Virtual Reality (VR) based assessment systems can simulate diverse real-life scenarios and help clinicians assess participants’ performance under controlled functional contexts. Our previous work demonstrated an assessment paradigm to provide multi-sensory stimuli and cognitive load, and quantify walking balance with obstacle negotiation by motion capture and pressure sensing. However, we need to fill two gaps to make it more clinically relevant: 1. it required offline complex data processing with external statistical analysis software; 2. it utilized motion tracking but overlooked eye movement. Therefore, we present a novel walking balance assessment system with eye tracking to investigate the role of eye movement in walking balance and spatial data visualization to better interpret and understand the experimental data. The spatial visualization includes instantaneous in-situ VR replay for the gaze, head, and feet; and data plots for the outcome measures. The system fills a need to provide eye tracking and intuitive feedback in VR to experimenters, clinicians, and participants in real-time.
{"title":"Walking Balance Assessment with Eye-tracking and Spatial Data Visualization","authors":"Zhu Wang, Anat V. Lubetzky, K. Perlin","doi":"10.1145/3450615.3464533","DOIUrl":"https://doi.org/10.1145/3450615.3464533","url":null,"abstract":"Virtual Reality (VR) based assessment systems can simulate diverse real-life scenarios and help clinicians assess participants’ performance under controlled functional contexts. Our previous work demonstrated an assessment paradigm to provide multi-sensory stimuli and cognitive load, and quantify walking balance with obstacle negotiation by motion capture and pressure sensing. However, we need to fill two gaps to make it more clinically relevant: 1. it required offline complex data processing with external statistical analysis software; 2. it utilized motion tracking but overlooked eye movement. Therefore, we present a novel walking balance assessment system with eye tracking to investigate the role of eye movement in walking balance and spatial data visualization to better interpret and understand the experimental data. The spatial visualization includes instantaneous in-situ VR replay for the gaze, head, and feet; and data plots for the outcome measures. The system fills a need to provide eye tracking and intuitive feedback in VR to experimenters, clinicians, and participants in real-time.","PeriodicalId":439895,"journal":{"name":"ACM SIGGRAPH 2021 Immersive Pavilion","volume":"1 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2021-08-05","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"132540198","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}
Speak to Awaken: Ep.1 Diving into Siraya is an experimental interactive VR documentary that aims to arouse interest in this issue. Experiencers can speak the endangered Siraya language to engage their reconstructed abstract world. They can also absorb facts on the revitalization process through the perspectives of related key persons and graphics. High-resolution VR360 videos, volumetric captures, and together with the voice donation website are adopted, as a new approach for the preservation of endangered language and its culture.
Speak to Awaken: Ep.1潜入Siraya是一部实验性互动VR纪录片，旨在引起人们对这个问题的兴趣。体验者可以用濒临灭绝的西拉亚语来参与他们重建的抽象世界。他们也可以通过相关关键人物和图形的视角来吸收振兴过程中的事实。采用高分辨率VR360视频、体积捕获以及语音捐赠网站作为保护濒危语言及其文化的新方法。
{"title":"Speak to Awaken EP.1 Diving into Siraya: An Endangered Language Speech Interactive VR Documentary","authors":"Carol Tsai-Jung Han, Kuan Yuan Lai","doi":"10.1145/3450615.3464537","DOIUrl":"https://doi.org/10.1145/3450615.3464537","url":null,"abstract":"Speak to Awaken: Ep.1 Diving into Siraya is an experimental interactive VR documentary that aims to arouse interest in this issue. Experiencers can speak the endangered Siraya language to engage their reconstructed abstract world. They can also absorb facts on the revitalization process through the perspectives of related key persons and graphics. High-resolution VR360 videos, volumetric captures, and together with the voice donation website are adopted, as a new approach for the preservation of endangered language and its culture.","PeriodicalId":439895,"journal":{"name":"ACM SIGGRAPH 2021 Immersive Pavilion","volume":"40 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2021-08-05","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"123374454","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}
Jiyoung Kang, Byung-kyu Jeon, Seon-hwi Kim, Su-yong Park
Nam June Paik's first solo exhibition in 1963 titled "Exposition of Music - Electronic Television" marked the beginning of his career, and he is often referred to as the father of video art. In this project, we attempted to virtually recreate some of his exhibits and exhibition spaces that are currently unavailable to elucidate their meaning. Among the exhibits, the three most interactive and meaningful works, namely Prepared Pianos (4 units), Electronic Television (13 units), and Random Access, were recreated in virtual reality (VR) space. To compensate for the limitations imposed by simple interactions between existing VR exhibitions of art works, this project was developed with the utmost focus on preserving the artistic value of the original work while maximizing the exhibition space reproduced in VR as well as audience immersion in the work.
