Abstract The sense of presence is an important aspect of experiences in Virtual Reality (VR), an emerging technology in education, leading this construct to be increasingly researched in parallel to learning purposes. However, there is not a consensus in the literature on the outcomes of this association. Aiming to outline a panorama in this regard, a systematic literature review was conducted, with a comprehensive analysis of 140 primary studies recovered from five worldwide databases. The analysis shows an overview of 24 years of areas, factors, and methodological approaches that seem to be more inclined to benefit from the sense of presence toward learning purposes. We contribute to the advancement of state of the art by providing an understanding of the relationship among these variables, identifying potential ways to benefit from the sense of presence to further leverage the use of VR for learning purposes.
{"title":"What Is the Relationship between the Sense of Presence and Learning in Virtual Reality? A 24-Year Systematic Literature Review","authors":"Aliane Loureiro Krassmann;Miguel Melo;Darque Pinto;Bruno Peixoto;Maximino Bessa;Magda Bercht","doi":"10.1162/pres_a_00350","DOIUrl":"https://doi.org/10.1162/pres_a_00350","url":null,"abstract":"Abstract The sense of presence is an important aspect of experiences in Virtual Reality (VR), an emerging technology in education, leading this construct to be increasingly researched in parallel to learning purposes. However, there is not a consensus in the literature on the outcomes of this association. Aiming to outline a panorama in this regard, a systematic literature review was conducted, with a comprehensive analysis of 140 primary studies recovered from five worldwide databases. The analysis shows an overview of 24 years of areas, factors, and methodological approaches that seem to be more inclined to benefit from the sense of presence toward learning purposes. We contribute to the advancement of state of the art by providing an understanding of the relationship among these variables, identifying potential ways to benefit from the sense of presence to further leverage the use of VR for learning purposes.","PeriodicalId":101038,"journal":{"name":"Presence","volume":"28 ","pages":"247-265"},"PeriodicalIF":0.0,"publicationDate":"2022-03-13","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"50355630","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Xuanru Guo;Takashi Yoshinaga;Aaron Hilton;Shuji Harumoto;Ema Hilton;Shizuka Ono;Takeharu Seno
Abstract Various types of Augmented Reality (AR) have been successfully applied to many highly operable and spatial teaching courses in medicine, chemistry, and others. AR has already shown advantages over traditional face-to-face and online teaching, such as Zoom or Teams meetings. However, it is unclear when comparing teaching activity whether new AR technologies can offer similar advantages disciplines that are non-highly operational or non-spatial in nature, such as Introduction to Psychology. In order to present teaching activities in three dimensions and all directions and realize the presence of a teacher's face movement, we developed two new methods: Volumetric video Augmented Reality (VAR) and Avatar-based Augmented Reality (AAR). We compared the effects of teaching psychology using four methods: VAR, AAR, face-to-face, and Zoom. The participants’ data were collected via questionnaires with which we conducted variance analysis and Pearson correlation analysis. Our experiments showed that there were no significant differences in the effects of teaching under the four different teaching methods, but the AAR and VAR groups had significantly higher curriculum novelty and satisfaction, 3D sensation and presence, and teacher's attractiveness than face-to-face and Zoom groups. The research demonstrated that both VAR and AAR can improve the sense of presence and satisfaction in teaching psychology-related courses.
