Pub Date : 2022-07-11DOI: https://dl.acm.org/doi/full/10.1145/3514244
Suren Deepak Rajasekaran, Hao Kang, Martin Čadík, Eric Galin, Eric Guérin, Adrien Peytavie, Pavel Slavík, Bedrich Benes
Terrains are visually prominent and commonly needed objects in many computer graphics applications. While there are many algorithms for synthetic terrain generation, it is rather difficult to assess the realism of a generated output. This article presents a first step toward the direction of perceptual evaluation for terrain models. We gathered and categorized several classes of real terrains, and we generated synthetic terrain models using computer graphics methods. The terrain geometries were rendered by using the same texturing, lighting, and camera position. Two studies on these image sets were conducted, ranking the terrains perceptually, and showing that the synthetic terrains are perceived as lacking realism compared to the real ones. We provide insight into the features that affect the perceived realism by a quantitative evaluation based on localized geomorphology-based landform features (geomorphons) that categorize terrain structures such as valleys, ridges, hollows, and so forth. We show that the presence or absence of certain features has a significant perceptual effect. The importance and presence of the terrain features were confirmed by using a generative deep neural network that transferred the features between the geometric models of the real terrains and the synthetic ones. The feature transfer was followed by another perceptual experiment that further showed their importance and effect on perceived realism. We then introduce Perceived Terrain Realism Metrics (PTRM), which estimates human-perceived realism of a terrain represented as a digital elevation map by relating the distribution of terrain features with their perceived realism. This metric can be used on a synthetic terrain, and it will output an estimated level of perceived realism. We validated the proposed metrics on real and synthetic data and compared them to the perceptual studies.
{"title":"PTRM: Perceived Terrain Realism Metric","authors":"Suren Deepak Rajasekaran, Hao Kang, Martin Čadík, Eric Galin, Eric Guérin, Adrien Peytavie, Pavel Slavík, Bedrich Benes","doi":"https://dl.acm.org/doi/full/10.1145/3514244","DOIUrl":"https://doi.org/https://dl.acm.org/doi/full/10.1145/3514244","url":null,"abstract":"<p>Terrains are visually prominent and commonly needed objects in many computer graphics applications. While there are many algorithms for synthetic terrain generation, it is rather difficult to assess the realism of a generated output. This article presents a first step toward the direction of perceptual evaluation for terrain models. We gathered and categorized several classes of real terrains, and we generated synthetic terrain models using computer graphics methods. The terrain geometries were rendered by using the same texturing, lighting, and camera position. Two studies on these image sets were conducted, ranking the terrains perceptually, and showing that the synthetic terrains are perceived as lacking realism compared to the real ones. We provide insight into the features that affect the perceived realism by a quantitative evaluation based on localized geomorphology-based landform features (geomorphons) that categorize terrain structures such as valleys, ridges, hollows, and so forth. We show that the presence or absence of certain features has a significant perceptual effect. The importance and presence of the terrain features were confirmed by using a generative deep neural network that transferred the features between the geometric models of the real terrains and the synthetic ones. The feature transfer was followed by another perceptual experiment that further showed their importance and effect on perceived realism. We then introduce <i>Perceived Terrain Realism Metrics</i> (PTRM), which estimates human-perceived realism of a terrain represented as a digital elevation map by relating the distribution of terrain features with their perceived realism. This metric can be used on a synthetic terrain, and it will output an estimated level of perceived realism. We validated the proposed metrics on real and synthetic data and compared them to the perceptual studies.</p>","PeriodicalId":50921,"journal":{"name":"ACM Transactions on Applied Perception","volume":null,"pages":null},"PeriodicalIF":1.6,"publicationDate":"2022-07-11","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"138504096","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"计算机科学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
This paper describes how the screen size of 3D displays affect the subjective impressions of 3D-visualized content. The key requirement for 3D displays is the presentation of depth cues comprising binocular disparities and/or motion parallax; however, the development of displays and production of content that include these cues leads to an increase in costs. Given the variety of screen sizes, it is expected that 3D characteristics are experienced differently by viewers depending on the screen size. We asked 48 participants to evaluate the 3D experience when using three different-sized stereoscopic displays (11.5, 55, and 200 inches) with head trackers. The participants were asked to score presented stimuli on 20 opposite-term pairs based on the semantic differential method after viewing each of six stimuli. Using factor analysis, we extracted three principal factors: power, related to strong three-dimensionality, real, etc.; visibility, related to stable, natural, etc.; and space, related to agile, open, etc., which had proportions of variances of 0.317, 0.277, and 0.251, respectively; their cumulation was 0.844. We confirmed that the three different-sized displays did not produce the same subjective impressions of the 3D characteristics. In particular, on the small-sized display, we found larger effects on power and space impressions from motion parallax (η2 = 0.133 and 0.161, respectively) than for the other two sizes. We found degradation of the visibility impressions from binocular disparities, which might be caused by artifacts from stereoscopy. The effects of 3D viewing on subjective impression depends on the display size, and small-sized displays offer the largest benefits by adding 3D characteristics to 2D visualization.