{"title":"Exposition of Music: VR Exhibition","authors":"Jiyoung Kang, Byung-kyu Jeon, Seon-hwi Kim, Su-yong Park","doi":"10.1145/3450615.3464535","DOIUrl":"https://doi.org/10.1145/3450615.3464535","url":null,"abstract":"Nam June Paik's first solo exhibition in 1963 titled \"Exposition of Music - Electronic Television\" marked the beginning of his career, and he is often referred to as the father of video art. In this project, we attempted to virtually recreate some of his exhibits and exhibition spaces that are currently unavailable to elucidate their meaning. Among the exhibits, the three most interactive and meaningful works, namely Prepared Pianos (4 units), Electronic Television (13 units), and Random Access, were recreated in virtual reality (VR) space. To compensate for the limitations imposed by simple interactions between existing VR exhibitions of art works, this project was developed with the utmost focus on preserving the artistic value of the original work while maximizing the exhibition space reproduced in VR as well as audience immersion in the work.","PeriodicalId":439895,"journal":{"name":"ACM SIGGRAPH 2021 Immersive Pavilion","volume":"3 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2021-08-05","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"122316472","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}
VR SuperGun is a custom hardware and software prototype allowing play of original arcade platforms through a network connection, reconstituting the material form of the arcade cabinet in digital space. It extends the format of the SuperGun, a device that contains the wiring of an arcade cabinet in consolised form.
{"title":"VR SuperGun: Interfacing 1980s Arcade Hardware with Online Virtual Reality","authors":"Kieran Nolan","doi":"10.1145/3450615.3464526","DOIUrl":"https://doi.org/10.1145/3450615.3464526","url":null,"abstract":"VR SuperGun is a custom hardware and software prototype allowing play of original arcade platforms through a network connection, reconstituting the material form of the arcade cabinet in digital space. It extends the format of the SuperGun, a device that contains the wiring of an arcade cabinet in consolised form.","PeriodicalId":439895,"journal":{"name":"ACM SIGGRAPH 2021 Immersive Pavilion","volume":"2 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2021-08-05","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"130627154","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}
SecondSight is a framework for rapid prototyping of cross-device interfaces that combine an optical see-through Augmented Reality (AR) head-mounted display (HMD) with a smartphone. SecondSight contains code for simulating AR HMDs with different Fields of View (FOV), providing gesture and head pointing input, and allowing virtual content to be placed in different coordinate frames. Overall, this gives AR researchers flexibility to explore different types of cross-device interfaces and interaction techniques with different types of display, input, and content placement.