{"title":"The Sense of Presence between Volumetric-Video and Avatar-Based Augmented Reality and Physical-Zoom Teaching Activities","authors":"Xuanru Guo;Takashi Yoshinaga;Aaron Hilton;Shuji Harumoto;Ema Hilton;Shizuka Ono;Takeharu Seno","doi":"10.1162/pres_a_00351","DOIUrl":"https://doi.org/10.1162/pres_a_00351","url":null,"abstract":"Abstract Various types of Augmented Reality (AR) have been successfully applied to many highly operable and spatial teaching courses in medicine, chemistry, and others. AR has already shown advantages over traditional face-to-face and online teaching, such as Zoom or Teams meetings. However, it is unclear when comparing teaching activity whether new AR technologies can offer similar advantages disciplines that are non-highly operational or non-spatial in nature, such as Introduction to Psychology. In order to present teaching activities in three dimensions and all directions and realize the presence of a teacher's face movement, we developed two new methods: Volumetric video Augmented Reality (VAR) and Avatar-based Augmented Reality (AAR). We compared the effects of teaching psychology using four methods: VAR, AAR, face-to-face, and Zoom. The participants’ data were collected via questionnaires with which we conducted variance analysis and Pearson correlation analysis. Our experiments showed that there were no significant differences in the effects of teaching under the four different teaching methods, but the AAR and VAR groups had significantly higher curriculum novelty and satisfaction, 3D sensation and presence, and teacher's attractiveness than face-to-face and Zoom groups. The research demonstrated that both VAR and AAR can improve the sense of presence and satisfaction in teaching psychology-related courses.","PeriodicalId":101038,"journal":{"name":"Presence","volume":"28 ","pages":"267-280"},"PeriodicalIF":0.0,"publicationDate":"2022-03-13","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"50355632","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Abstract Gathering real-world data is a crucial process in developing realistic, agent-based crowd simulation models. In order to gather real-world data, three types of data need to be considered: physical, mental, and visual. Existing data gathering methods do not collect all three data types, but they provide a limited amount of data for agent-based simulations. This article proposes using a combination of Virtual Reality and Questionnaires as a means to gathering real-world data. This hybrid method collects all three data types and is validated by comparing it to data collected from the real world. Two data gathering experiments (real world and our proposed method) were conducted to collect all three types of data for comparison. Experimental results show that the proposed method can collect similar data to the real-world experiment, in particular for mental and visual data. The Chi-Square Goodness-of-Fit Test proves that there is no significant difference between the real world and our proposed method for mental and visual data, whilst the test shows there is significant difference in physical data, in particular, completed time. We propose an adjustment factor for the completed time data that mitigates the gap between virtual space and real space, and allows the results collected to be input into agent-based simulations as real-world data. Overall, the proposed method is cost effective, time efficient, reproducible, ecologically valid, and able to collect three types of data for agent-based crowd simulation models.
{"title":"A Virtual Reality and Questionnaire Approach to Gathering Real-World Data for Agent-Based Crowd Simulation Models","authors":"Jacob Sinclair;Hemmaphan Suwanwiwat;Ickjai Lee","doi":"10.1162/pres_a_00353","DOIUrl":"https://doi.org/10.1162/pres_a_00353","url":null,"abstract":"Abstract Gathering real-world data is a crucial process in developing realistic, agent-based crowd simulation models. In order to gather real-world data, three types of data need to be considered: physical, mental, and visual. Existing data gathering methods do not collect all three data types, but they provide a limited amount of data for agent-based simulations. This article proposes using a combination of Virtual Reality and Questionnaires as a means to gathering real-world data. This hybrid method collects all three data types and is validated by comparing it to data collected from the real world. Two data gathering experiments (real world and our proposed method) were conducted to collect all three types of data for comparison. Experimental results show that the proposed method can collect similar data to the real-world experiment, in particular for mental and visual data. The Chi-Square Goodness-of-Fit Test proves that there is no significant difference between the real world and our proposed method for mental and visual data, whilst the test shows there is significant difference in physical data, in particular, completed time. We propose an adjustment factor for the completed time data that mitigates the gap between virtual space and real space, and allows the results collected to be input into agent-based simulations as real-world data. Overall, the proposed method is cost effective, time efficient, reproducible, ecologically valid, and able to collect three types of data for agent-based crowd simulation models.","PeriodicalId":101038,"journal":{"name":"Presence","volume":"28 ","pages":"293-312"},"PeriodicalIF":0.0,"publicationDate":"2022-03-13","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"50355633","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Abstract Immersive journalism (IJ), where individuals engage in a news story from a first-person perspective using interactive technologies, has become increasingly popular in recent years. Such stories may improve the impact of journalism on the audience by enhancing feelings and emotions associated with the news content. Studies have shown that rather than undermining rationality, emotion could increase engagement toward news pieces, and improve knowledge of social issues. Emotional personalization (EP), a strategy where the production of news content involves the emotional testimony of ordinary citizens at the heart of the story, is therefore increasingly employed. This study explores how EP, as well as the modality of IJ content, influences our perceptions and cognitions with regards to an IJ piece on war and conflict. In our study, 193 participants took part in a 2 (EP: present vs. absent) × 2 (modality: VR vs. desktop) experiment. Participants in the EP-present condition reported stronger feelings of presence and greater story recall, while those in the VR condition experienced lower emotional valence and stronger feelings of empathy. Our results support current literature on IJ and EP and suggest that with the rising interest in immersive technologies, sustained investigation on the implications of EP strategies in IJ is crucial.
