Virtual training systems provide highly realistic training environments for police. This study assesses whether a pain stimulus can enhance the training responses and sense of the presence of these systems. Police officers (n = 219) were trained either with or without a pain stimulus in a 2D simulator (VirTra V-300) and a 3D virtual reality (VR) system. Two (training simulator) × 2 (pain stimulus) ANOVAs revealed a significant interaction effect for perceived stress (p =.010, ηp2 =.039). Post-hoc pairwise comparisons showed that VR provokes significantly higher levels of perceived stress compared to VirTra when no pain stimulus is used (p =.009). With a pain stimulus, VirTra training provokes significantly higher levels of perceived stress compared to VirTra training without a pain stimulus (p <.001). Sense of presence was unaffected by the pain stimulus in both training systems. Our results indicate that VR training appears sufficiently realistic without adding a pain stimulus. Practitioner summary: Virtual police training benefits from highly realistic training environments. This study found that adding a pain stimulus heightened perceived stress in a 2D simulator, whereas it influenced neither training responses nor sense of presence in a VR system. VR training appears sufficiently realistic without adding a pain stimulus.
This research aims to obtain more insight in the perception of fabric drape and how fabric drape can be cat-egorized With the current 3D virtual technologies to simulate garments the fashion and clothing industry can speed up work processes, improve accuracy and reduce material consumption in fit, design and sales. Although the interest in 3D technology is increasing, the implementation on a large scale emerges only slowly. At the threshold between physical and virtual fitting the fashion industry faces new challenges and demands re-quiring responses out of rule. The measurement of fabric drape started in the first half of the previous cen-tury, after the introduction of 3D garment simulation fabric drape gained interest from more researchers to obtain information for the virtual drape. Intensive research has been undertaken to define ‘fabric hand’, however, research is limited for the definition of fabric drape. Better understanding of how fabrics drape and how they can be selected based on their drape might contribute to the understanding of the virtually as-sessed material and accelerate the selection process of virtually, as well as digitally presented fabrics. For this research the drape coefficient of 13 fabrics, selected based on their drape, was measured with the Cusick drape tester. Images and videos of the fabrics draped on pedestals were presented to an expert tex-tile panel who were asked to define the fabric drape. From these definitions categories, as well as identifying key-words, were derived. During a group session the expert panel evaluated the drape categories and identi-fying key-words. In the next phase an expert user panel, familiar with the assessment of fabrics in a virtual environment, assessed the appropriateness of the categories and identifying key-words which were present-ed along with the fabric drape images and videos. Moreover, both panels judged the stiffness and amount of drape, next to that they indicated similar draping fabrics. The relation between the subjective assessment of drape and the drape coefficient was investigated. The agreement of the user panel with the drape categories defined and evaluated by the textile panel was high. Further, the agreement of the majority of the user panel with the identifying key-words was above 78%. A strong relation was found between the measured drape coefficient and the subjectively assessed stiffness and amount of drape. Additionally, the analysis of the fabrics combined by the panels based on drape simi-larity, as well as the analysis of the drape coefficients, confirms with previous research, that significantly dif-ferent fabrics can have a similar drape. Fabrics can be divided in drape categories based on the way they drape, and the identifying key-words are useful to distinguish between significantly different fabrics with similar fabric drape. Moreover, the cate-gories are related to the drape coefficient.
MULTIFILE
In urban planning, 3D modeling and virtual reality (VR) provide new means for involving citizens in the planning process. For municipal government, it is essential to know how effective these means are, to justify investments. In this study, we present a case of using VR in a municipal process of civic participation concerning the redesign of a public park. The process included codesign activities and involved citizens in decision-making through a ballot, using 3D-rendered versions of competing designs. In codesign, 3D-modeling tools were instrumental in empowering citizens to negotiate design decisions, to discuss the quality of designs with experts, and to collectively take decisions. This paper demonstrates that, in a ballot on competing designs with 1302 citizens, VR headsets proved to be equally effective compared to other display technologies in informing citizens during decision making. The results of an additional, controlled experiment indicate that VR headsets provide higher engagement and more vivid memories than viewing the designs on non-immersive displays. By integrating research into a municipal process, we contribute evidence of cognitive and engagement effects of using 3D modeling and immersive VR technologies to empower citizens in participatory urban planning. The case described in the paper concerns a public park; a similar approach could be applied to the design of public installations including media architecture.