{"title":"SecondSight: Demonstrating Cross-Device Augmented Reality","authors":"Carolin Reichherzer, Jack Fraser, M. Billinghurst","doi":"10.1145/3450615.3464545","DOIUrl":"https://doi.org/10.1145/3450615.3464545","url":null,"abstract":"SecondSight is a framework for rapid prototyping of cross-device interfaces that combine an optical see-through Augmented Reality (AR) head-mounted display (HMD) with a smartphone. SecondSight contains code for simulating AR HMDs with different Fields of View (FOV), providing gesture and head pointing input, and allowing virtual content to be placed in different coordinate frames. Overall, this gives AR researchers flexibility to explore different types of cross-device interfaces and interaction techniques with different types of display, input, and content placement.","PeriodicalId":439895,"journal":{"name":"ACM SIGGRAPH 2021 Immersive Pavilion","volume":"1 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2021-08-05","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"129584568","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}
‘Bystanding: The Feingold Syndrome’ is an immersive interactive VR docufiction exploring the drowning and rescue of Israeli rowing champion Jasmine Feingold. In 2009, Feingold lost consciousness and capsized while rowing in Tel Aviv's Ha'Yarkon River. She stayed submerged for nearly five minutes. During that time, none of the dozens of bystanders on the riverbank took any action to help her, until finally one person did. Using novel techniques of volumetric capture, photogrammetry, animations, and 360º videos, ‘Bystanding’ recreates the incident and allows participants to embody bystanders’ points of view. Each point of view is represented as a wholly different memory, providing a glimpse into the individual's stream of consciousness.
{"title":"Bystanding: The Feingold Syndrome: Step outside your shoes: exploring the Bystander Effect through Virtual Reality","authors":"Roi Lev, N. Shapira, Y. Yacoby","doi":"10.1145/3450615.3464539","DOIUrl":"https://doi.org/10.1145/3450615.3464539","url":null,"abstract":"‘Bystanding: The Feingold Syndrome’ is an immersive interactive VR docufiction exploring the drowning and rescue of Israeli rowing champion Jasmine Feingold. In 2009, Feingold lost consciousness and capsized while rowing in Tel Aviv's Ha'Yarkon River. She stayed submerged for nearly five minutes. During that time, none of the dozens of bystanders on the riverbank took any action to help her, until finally one person did. Using novel techniques of volumetric capture, photogrammetry, animations, and 360º videos, ‘Bystanding’ recreates the incident and allows participants to embody bystanders’ points of view. Each point of view is represented as a wholly different memory, providing a glimpse into the individual's stream of consciousness.","PeriodicalId":439895,"journal":{"name":"ACM SIGGRAPH 2021 Immersive Pavilion","volume":"27 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2021-08-05","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"121613050","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}
As we learn to keep social and familial connections alive amidst the pandemic and rely heavily on digital media, I realize this has been my own ‘normal’ for most of the past decade. After immigrating to the US from India, my ability to travel home and be physically present with my family became limited, particularly after the 2016 elections. Thinking about home and belonging today, my thoughts go to my sister in Copenhagen and my parents in New Delhi. Using Augmented Reality as a storytelling tool for this film, allows me to see the evolving definition of ‘home’ through the eyes of my family. My experiments in early 2020 as an artist in the Adobe Aero AR Residency, helped explore the possibilities and limitations of AR, as experienced through the Adobe Aero application. Following this, I was interested in seeing how AR could fit into the scope of a narrative project and how it would interact with a traditional animation or video workflow when used by a filmmaker. I discovered many efficiencies during the production process, the most powerful being in-camera, real-time compositing. The process of creating ‘A New Normal’ combines the technical and conceptual workflows of both animation and documentary filmmaking. One scene has been made available to view in AR via the Adobe Aero app on iOS. Shot entirely in my apartment while sheltering in place, A New Normal is a product of remote collaboration between artists based in Copenhagen, Madrid, New Delhi, Mumbai and Los Angeles. In this short, my everyday digital conversations with family are overlaid with AR versions of my parents and sister in my own environment, to co-create a mixed reality experience that for the time being, is the closest thing I have to the feeling of home.