{"title":"Emotional Personalization in Immersive Journalism: Exploring the Influence of Emotional Testimonies and Modality on Emotional Valence, Presence, Empathy, and Recall","authors":"Benjamin (Benjy) J. Li;Hui Min Lee","doi":"10.1162/pres_a_00352","DOIUrl":"https://doi.org/10.1162/pres_a_00352","url":null,"abstract":"Abstract Immersive journalism (IJ), where individuals engage in a news story from a first-person perspective using interactive technologies, has become increasingly popular in recent years. Such stories may improve the impact of journalism on the audience by enhancing feelings and emotions associated with the news content. Studies have shown that rather than undermining rationality, emotion could increase engagement toward news pieces, and improve knowledge of social issues. Emotional personalization (EP), a strategy where the production of news content involves the emotional testimony of ordinary citizens at the heart of the story, is therefore increasingly employed. This study explores how EP, as well as the modality of IJ content, influences our perceptions and cognitions with regards to an IJ piece on war and conflict. In our study, 193 participants took part in a 2 (EP: present vs. absent) × 2 (modality: VR vs. desktop) experiment. Participants in the EP-present condition reported stronger feelings of presence and greater story recall, while those in the VR condition experienced lower emotional valence and stronger feelings of empathy. Our results support current literature on IJ and EP and suggest that with the rising interest in immersive technologies, sustained investigation on the implications of EP strategies in IJ is crucial.","PeriodicalId":101038,"journal":{"name":"Presence","volume":"28 ","pages":"281-292"},"PeriodicalIF":0.0,"publicationDate":"2022-03-13","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"50355631","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Abstract Two immersive visual story worlds (IVS), Queer Psycho and HE Circus, are at the center of this article, one made by each of us. Individually we found our works necessitated the development of new frameworks for IVS construction, namely (1) Brechtian a-effect and queering, and (2) magic and more-than-human theories. These new framings were needed to realize our desire to use IVS to create spaces of active resistance from psychological harm imposed by political and ableist structures designed with rigid ways of seeing the world through straight/neoliberal lenses. When both story worlds and their frameworks are viewed side-by-side, they lay bare the prejudices and normative framings of IVS software and industries. Thus, the outline of these new framings with this article makes an original contribution to the field by calling into question those who are designing IVS software and typical frameworks by asking who and what they are benefiting, and proposing alternatives to illustrate how neither should be considered fixed. Finally, the topic of each IVS, that of Hitchcock's Psycho and neoliberal structures of contemporary higher education, offer critiques of systems which serve to highlight our arguments.
{"title":"Queer Psycho and the He Circus: Applying Queering, Magic, and More-than-Human Theories to Immersive Visual Story Worlds as an Antidote to Late Capitalism","authors":"Eleanor Dare;Dylan Yamada-Rice","doi":"10.1162/pres_a_00369","DOIUrl":"https://doi.org/10.1162/pres_a_00369","url":null,"abstract":"Abstract Two immersive visual story worlds (IVS), Queer Psycho and HE Circus, are at the center of this article, one made by each of us. Individually we found our works necessitated the development of new frameworks for IVS construction, namely (1) Brechtian a-effect and queering, and (2) magic and more-than-human theories. These new framings were needed to realize our desire to use IVS to create spaces of active resistance from psychological harm imposed by political and ableist structures designed with rigid ways of seeing the world through straight/neoliberal lenses. When both story worlds and their frameworks are viewed side-by-side, they lay bare the prejudices and normative framings of IVS software and industries. Thus, the outline of these new framings with this article makes an original contribution to the field by calling into question those who are designing IVS software and typical frameworks by asking who and what they are benefiting, and proposing alternatives to illustrate how neither should be considered fixed. Finally, the topic of each IVS, that of Hitchcock's Psycho and neoliberal structures of contemporary higher education, offer critiques of systems which serve to highlight our arguments.","PeriodicalId":101038,"journal":{"name":"Presence","volume":"30 ","pages":"61-83"},"PeriodicalIF":0.0,"publicationDate":"2021-12-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"50211889","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Virtual, augmented, and mixed reality technologies offer unparalleled opportunities for embodied presence in immersive digital environments. While these platforms are primarily discussed regarding their technological capabilities for simulating fictional scenes or enabling interactions with virtual entities, their profound implications on storytelling and narrative comprehension remain underexplored. The narrative dimension is instrumental as factors like interactivity, stereoscopic displays, and user mobility define what details become available and in what sequence, generating each user’s unique vantage point and experience. In order to address the limited theoretical and methodological accounts on immersive virtual storytelling, this special issue brings together multidisciplinary perspectives spanning engineering, psychology, neuroscience, anthropology, and digital activism. With the proposed novel conceptual frameworks, technologies, applications, and inclusivity initiatives, the contributions examine immersive visual narratives in an expansive manner. Thereby, this special issue aims to provide a novel understanding of how virtual, augmented, and mixed reality platforms can be leveraged to craft and experience narratives in profoundly immersive ways. By providing insights into how immersive qualities transform narrative comprehension, this special issue advances our knowledge of the complex relationship between story, technology, and the human experience.