{"title":"Display-Size Dependent Effects of 3D Viewing on Subjective Impressions","authors":"Yamato Miyashita, Yasuhito Sawahata, Akihiro Sakai, Masamitsu Harasawa, Kazuhiro Hara, Toshiya Morita, Kazuteru Komine","doi":"https://dl.acm.org/doi/full/10.1145/3510461","DOIUrl":"https://doi.org/https://dl.acm.org/doi/full/10.1145/3510461","url":null,"abstract":"<p>This paper describes how the screen size of 3D displays affect the subjective impressions of 3D-visualized content. The key requirement for 3D displays is the presentation of depth cues comprising binocular disparities and/or motion parallax; however, the development of displays and production of content that include these cues leads to an increase in costs. Given the variety of screen sizes, it is expected that 3D characteristics are experienced differently by viewers depending on the screen size. We asked 48 participants to evaluate the 3D experience when using three different-sized stereoscopic displays (11.5, 55, and 200 inches) with head trackers. The participants were asked to score presented stimuli on 20 opposite-term pairs based on the semantic differential method after viewing each of six stimuli. Using factor analysis, we extracted three principal factors: <i>power</i>, related to strong three-dimensionality, real, etc.; <i>visibility</i>, related to stable, natural, etc.; and <i>space</i>, related to agile, open, etc., which had proportions of variances of 0.317, 0.277, and 0.251, respectively; their cumulation was 0.844. We confirmed that the three different-sized displays did not produce the same subjective impressions of the 3D characteristics. In particular, on the small-sized display, we found larger effects on power and space impressions from motion parallax (η<sup>2</sup> = 0.133 and 0.161, respectively) than for the other two sizes. We found degradation of the visibility impressions from binocular disparities, which might be caused by artifacts from stereoscopy. The effects of 3D viewing on subjective impression depends on the display size, and small-sized displays offer the largest benefits by adding 3D characteristics to 2D visualization.</p>","PeriodicalId":50921,"journal":{"name":"ACM Transactions on Applied Perception","volume":null,"pages":null},"PeriodicalIF":1.6,"publicationDate":"2022-07-11","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"138517394","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"计算机科学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2022-07-11DOI: https://dl.acm.org/doi/full/10.1145/3524692
Stephen J. Hinde, Katy C. Noland, Graham A. Thomas, David R. Bull, Iain D. Gilchrist
This paper presents the results from two studies which used a dual-task methodology to measure an audience's experience of immersion while watching video under typical television viewing conditions. Immersion was measured while participants watched either a high dynamic range, wide color gamut video or a standard dynamic range, standard color gamut video, in high definition or ultra-high definition. Other video parameters were carefully measured and controlled.
The study found that high dynamic range, wide color gamut video is significantly more immersive than standard dynamic range, standard color gamut video in the chosen configuration. However, there was no evidence of significant differences in immersion between high-definition and ultra-high-definition resolutions.
