:10.1145/3281505.3281508

Cited by 21 publications

(13 citation statements)

References 24 publications

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“…The average age of the subjects was 22.19±2.13 years, and the average years of education were 16.04±2.10 years. To exclude the learning transfer effect caused by the two experimental modes and avoid irritability or fatigue effects caused by the prolonged experimental time, each participant could only participate in one group of experiments, as was determined by the experimental grouping method of Kim et al [ 24 ], Ding et al [ 1 ], and He et al [ 16 ]. All participants were tested between 9:00 AM-11:30 AM and 14:00 PM-16:30 PM to eliminate the potential confounding effects of circadian rhythms.…”

Section: Methodsmentioning

confidence: 99%

“…To date, only limited studies have been conducted to investigate emotional effects in VR environments using EEG. He et al [ 16 ] found that head-mounted VR environments made viewers perceive more reality than 2D environments, and more dimensions of sensory emotions and thinking were awakened. EEG analysis has unique advantages in mood detection; to the best of our knowledge, there are no published studies using EEG that explore the effects of stereo vision on emotional arousal [ 17 ].…”

Section: Introductionmentioning

confidence: 99%

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Emotional arousal in 2D versus 3D virtual reality environments

et al. 2021

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Previous studies have suggested that virtual reality (VR) can elicit emotions in different visual modes using 2D or 3D headsets. However, the effects on emotional arousal by using these two visual modes have not been comprehensively investigated, and the underlying neural mechanisms are not yet clear. This paper presents a cognitive psychological experiment that was conducted to analyze how these two visual modes impact emotional arousal. Forty volunteers were recruited and were randomly assigned to two groups. They were asked to watch a series of positive, neutral and negative short VR videos in 2D and 3D. Multichannel electroencephalograms (EEG) and skin conductance responses (SCR) were recorded simultaneously during their participation. The results indicated that emotional stimulation was more intense in the 3D environment due to the improved perception of the environment; greater emotional arousal was generated; and higher beta (21–30 Hz) EEG power was identified in 3D than in 2D. We also found that both hemispheres were involved in stereo vision processing and that brain lateralization existed in the processing.

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Section: Methodsmentioning

confidence: 99%

Section: Introductionmentioning

confidence: 99%

Emotional arousal in 2D versus 3D virtual reality environments

et al. 2021

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“…Ref. [15] explored duplicating an audience experience of an art performance using VR, assessing usability in a two-level framework by combining aspects of presence with quality evaluation typical for arts performances. They analyzed the level of presence (level 1), and, furthermore (level 2), engagement, information recall, and desire of viewing using four methods: a questionnaire instrument, interviews, EEG measurements, and head movement tracking.…”

Section: Systems Immersion Engage With Mechanics/puzzles Of Game Narrative Immersionmentioning

confidence: 99%

“…[19] Adapt to user characteristics (like age) or mastery level [14,20] Environment Vary teams-based familiarity (pre-existing vs. newly composed), vary roles or level of difficulty [13] Headsets risk users missing key elements of the storyline [15] Simulate several rooms in single physical space [12] Progression should be apparent at all times throughout the experience [11] Involvement of tangible objects is possible to relate the digital to the real-world space.…”

Section: Storylinementioning

confidence: 99%

“…Visual cues improve visual search performance [7] Provide clues/hints [11] Unique ability to use complex 3D objects physically not available at needed scale/viewing angle [12] Picking up objects triggers audio-visual feedback cues [14] Lighting effects strengthen immersion [15] Audio Spatial audio cues significantly improve visual search performance [7] Audio is more important to a user than visual aesthetics [13] Sound effects to strengthen immersion [15] Relate music works to visual objects [16] Much is known in isolation about escape rooms, mixed/augmented/virtual reality, and even mixed/augmented/virtual escape rooms for education, but the combination of an arts performance and poetry game mechanics into an escape room in augmented reality remain underexplored. Moreover, besides that of [12], there are no escape rooms on head-mounted see-through displays (of the grade of Microsoft HoloLens).…”

Section: Storylinementioning

confidence: 99%

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UNBODY: A Poetry Escape Room in Augmented Reality

et al. 2021

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The integration of augmented reality (AR) technology into personal computing is happening fast, and augmented workplaces for professionals in areas such as Industry 4.0 or digital health can reasonably be expected to form liminal zones that push the boundary of what currently possible. The application potential in the creative industries, however, is vast and can target broad audiences, so with UNBODY, we set out to push boundaries of a different kind and depart from the graphic-centric worlds of AR to explore textual and aural dimensions of an extended reality, in which words haunt and re-create our physical selves. UNBODY is an AR installation for smart glasses that embeds poetry in the user’s surroundings. The augmented experience turns reality into a medium where holographic texts and film clips spill from dayglow billboards and totems. In this paper, we develop a blueprint for an AR escape room dedicated to the spoken and written word, with its open source code facilitating uptake by others into existing or new AR escape rooms. We outline the user-centered process of designing, building, and evaluating UNBODY. More specifically, we deployed a system usability scale (SUS) and a spatial interaction evaluation (SPINE) in order to validate its wider applicability. In this paper, we also describe the composition and concept of the experience, identifying several components (trigger posters, posters with video overlay, word dropper totem, floating object gallery, and a user trail visualization) as part of our first version before evaluation. UNBODY provides a sense of situational awareness and immersivity from inside an escape room. The recorded average mean for the SUS was 59.7, slightly under the recommended 68 average but still above ‘OK’ in the zone of low marginal acceptable. The findings for the SPINE were moderately positive, with the highest scores for output modalities and navigation support. This indicated that the proposed components and escape room concept work. Based on these results, we improved the experience, adding, among others, an interactive word composer component. We conclude that a poetry escape room is possible, outline our co-creation process, and deliver an open source technical framework as a blueprint for adding enhanced support for the spoken and written word to existing or coming AR escape room experiences. In an outlook, we discuss additional insight on timing, alignment, and the right level of personalization.

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