{"title":"Visual Storytelling and Narrative Experiences in Extended Reality: Guest Editors’ Introduction","authors":"Kata Szita;Cheng Hung Lo","doi":"10.1162/pres_e_00384","DOIUrl":"https://doi.org/10.1162/pres_e_00384","url":null,"abstract":"Virtual, augmented, and mixed reality technologies offer unparalleled opportunities for embodied presence in immersive digital environments. While these platforms are primarily discussed regarding their technological capabilities for simulating fictional scenes or enabling interactions with virtual entities, their profound implications on storytelling and narrative comprehension remain underexplored. The narrative dimension is instrumental as factors like interactivity, stereoscopic displays, and user mobility define what details become available and in what sequence, generating each user’s unique vantage point and experience. In order to address the limited theoretical and methodological accounts on immersive virtual storytelling, this special issue brings together multidisciplinary perspectives spanning engineering, psychology, neuroscience, anthropology, and digital activism. With the proposed novel conceptual frameworks, technologies, applications, and inclusivity initiatives, the contributions examine immersive visual narratives in an expansive manner. Thereby, this special issue aims to provide a novel understanding of how virtual, augmented, and mixed reality platforms can be leveraged to craft and experience narratives in profoundly immersive ways. By providing insights into how immersive qualities transform narrative comprehension, this special issue advances our knowledge of the complex relationship between story, technology, and the human experience.","PeriodicalId":101038,"journal":{"name":"Presence","volume":"30 ","pages":"1-4"},"PeriodicalIF":0.0,"publicationDate":"2021-12-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://ieeexplore.ieee.org/iel7/6720227/10159595/10159600.pdf","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"50211885","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"OA","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Stuart Duncan;Noel Park;Claudia Ott;Tobias Langlotz;Holger Regenbrecht
Abstract Volumetric video recordings of storytellers, when experienced in immersive virtual reality, can elicit a sense of copresence between the user and the storyteller. Combining a volumetric storyteller with an appropriate virtual environment presents a compelling experience that can convey the story with a depth that is hard to achieve with traditional forms of media. Volumetric video production remains difficult, time-consuming, and expensive, often excluding cultural groups who would benefit most. The difficulty is partly due to ever-increasing levels of visual detail in computer graphics, and resulting hardware and software requirements. A high level of detail is not a requirement for convincing immersive experiences, and by reducing the level of detail, experiences can be produced and delivered using readily available, nonspecialized equipment. By reducing computational requirements in this way, storytelling scenes can be created ad hoc and experienced immediately—this is what we are addressing with our approach. We present our portable real-time volumetric capture system, and our framework for using it to produce immersive storytelling experiences. The real-time capability of the system, and the low data rates resulting from lower levels of visual detail, allow us to stream volumetric video in real time to enrich experiences with embodiment (seeing oneself) and with copresence (seeing others). Our system has supported collaborative research with Māori partners with the aim of reconnecting the dispersed Māori population in Aotearoa, New Zealand to their ancestral land through immersive storytelling. We present our system in the context of this collaborative work.