{"title":"On the Immersive Properties of High Dynamic Range Video","authors":"Stephen J. Hinde, Katy C. Noland, Graham A. Thomas, David R. Bull, Iain D. Gilchrist","doi":"https://dl.acm.org/doi/full/10.1145/3524692","DOIUrl":"https://doi.org/https://dl.acm.org/doi/full/10.1145/3524692","url":null,"abstract":"<p>This paper presents the results from two studies which used a dual-task methodology to measure an audience's experience of immersion while watching video under typical television viewing conditions. Immersion was measured while participants watched either a high dynamic range, wide color gamut video or a standard dynamic range, standard color gamut video, in high definition or ultra-high definition. Other video parameters were carefully measured and controlled.</p><p>The study found that high dynamic range, wide color gamut video is significantly more immersive than standard dynamic range, standard color gamut video in the chosen configuration. However, there was no evidence of significant differences in immersion between high-definition and ultra-high-definition resolutions.</p>","PeriodicalId":50921,"journal":{"name":"ACM Transactions on Applied Perception","volume":null,"pages":null},"PeriodicalIF":1.6,"publicationDate":"2022-07-11","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"138517347","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"计算机科学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Kazuya Otake, S. Okamoto, Yasuhiro Akiyama, Yoji Yamada
There is increasing demand for tactile feedback functions for touch panels. We investigated whether virtual roughness texture quality can be improved through simultaneous use of vibrotactile and electrostatic-friction stimuli. This conjunctive use is expected to improve the perceptual quality of texture stimuli, because vibrotactile and electrostatic-friction stimuli have complementary characteristics. Our previous studies confirmed that these conjunct stimuli yield enhanced realism for simple grating roughness. In this study, we conducted experiments using simple and complex sinusoidal surface profiles consisting of one or two spatial wave components. Three different evaluation criteria were employed. The first criterion concerned the subjective realism, i.e., similarity with actual roughness textures, of virtual roughness textures. Participants compared the following three stimulus conditions: vibrotactile stimuli only, electrostatic-friction stimuli only, and their conjunct stimuli. The conjunct stimuli yielded the greatest realism. The second criterion concerned roughness texture identification under each of the three stimulus conditions for five different roughness textures. The highest identification accuracy rate was achieved under the conjunct stimulus condition; however, the performance difference was marginal. The third criterion concerned the discrimination threshold of the grating-scale spatial wavelength. There were no marked differences among the results for the three conditions. The findings of this study will improve virtual texture quality for touch-panel-type surface tactile displays.
{"title":"Tactile Texture Display Combining Vibrotactile and Electrostatic-friction Stimuli: Substantial Effects on Realism and Moderate Effects on Behavioral Responses","authors":"Kazuya Otake, S. Okamoto, Yasuhiro Akiyama, Yoji Yamada","doi":"10.1145/3539733","DOIUrl":"https://doi.org/10.1145/3539733","url":null,"abstract":"There is increasing demand for tactile feedback functions for touch panels. We investigated whether virtual roughness texture quality can be improved through simultaneous use of vibrotactile and electrostatic-friction stimuli. This conjunctive use is expected to improve the perceptual quality of texture stimuli, because vibrotactile and electrostatic-friction stimuli have complementary characteristics. Our previous studies confirmed that these conjunct stimuli yield enhanced realism for simple grating roughness. In this study, we conducted experiments using simple and complex sinusoidal surface profiles consisting of one or two spatial wave components. Three different evaluation criteria were employed. The first criterion concerned the subjective realism, i.e., similarity with actual roughness textures, of virtual roughness textures. Participants compared the following three stimulus conditions: vibrotactile stimuli only, electrostatic-friction stimuli only, and their conjunct stimuli. The conjunct stimuli yielded the greatest realism. The second criterion concerned roughness texture identification under each of the three stimulus conditions for five different roughness textures. The highest identification accuracy rate was achieved under the conjunct stimulus condition; however, the performance difference was marginal. The third criterion concerned the discrimination threshold of the grating-scale spatial wavelength. There were no marked differences among the results for the three conditions. The findings of this study will improve virtual texture quality for touch-panel-type surface tactile displays.","PeriodicalId":50921,"journal":{"name":"ACM Transactions on Applied Perception","volume":null,"pages":null},"PeriodicalIF":1.6,"publicationDate":"2022-05-30","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45590983","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"计算机科学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Driving simulators are established tools used during automotive development and research. Most simulators use either monitors or projectors as their primary display system. However, the emergence of a new generation of head-mounted displays has triggered interest in using these as the primary display type. The general benefits and drawbacks of head-mounted displays are well researched, but their effect on driving behavior in a simulator has not been sufficiently quantified. This article presents a study of driving behavior differences between projector-based graphics and head-mounted display in a large dynamic driving simulator. This study has selected five specific driving maneuvers suspected of affecting driving behavior differently depending on the choice of display technology. Some of these maneuvers were chosen to reveal changes in lateral and longitudinal driving behavior. Others were picked for their ability to highlight the benefits and drawbacks of head-mounted displays in a driving context. The results show minor changes in lateral and longitudinal driver behavior changes when comparing projectors and a head-mounted display. The most noticeable difference in favor of projectors was seen when the display resolution is critical to the driving task. The choice of display type did not affect simulator sickness nor the realism rated by the subjects.
