Purpose: To examine the test–retest reliability and validity of ten activity trackers for step counting at three different walking speeds. Methods:Thirty-one healthy participants walked twice on a treadmill for 30 min while wearing 10 activity trackers (Polar Loop, GarminVivosmart, Fitbit Charge HR, Apple Watch Sport, Pebble Smartwatch, Samsung Gear S, Misfit Flash, Jawbone Up Move, Flyfit, andMoves). Participants walked three walking speeds for 10 min each; slow (3.2 kmIhj1), average (4.8 kmIhj1), and vigorous (6.4 kmIhj1).To measure test–retest reliability, intraclass correlations (ICC) were determined between the first and second treadmill test. Validity wasdetermined by comparing the trackers with the gold standard (hand counting), using mean differences, mean absolute percentage errors,and ICC. Statistical differences were calculated by paired-sample t tests, Wilcoxon signed-rank tests, and by constructing Bland–Altmanplots. Results: Test–retest reliability varied with ICC ranging from j0.02 to 0.97. Validity varied between trackers and different walkingspeeds with mean differences between the gold standard and activity trackers ranging from 0.0 to 26.4%. Most trackers showed relativelylow ICC and broad limits of agreement of the Bland–Altman plots at the different speeds. For the slow walking speed, the GarminVivosmart and Fitbit Charge HR showed the most accurate results. The Garmin Vivosmart and Apple Watch Sport demonstrated the bestaccuracy at an average walking speed. For vigorous walking, the Apple Watch Sport, Pebble Smartwatch, and Samsung Gear S exhibitedthe most accurate results. Conclusion: Test–retest reliability and validity of activity trackers depends on walking speed. In general,consumer activity trackers perform better at an average and vigorous walking speed than at a slower walking speed.
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We need mental and physical reference points. We need physical reference points such as signposts to show us which way to go, for example to the airport or the hospital, and we need reference points to show us where we are. Why? If you don’t know where you are, it’s quite a difficult job to find your way, thus landmarks and “lieux de memoire” play an important role in our lives.
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The interplay between sound and vision is a key determinant of human perception. With the development of Virtual Reality (VR) technologies and their commercial applications, there is emergent need to better understand how audio-visual signals manipulated in virtual environments influence perception and human behaviour. The current study addresses this challenge in simulated VR environments mirroring real life scenarios. In particular, we investigated the parameters that might enhance perception, and thus VR experiences when sound and vision are manipulated. A VR museum was created mimicking a real art gallery featuring Japanese paintings. Participants were exposed to the gallery via Samsung Gear VR, head mounted display, and could freely walk in. To half of the participants newly composed music clips were played, during the VR gallery visit. The other participants were exposed to the same environment, but no music was played (control condition). The results showed that music played altered the way people are engaged in, perceive and experience the VR art gallery. Opposite to our expectation, the VR experience was liked more when no music was played. The naturalness and presence were perceived to be relatively high, and did not differ significantly depending on whether music was played or not. Regression modelling further explored the relationship between the parameters hypothesised to influence the VR experiences. The findings are summarised in a theoretical model. The study outcomes could be implemented to successfully develop efficient VR applications for art and entertainment.
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There has been limited adoption of Immersive Journalism (IJ) by the audience; simultaneously, the audience’s perspective is rarely considered in the production and research of IJ. At this point, however, it is crucial to incorporate an audience perspective to identify potentially unintended effects of IJ and improve on the innovation of IJ. This study investigates the audience’s experience and evaluation of IJ by qualitatively analyzing their thoughts after viewing two IJ cases. Our results indicate that the audience may pick up on intended effects, such as a sense of presence and an intense emotional experience, but some also express unease towards these effects. Furthermore, the audience struggles to comprehend this study’s two immersive journalistic cases as part of the journalistic genre. These findings provide insight into the gap between the initial hype and the current reality of IJ and provide the basis for propositions for future IJ productions.
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