{"title":"Voxel-Based Immersive Mixed Reality: A Framework for Ad Hoc Immersive Storytelling","authors":"Stuart Duncan;Noel Park;Claudia Ott;Tobias Langlotz;Holger Regenbrecht","doi":"10.1162/pres_a_00364","DOIUrl":"https://doi.org/10.1162/pres_a_00364","url":null,"abstract":"Abstract Volumetric video recordings of storytellers, when experienced in immersive virtual reality, can elicit a sense of copresence between the user and the storyteller. Combining a volumetric storyteller with an appropriate virtual environment presents a compelling experience that can convey the story with a depth that is hard to achieve with traditional forms of media. Volumetric video production remains difficult, time-consuming, and expensive, often excluding cultural groups who would benefit most. The difficulty is partly due to ever-increasing levels of visual detail in computer graphics, and resulting hardware and software requirements. A high level of detail is not a requirement for convincing immersive experiences, and by reducing the level of detail, experiences can be produced and delivered using readily available, nonspecialized equipment. By reducing computational requirements in this way, storytelling scenes can be created ad hoc and experienced immediately—this is what we are addressing with our approach. We present our portable real-time volumetric capture system, and our framework for using it to produce immersive storytelling experiences. The real-time capability of the system, and the low data rates resulting from lower levels of visual detail, allow us to stream volumetric video in real time to enrich experiences with embodiment (seeing oneself) and with copresence (seeing others). Our system has supported collaborative research with Māori partners with the aim of reconnecting the dispersed Māori population in Aotearoa, New Zealand to their ancestral land through immersive storytelling. We present our system in the context of this collaborative work.","PeriodicalId":101038,"journal":{"name":"Presence","volume":"30 ","pages":"5-29"},"PeriodicalIF":0.0,"publicationDate":"2021-12-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"50211886","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Abstract This paper proposes an innovative framework to explore large audiovisual archives using Immersive Environments to place users inside a dataset and create an embodied experience. It starts by outlining the need for such a novel interface to meet the needs of archival scholars and the GLAM sector, and discusses issues in the current modes of access, mostly restrained to traditional information retrieval systems based on metadata. The paper presents the concept of “generous interfaces” as a preliminary approach to address these issues, and argues some of the key reasons why employing Immersive Visual Storytelling might benefit such frameworks. The theory of embodiment is leveraged to justify this claim, showing how a more embodied understanding of a collection can result in a stronger engagement for the public. By placing users as actors in the experience rather than mere spectators, the emergence of narrative is driven by their interactions, with benefits in terms of engagement with the public and understanding of the cultural component. The framework we propose is applied to two existing installations to analyze them in-depth and critique them, highlighting the key directions to pursue for further development.
{"title":"Towards Immersive Generosity: The Need for a Novel Framework to Explore Large Audiovisual Archives through Embodied Experiences in Immersive Environments","authors":"Giacomo Alliata;Sarah Kenderdine;Lily Hibberd;Ingrid Mason","doi":"10.1162/pres_a_00366","DOIUrl":"https://doi.org/10.1162/pres_a_00366","url":null,"abstract":"Abstract This paper proposes an innovative framework to explore large audiovisual archives using Immersive Environments to place users inside a dataset and create an embodied experience. It starts by outlining the need for such a novel interface to meet the needs of archival scholars and the GLAM sector, and discusses issues in the current modes of access, mostly restrained to traditional information retrieval systems based on metadata. The paper presents the concept of “generous interfaces” as a preliminary approach to address these issues, and argues some of the key reasons why employing Immersive Visual Storytelling might benefit such frameworks. The theory of embodiment is leveraged to justify this claim, showing how a more embodied understanding of a collection can result in a stronger engagement for the public. By placing users as actors in the experience rather than mere spectators, the emergence of narrative is driven by their interactions, with benefits in terms of engagement with the public and understanding of the cultural component. The framework we propose is applied to two existing installations to analyze them in-depth and critique them, highlighting the key directions to pursue for further development.","PeriodicalId":101038,"journal":{"name":"Presence","volume":"30 ","pages":"45-59"},"PeriodicalIF":0.0,"publicationDate":"2021-12-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"50211888","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Abstract Through the simultaneous presence of graphically composed and materially existing elements, augmented reality (AR) offers ephemeral digital content that is the result of the momentary and, thus, unrepeatable alignment of a physical body and world and an AR system. Capturing the performative and embodied angles of screen-based AR through a combined film-analytical and cognitive lens, this paper focuses on how interfaces, content, and AR-manipulated bodies serve as apparatus for cinematic composition as well as storytelling and user engagement. Observing interactions with AR filters and backgrounds, we reflect on how users’ bodies and expressions that are mirrored on screen are translated into an immersive digital storyworld that exists in the temporal and spatial context of the AR experience and the related technology. AR filters and backgrounds’ affective quality, thus, lies in bodily control and in the creative act of choosing and moderating body characteristics, postures, and positions in real time in relation to the surrounding digitally manipulated or recorded environment. By moderating the representations of bodies and spaces as well as their interplay, AR users actively shape the visual composition of the on-screen space and, thereby, the visual narrative.