{"title":"The Effects on Driving Behavior When Using a Head-mounted Display in a Dynamic Driving Simulator","authors":"Björn Blissing, F. Bruzelius, Olle Eriksson","doi":"10.1145/3483793","DOIUrl":"https://doi.org/10.1145/3483793","url":null,"abstract":"Driving simulators are established tools used during automotive development and research. Most simulators use either monitors or projectors as their primary display system. However, the emergence of a new generation of head-mounted displays has triggered interest in using these as the primary display type. The general benefits and drawbacks of head-mounted displays are well researched, but their effect on driving behavior in a simulator has not been sufficiently quantified.\u0000 This article presents a study of driving behavior differences between projector-based graphics and head-mounted display in a large dynamic driving simulator. This study has selected five specific driving maneuvers suspected of affecting driving behavior differently depending on the choice of display technology. Some of these maneuvers were chosen to reveal changes in lateral and longitudinal driving behavior. Others were picked for their ability to highlight the benefits and drawbacks of head-mounted displays in a driving context.\u0000 The results show minor changes in lateral and longitudinal driver behavior changes when comparing projectors and a head-mounted display. The most noticeable difference in favor of projectors was seen when the display resolution is critical to the driving task. The choice of display type did not affect simulator sickness nor the realism rated by the subjects.","PeriodicalId":50921,"journal":{"name":"ACM Transactions on Applied Perception","volume":null,"pages":null},"PeriodicalIF":1.6,"publicationDate":"2022-01-31","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"91026721","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"计算机科学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Anca Salagean, Jacob Hadnett-Hunter, Daniel J. Finnegan, A. A. Sousa, M. Proulx
Ultrasonic mid-air haptic technologies, which provide haptic feedback through airwaves produced using ultrasound, could be employed to investigate the sense of body ownership and immersion in virtual reality (VR) by inducing the virtual hand illusion (VHI). Ultrasonic mid-air haptic perception has solely been investigated for glabrous (hairless) skin, which has higher tactile sensitivity than hairy skin. In contrast, the VHI paradigm typically targets hairy skin without comparisons to glabrous skin. The aim of this article was to investigate illusory body ownership, the applicability of ultrasonic mid-air haptics, and perceived immersion in VR using the VHI. Fifty participants viewed a virtual hand being stroked by a feather synchronously and asynchronously with the ultrasonic stimulation applied to the glabrous skin on the palmar surface and the hairy skin on the dorsal surface of their hands. Questionnaire responses revealed that synchronous stimulation induced a stronger VHI than asynchronous stimulation. In synchronous conditions, the VHI was stronger for palmar stimulation than dorsal stimulation. The ultrasonic stimulation was also perceived as more intense on the palmar surface compared to the dorsal surface. Perceived immersion was not related to illusory body ownership per se but was enhanced by the provision of synchronous stimulation.
{"title":"A Virtual Reality Application of the Rubber Hand Illusion Induced by Ultrasonic Mid-air Haptic Stimulation","authors":"Anca Salagean, Jacob Hadnett-Hunter, Daniel J. Finnegan, A. A. Sousa, M. Proulx","doi":"10.1145/3487563","DOIUrl":"https://doi.org/10.1145/3487563","url":null,"abstract":"Ultrasonic mid-air haptic technologies, which provide haptic feedback through airwaves produced using ultrasound, could be employed to investigate the sense of body ownership and immersion in virtual reality (VR) by inducing the virtual hand illusion (VHI). Ultrasonic mid-air haptic perception has solely been investigated for glabrous (hairless) skin, which has higher tactile sensitivity than hairy skin. In contrast, the VHI paradigm typically targets hairy skin without comparisons to glabrous skin. The aim of this article was to investigate illusory body ownership, the applicability of ultrasonic mid-air haptics, and perceived immersion in VR using the VHI. Fifty participants viewed a virtual hand being stroked by a feather synchronously and asynchronously with the ultrasonic stimulation applied to the glabrous skin on the palmar surface and the hairy skin on the dorsal surface of their hands. Questionnaire responses revealed that synchronous stimulation induced a stronger VHI than asynchronous stimulation. In synchronous conditions, the VHI was stronger for palmar stimulation than dorsal stimulation. The ultrasonic stimulation was also perceived as more intense on the palmar surface compared to the dorsal surface. Perceived immersion was not related to illusory body ownership per se but was enhanced by the provision of synchronous stimulation.","PeriodicalId":50921,"journal":{"name":"ACM Transactions on Applied Perception","volume":null,"pages":null},"PeriodicalIF":1.6,"publicationDate":"2022-01-31","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"76230536","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"计算机科学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Wanyu Liu, Michelle Agnes Magalhaes, W. Mackay, M. Beaudouin-Lafon, Frédéric Bevilacqua
With the increasing interest in movement sonification and expressive gesture-based interaction, it is important to understand which factors contribute to movement learning and how. We explore the effects of movement sonification and users’ musical background on motor variability in complex gesture learning. We contribute an empirical study in which musicians and non-musicians learn two gesture sequences over three days, with and without movement sonification. Results show the interlaced interaction effects of these factors and how they unfold in the three-day learning process. For gesture 1, which is fast and dynamic with a direct “action-sound” sonification, movement sonification induces higher variability for both musicians and non-musicians on day 1. While musicians reduce this variability to a similar level as no auditory feedback condition on day 2 and day 3, non-musicians remain to have significantly higher variability. Across three days, musicians also have significantly lower variability than non-musicians. For gesture 2, which is slow and smooth with an “action-music” metaphor, there are virtually no effects. Based on these findings, we recommend future studies to take into account participants’ musical background, consider longitudinal study to examine these effects on complex gestures, and use awareness when interpreting the results given a specific design of gesture and sound.