{"title":"A New Normal: A story about warmth, hope, and family, A New Normal explores themes of ‘home' and 'belonging' combining elements and processes of traditional narrative filmmaking with augmented reality.","authors":"Asavari Kumar, Shaivalini Kumar","doi":"10.1145/3450615.3464525","DOIUrl":"https://doi.org/10.1145/3450615.3464525","url":null,"abstract":"As we learn to keep social and familial connections alive amidst the pandemic and rely heavily on digital media, I realize this has been my own ‘normal’ for most of the past decade. After immigrating to the US from India, my ability to travel home and be physically present with my family became limited, particularly after the 2016 elections. Thinking about home and belonging today, my thoughts go to my sister in Copenhagen and my parents in New Delhi. Using Augmented Reality as a storytelling tool for this film, allows me to see the evolving definition of ‘home’ through the eyes of my family. My experiments in early 2020 as an artist in the Adobe Aero AR Residency, helped explore the possibilities and limitations of AR, as experienced through the Adobe Aero application. Following this, I was interested in seeing how AR could fit into the scope of a narrative project and how it would interact with a traditional animation or video workflow when used by a filmmaker. I discovered many efficiencies during the production process, the most powerful being in-camera, real-time compositing. The process of creating ‘A New Normal’ combines the technical and conceptual workflows of both animation and documentary filmmaking. One scene has been made available to view in AR via the Adobe Aero app on iOS. Shot entirely in my apartment while sheltering in place, A New Normal is a product of remote collaboration between artists based in Copenhagen, Madrid, New Delhi, Mumbai and Los Angeles. In this short, my everyday digital conversations with family are overlaid with AR versions of my parents and sister in my own environment, to co-create a mixed reality experience that for the time being, is the closest thing I have to the feeling of home.","PeriodicalId":439895,"journal":{"name":"ACM SIGGRAPH 2021 Immersive Pavilion","volume":"1 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2021-08-05","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"125825839","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}
Augmented Reality (AR) provides opportunities to create exciting new kinds of digital entertainment, such as watching movies on a large virtual screen or playing games that interact with a real physical room. While a number of AR games have been built, many do not build on the control innovations found in modern console, PC, and mobile gaming [Von Itzstein et al. 2019]. To explore the space of immersive multiplayer experiences with support for control innovations found in common non-immersive video games, we present HoloFight, a multiplayer fighting game using two or more Microsoft HoloLens 2s, two or more Xbox controllers, and the various natural user interfaces supported by the Microsoft HoloLens 2.
{"title":"HoloFight: An Augmented Reality Fighting Game","authors":"Shalva Kohen, Carmine Elvezio, Steven K. Feiner","doi":"10.1145/3450615.3464531","DOIUrl":"https://doi.org/10.1145/3450615.3464531","url":null,"abstract":"Augmented Reality (AR) provides opportunities to create exciting new kinds of digital entertainment, such as watching movies on a large virtual screen or playing games that interact with a real physical room. While a number of AR games have been built, many do not build on the control innovations found in modern console, PC, and mobile gaming [Von Itzstein et al. 2019]. To explore the space of immersive multiplayer experiences with support for control innovations found in common non-immersive video games, we present HoloFight, a multiplayer fighting game using two or more Microsoft HoloLens 2s, two or more Xbox controllers, and the various natural user interfaces supported by the Microsoft HoloLens 2.","PeriodicalId":439895,"journal":{"name":"ACM SIGGRAPH 2021 Immersive Pavilion","volume":"11 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2021-08-05","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"125897937","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}
Digital art has come a long way since the first release of MS Paint. And while artists can already work wonders with the tools at their disposal, there's always been a very distinct barrier between traditional mediums and the digital ones. Instead of brushes on a canvas, a stylus on a screen is used. Instead of mixing paints of different colors and thickness, a color picker and transparency slider are presented. The instinctiveness and versatility of bristles on canvas have been replaced with a selection of discrete tools - draw, blur, smudge,... It's also not possible to make strokes with large gestures, to work on your piece from arm's length, like the old masters did. The typical texture that physical paint has is also lost in drawing programs. Vermillion offers a new tool for digital artists, be they novices who always wanted to try their hand at following along with Bob Ross, or veteran Photoshop users who long for more analog control. It simulates the full oil painting experience. A selection of specialist brushes is offered, each with unique characteristics and their distinct brush pattern. The bristles bend as they are pushed against a surface, soaking up the paint that's on the palette. The paints mix as they would in the real world, not as RGB colors do on a monitor. Paint thinner can be used to control the thickness and flow of the paint. The paint can be pushed, pulled, blurred and blended on the canvas, and shows the relief and pattern of your strokes. The resulting piece can be exported to be presented as a new digital work of art.