{"title":"AR Cinema: Visual Storytelling and Embodied Experiences with Augmented Reality Filters and Backgrounds","authors":"Jennifer O'Meara;Kata Szita","doi":"10.1162/pres_a_00376","DOIUrl":"https://doi.org/10.1162/pres_a_00376","url":null,"abstract":"Abstract Through the simultaneous presence of graphically composed and materially existing elements, augmented reality (AR) offers ephemeral digital content that is the result of the momentary and, thus, unrepeatable alignment of a physical body and world and an AR system. Capturing the performative and embodied angles of screen-based AR through a combined film-analytical and cognitive lens, this paper focuses on how interfaces, content, and AR-manipulated bodies serve as apparatus for cinematic composition as well as storytelling and user engagement. Observing interactions with AR filters and backgrounds, we reflect on how users’ bodies and expressions that are mirrored on screen are translated into an immersive digital storyworld that exists in the temporal and spatial context of the AR experience and the related technology. AR filters and backgrounds’ affective quality, thus, lies in bodily control and in the creative act of choosing and moderating body characteristics, postures, and positions in real time in relation to the surrounding digitally manipulated or recorded environment. By moderating the representations of bodies and spaces as well as their interplay, AR users actively shape the visual composition of the on-screen space and, thereby, the visual narrative.","PeriodicalId":101038,"journal":{"name":"Presence","volume":"30 ","pages":"99-123"},"PeriodicalIF":0.0,"publicationDate":"2021-12-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"50211757","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Abstract This paper discusses boundaries of immersive technologies applied for storytelling by exploring the experiential differences between sensory/technological and mental/narrative immersions as distinct cognitive states. While storytelling, as a reproduction of narratives, can be immersive in itself, the way immersive technologies are afforded by users can be better described in terms of the sense of presence. Understanding differences between immersions is necessary because sensory and mental immersions can contradict each other as they rely on different sides of cognition to gain experiences. Their differentiation can help to better incorporate storytelling with immersive technologies or virtual simulations, as well as to study its effects (e.g., in terms of empathy) and factors that contribute to it.
{"title":"Experiential Challenges of and Opportunities for Applying Immersive Technologies with Storytelling","authors":"Eugene Kukshinov","doi":"10.1162/pres_a_00365","DOIUrl":"https://doi.org/10.1162/pres_a_00365","url":null,"abstract":"Abstract This paper discusses boundaries of immersive technologies applied for storytelling by exploring the experiential differences between sensory/technological and mental/narrative immersions as distinct cognitive states. While storytelling, as a reproduction of narratives, can be immersive in itself, the way immersive technologies are afforded by users can be better described in terms of the sense of presence. Understanding differences between immersions is necessary because sensory and mental immersions can contradict each other as they rely on different sides of cognition to gain experiences. Their differentiation can help to better incorporate storytelling with immersive technologies or virtual simulations, as well as to study its effects (e.g., in terms of empathy) and factors that contribute to it.","PeriodicalId":101038,"journal":{"name":"Presence","volume":"30 ","pages":"31-43"},"PeriodicalIF":0.0,"publicationDate":"2021-12-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"50211887","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
京公网安备 11010802042870号
京ICP备2023020795号-1
扫码关注我们
求助内容：
应助结果提醒方式：