{"title":"Motor Variability in Complex Gesture Learning: Effects of Movement Sonification and Musical Background","authors":"Wanyu Liu, Michelle Agnes Magalhaes, W. Mackay, M. Beaudouin-Lafon, Frédéric Bevilacqua","doi":"10.1145/3482967","DOIUrl":"https://doi.org/10.1145/3482967","url":null,"abstract":"With the increasing interest in movement sonification and expressive gesture-based interaction, it is important to understand which factors contribute to movement learning and how. We explore the effects of movement sonification and users’ musical background on motor variability in complex gesture learning. We contribute an empirical study in which musicians and non-musicians learn two gesture sequences over three days, with and without movement sonification. Results show the interlaced interaction effects of these factors and how they unfold in the three-day learning process. For gesture 1, which is fast and dynamic with a direct “action-sound” sonification, movement sonification induces higher variability for both musicians and non-musicians on day 1. While musicians reduce this variability to a similar level as no auditory feedback condition on day 2 and day 3, non-musicians remain to have significantly higher variability. Across three days, musicians also have significantly lower variability than non-musicians. For gesture 2, which is slow and smooth with an “action-music” metaphor, there are virtually no effects. Based on these findings, we recommend future studies to take into account participants’ musical background, consider longitudinal study to examine these effects on complex gestures, and use awareness when interpreting the results given a specific design of gesture and sound.","PeriodicalId":50921,"journal":{"name":"ACM Transactions on Applied Perception","volume":null,"pages":null},"PeriodicalIF":1.6,"publicationDate":"2022-01-31","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"85414360","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"计算机科学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Laban Movement Analysis (LMA) and its Effort element provide a conceptual framework through which we can observe, describe, and interpret the intention of movement. Effort attributes provide a link between how people move and how their movement communicates to others. It is crucial to investigate the perceptual characteristics of Effort to validate whether it can serve as an effective framework to support a wide range of applications in animation and robotics that require a system for creating or perceiving expressive variation in motion. To this end, we first constructed an Effort motion database of short video clips of five different motions: walk, sit down, pass, put, wave performed in eight ways corresponding to the extremes of the Effort elements. We then performed a perceptual evaluation to examine the perceptual consistency and perceived associations among Effort elements: Space (Indirect/Direct), Time (Sustained/Sudden), Weight (Light/Strong), and Flow (Free/Bound) that appeared in the motion stimuli. The results of the perceptual consistency evaluation indicate that although the observers do not perceive the LMA Effort element 100% as intended, true response rates of seven Effort elements are higher than false response rates except for light Effort. The perceptual consistency results showed varying tendencies by motion. The perceptual association between LMA Effort elements showed that a single LMA Effort element tends to co-occur with the elements of other factors, showing significant correlation with one or two factors (e.g., indirect and free, light and free).