Creating and testing the first Brand Segmentation Model in Augmented Reality using Microsoft Hololens. Sanoma together with SAMR launched an online brand segmentation tool based on large scale research, The brand model uses several brand values divided over three axes. However they cannot be displayed clearly in a 2D model. The space of BSR Quality Planner can be seen as a 3-dimensional meaningful space that is defined by the terms used to typify the brands. The third axis concerns a behaviour-based dimension: from ‘quirky behaviour’ to ‘standardadjusted behaviour’ (respectful, tolerant, solidarity). ‘Virtual/augmented reality’ does make it possible to clearly display (and experience) 3D. The Academy for Digital Entertainment (ADE) of Breda University of Applied Sciences has created the BSR Quality Planner in Virtual Reality – as a hologram. It’s the world’s first segmentation model in AR. Breda University of Applied Sciences (professorship Digital Media Concepts) has deployed hologram technology in order to use and demonstrate the planning tool in 3D. The Microsoft HoloLens can be used to experience the model in 3D while the user still sees the actual surroundings (unlike VR, with AR the space in which the user is active remains visible). The HoloLens is wireless, so the user can easily walk around the hologram. The device is operated using finger gestures, eye movements or voice commands. On a computer screen, other people who are present can watch along with the user. Research showed the added value of the AR model.Partners:Sanoma MediaMarketResponse (SAMR)
The PhD research by Joris Weijdom studies the impact of collective embodied design techniques in collaborative mixed-reality environments (CMRE) in art- and engineering design practice and education. He aims to stimulate invention and innovation from an early stage of the collective design process.Joris combines theory and practice from the performing arts, human-computer interaction, and engineering to develop CMRE configurations, strategies for its creative implementation, and an embodied immersive learning pedagogy for students and professionals.This lecture was given at the Transmedia Arts seminar of the Mahindra Humanities Center of Harvard University. In this lecture, Joris Weijdom discusses critical concepts, such as embodiment, presence, and immersion, that concern mixed-reality design in the performing arts. He introduces examples from his practice and interdisciplinary projects of other artists.About the researchMultiple research areas now support the idea that embodiment is an underpinning of cognition, suggesting new discovery and learning approaches through full-body engagement with the virtual environment. Furthermore, improvisation and immediate reflection on the experience itself, common creative strategies in artist training and practice, are central when inventing something new. In this research, a new embodied design method, entitled Performative prototyping, has been developed to enable interdisciplinary collective design processes in CMRE’s and offers a vocabulary of multiple perspectives to reflect on its outcomes.Studies also find that engineering education values creativity in design processes, but often disregards the potential of full-body improvisation in generating and refining ideas. Conversely, artists lack the technical know-how to utilize mixed-reality technologies in their design process. This know-how from multiple disciplines is thus combined and explored in this research, connecting concepts and discourse from human-computer interaction and media- and performance studies.This research is a collaboration of the University of Twente, Utrecht University, and HKU University of the Arts Utrecht. This research is partly financed by the Dutch Research Council (NWO).Mixed-reality experiences merge real and virtual environments in which physical and digital spaces, objects, and actors co-exist and interact in real-time. Collaborative Mix-Reality Environments, or CMRE's, enable creative design- and learning processes through full-body interaction with spatial manifestations of mediated ideas and concepts, as live-puppeteered or automated real-time computer-generated content. It employs large-scale projection mapping techniques, motion-capture, augmented- and virtual reality technologies, and networked real-time 3D environments in various inter-connected configurations.This keynote was given at the IETM Plenary meeting in Amsterdam for more than 500 theatre and performing arts professionals. It addresses the following questions in a roller coaster ride of thought-provoking ideas and examples from the world of technology, media, and theatre:What do current developments like Mixed Reality, Transmedia, and The Internet of Things mean for telling stories and creating theatrical experiences? How do we design performances on multiple "stages" and relate to our audiences when they become co-creators?Contactjoris.weijdom@hku.nl / LinkedIn profileThis research is part of the professorship Performative Processes