{"title":"Vermillion: Oil Painting Simulation In Virtual Reality: A new tool for digital artists offering the analog control of traditional painting with the benefits of a virtual environment.","authors":"Thomas van den Berge","doi":"10.1145/3450615.3464542","DOIUrl":"https://doi.org/10.1145/3450615.3464542","url":null,"abstract":"Digital art has come a long way since the first release of MS Paint. And while artists can already work wonders with the tools at their disposal, there's always been a very distinct barrier between traditional mediums and the digital ones. Instead of brushes on a canvas, a stylus on a screen is used. Instead of mixing paints of different colors and thickness, a color picker and transparency slider are presented. The instinctiveness and versatility of bristles on canvas have been replaced with a selection of discrete tools - draw, blur, smudge,... It's also not possible to make strokes with large gestures, to work on your piece from arm's length, like the old masters did. The typical texture that physical paint has is also lost in drawing programs. Vermillion offers a new tool for digital artists, be they novices who always wanted to try their hand at following along with Bob Ross, or veteran Photoshop users who long for more analog control. It simulates the full oil painting experience. A selection of specialist brushes is offered, each with unique characteristics and their distinct brush pattern. The bristles bend as they are pushed against a surface, soaking up the paint that's on the palette. The paints mix as they would in the real world, not as RGB colors do on a monitor. Paint thinner can be used to control the thickness and flow of the paint. The paint can be pushed, pulled, blurred and blended on the canvas, and shows the relief and pattern of your strokes. The resulting piece can be exported to be presented as a new digital work of art.","PeriodicalId":439895,"journal":{"name":"ACM SIGGRAPH 2021 Immersive Pavilion","volume":"17 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2021-08-05","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"121474997","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}
Tinker defines a new genre of storytelling called storyliving. Through interactive and embodied immersive experiences, participants can connect with narrative in a more meaningful way. In this live, bespoke virtual reality theatre experience, the participant becomes the main character of the story. Based upon the true story of Director Lou Ward and his relationship with his grandfather who developed Alzheimer's disease, Tinker places the participant in the role of the grandchild so that Ward's story, in turn, becomes their own. Over time, the participant creates new memories alongside their grandfather in his workshop, and their connection to the grandfather and the story grows stronger with time. Tinker is a cornerstone in compelling storyliving experiences; moreover, it is because of how it is designed that participants feel connected to the story.
{"title":"Designing for Storyliving Experiences:: Tinker, A Case Study","authors":"Louise W. Ward, Cristopher David, Lara Bucarey","doi":"10.1145/3450615.3464534","DOIUrl":"https://doi.org/10.1145/3450615.3464534","url":null,"abstract":"Tinker defines a new genre of storytelling called storyliving. Through interactive and embodied immersive experiences, participants can connect with narrative in a more meaningful way. In this live, bespoke virtual reality theatre experience, the participant becomes the main character of the story. Based upon the true story of Director Lou Ward and his relationship with his grandfather who developed Alzheimer's disease, Tinker places the participant in the role of the grandchild so that Ward's story, in turn, becomes their own. Over time, the participant creates new memories alongside their grandfather in his workshop, and their connection to the grandfather and the story grows stronger with time. Tinker is a cornerstone in compelling storyliving experiences; moreover, it is because of how it is designed that participants feel connected to the story.","PeriodicalId":439895,"journal":{"name":"ACM SIGGRAPH 2021 Immersive Pavilion","volume":"34 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2021-08-05","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"131506928","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}
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