{"title":"The Perceptual Consistency and Association of the LMA Effort Elements","authors":"Hyejin Kim, Michael Neff, Sung-Hee Lee","doi":"10.1145/3473041","DOIUrl":"https://doi.org/10.1145/3473041","url":null,"abstract":"\u0000 Laban Movement Analysis (LMA) and its Effort element provide a conceptual framework through which we can observe, describe, and interpret the intention of movement. Effort attributes provide a link between how people move and how their movement communicates to others. It is crucial to investigate the perceptual characteristics of Effort to validate whether it can serve as an effective framework to support a wide range of applications in animation and robotics that require a system for creating or perceiving expressive variation in motion. To this end, we first constructed an Effort motion database of short video clips of five different motions:\u0000 walk, sit down, pass, put, wave\u0000 performed in eight ways corresponding to the extremes of the Effort elements. We then performed a perceptual evaluation to examine the perceptual\u0000 consistency\u0000 and perceived\u0000 associations\u0000 among Effort elements:\u0000 Space (Indirect/Direct), Time (Sustained/Sudden), Weight (Light/Strong),\u0000 and\u0000 Flow (Free/Bound)\u0000 that appeared in the motion stimuli. The results of the perceptual consistency evaluation indicate that although the observers do not perceive the LMA Effort element 100% as intended, true response rates of seven Effort elements are higher than false response rates except for\u0000 light\u0000 Effort. The perceptual consistency results showed varying tendencies by motion. The perceptual association between LMA Effort elements showed that a single LMA Effort element tends to co-occur with the elements of other factors, showing significant correlation with one or two factors (e.g., indirect and free, light and free).\u0000","PeriodicalId":50921,"journal":{"name":"ACM Transactions on Applied Perception","volume":null,"pages":null},"PeriodicalIF":1.6,"publicationDate":"2022-01-31","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"91300781","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"计算机科学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"Introduction to the Special Issue on SAP 2021","authors":"Eakta Jain, A. Olivier","doi":"10.1145/3486577","DOIUrl":"https://doi.org/10.1145/3486577","url":null,"abstract":"","PeriodicalId":50921,"journal":{"name":"ACM Transactions on Applied Perception","volume":null,"pages":null},"PeriodicalIF":1.6,"publicationDate":"2021-10-31","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"86294913","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"计算机科学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
A. Adkins, Lorraine Lin, Aline Normoyle, Ryan Canales, Yuting Ye, S. Jörg
A primary goal of the Virtual Reality ( VR ) community is to build fully immersive and presence-inducing environments with seamless and natural interactions. To reach this goal, researchers are investigating how to best directly use our hands to interact with a virtual environment using hand tracking. Most studies in this field require participants to perform repetitive tasks. In this article, we investigate if results of such studies translate into a real application and game-like experience. We designed a virtual escape room in which participants interact with various objects to gather clues and complete puzzles. In a between-subjects study, we examine the effects of two input modalities (controllers vs. hand tracking) and two grasping visualizations (continuously tracked hands vs. virtual hands that disappear when grasping) on ownership, realism, efficiency, enjoyment, and presence. Our results show that ownership, realism, enjoyment, and presence increased when using hand tracking compared to controllers. Visualizing the tracked hands during grasps leads to higher ratings in one of our ownership questions and one of our enjoyment questions compared to having the virtual hands disappear during grasps as is common in many applications. We also confirm some of the main results of two studies that have a repetitive design in a more realistic gaming scenario that might be closer to a typical user experience.
{"title":"Evaluating Grasping Visualizations and Control Modes in a VR Game","authors":"A. Adkins, Lorraine Lin, Aline Normoyle, Ryan Canales, Yuting Ye, S. Jörg","doi":"10.1145/3486582","DOIUrl":"https://doi.org/10.1145/3486582","url":null,"abstract":"\u0000 A primary goal of the\u0000 Virtual Reality\u0000 (\u0000 VR\u0000 ) community is to build fully immersive and presence-inducing environments with seamless and natural interactions. To reach this goal, researchers are investigating how to best directly use our hands to interact with a virtual environment using hand tracking. Most studies in this field require participants to perform repetitive tasks. In this article, we investigate if results of such studies translate into a real application and game-like experience. We designed a virtual escape room in which participants interact with various objects to gather clues and complete puzzles. In a between-subjects study, we examine the effects of two input modalities (controllers vs. hand tracking) and two grasping visualizations (continuously tracked hands vs. virtual hands that disappear when grasping) on ownership, realism, efficiency, enjoyment, and presence.\u0000 \u0000 Our results show that ownership, realism, enjoyment, and presence increased when using hand tracking compared to controllers. Visualizing the tracked hands during grasps leads to higher ratings in one of our ownership questions and one of our enjoyment questions compared to having the virtual hands disappear during grasps as is common in many applications. We also confirm some of the main results of two studies that have a repetitive design in a more realistic gaming scenario that might be closer to a typical user experience.","PeriodicalId":50921,"journal":{"name":"ACM Transactions on Applied Perception","volume":null,"pages":null},"PeriodicalIF":1.6,"publicationDate":"2021-10-31","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"81438789","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"计算机科学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
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