Virtual Reality: een technologie die de laatste jaren flink in opkomst is. Hoewel bijna iedereen wel een keer een VR bril heeft opgehad, blijft de vraag hoe deze technologie van waarde kan zijn in het onderwijs. Welke meerwaarde kan de inzet van VR bieden? Waar moet je rekening mee houden? En hoe zou je ermee aan de slag kunnen? Antwoord op onder andere deze vragen vind je in deze publicatie van het Lectoraat Teaching Learning & Technology| Hogeschool Inholland, zodat je in 7 minuten weer bent 'bijgepraat' over de inzet van VR technologie in het onderwijs.
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Traditioneel werden simulaties vooral ingezet voor het trainen van technische en motorische vaardigheden. Tegenwoordig worden simulaties ook steeds vaker gebruikt voor het oefenen van complexe beroepssituaties waarin communicatie, samenwerking en oordeelsvorming centraal staan. Die verbreding is relevant, want veel studenten ervaren een kloof tussen wat ze leren op de opleiding en wat er van hen wordt gevraagd in de praktijk. VR-simulaties kunnen helpen om deze zogenaamde praktijkkloof te overbruggen. Maar hoewel VR-simulaties inmiddels breed kunnen worden ingezet in het onderwijs zijn ze niet automatisch effectief. Voor een optimaal leereffect is een doordachte, doelgerichte aanpak nodig. Het gaat immers niet om de technologie zelf, maar om het versterken van het leerproces. De auteurs bespreken in het whitepaper zeven dingen die elke onderwijsprofessional moet weten over VR-simulaties. Het whitepaper is het resultaat van een samenwerking tussen het lectoraat "Professional Communication in a Digitalizing Society" en het lectoraat "Professionalisering van het Onderwijs".
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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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De stichting Into D'mentia biedt virtual reality (VR)-ervaringen aan. Met een VR-bril kunnen deelnemers in een digitaal nagebootste huiselijke omgeving zien en ervaren waar mensen met dementie in dagelijkse situaties tegenaan lopen en hoe de omgeving op ze reageert. De VR-ervaring draagt bij aan een persoonsgerichte benadering van personen die leven met dementie. Het kwantitatieve onderzoek toont onder alle respondenten een groei aan van begrip van dementie en het beter kunnen ondersteunen. Uit de kwalitatieve data blijkt dat de VR-beleving doorleefde inzichten biedt waarmee respondenten zich beter kunnen inleven in de ander, wat het persoonsgericht handelingsrepertoire stimuleert.
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Shima Rezaei Rashnoodi (Project lead Universidad de Monterrey) & Marnix S. van Gisbergen (Project Lead), Felipe Lega (Animation), Guillermo Enrique Lavin Montero (Art).
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This article is about the Virtual Reality-Head Mounted Display (VR-HMD) as a model for contemporary ways of disciplining. The VR-HMD makes the observer discipline herself through the triggering of performance. Through specific strategies the VR-HMD addresses the body of the observer to perform in the mixed reality that is constructed in the interaction between the body and the VR-HMD. These strategies consist of approaches by the hardware developers and content creators to manage the subjectivity and visuality of the observer. Today’s body is not disciplined through formatted technics of the VR-HMD, but through self-disciplining of the observer’s active performance. This article will unravel the strategies within the game The Elder Scrolls V: Skyrim VR on the Playstation VR that are used to control the visuality and subjectivity. Through her interaction in the game the observer also becomes aware of her body and the ways that it is disciplined in. In the end, this article will argue that the VR-HMD should not only be understood as a strategic device that can discipline a neoliberal subject, but that the VR-HMD is a supercomplex intervention that could help us to become more corporeal literate of our bodies in the age of digital media.
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Virtual reality (VR) has enjoyed a steep growth in awareness in society in recent years and is considered a promising tool for the design and enhancement of experiences. However, as research and use cases in the hospitality context are expanding rapidly, it is crucial to define a clearer research direction that aligns the number of scattered studies across various fields. It is time to overcome the boundaries of the technological dimension and explore methods for purposeful VR design. This research note calls for more user-centric VR studies and developments to define the future direction of VR implementations in the hospitality and tourism industry. To achieve this, the authors recommend the use of design methodology with a focus on the first steps in the design process to clearly identify and understand customers' needs and desires independent of VR technology.
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Initial expectations about the interactive affordances of VR were often inspired by science fiction and technological fantasies rather than based on actual technical possibilities. In these futuristic accounts of VR, interactors would have the opportunity to fully engage with the characters that inhabit the story world, in ways that would feel so natural that it would be indistinguishable from reality. In ‘real’ reality however, the actual production of VR has turned out to be considerably more complicated. To provide a realistic impression of the actual possibilities of VR, this study presents four widely acclaimed contemporary VR experiences (Wolves in the Walls, The Line, Down the Rabbit Hole and A Fisherman’s Tale) and reviews them from a media theory and communication science perspective. We discuss whether and how the concepts identification, parasocial interaction, ‘breaking the fourth wall’ and spatial and narrative presence can still be applied to these VR case studies, eventually aiming to contribute some rudimentary insights into the range of possible media conventions that narrative VR may contain.
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This demo is the first outcome of the research project VR for Diversity. The theoretical backgrounds for the project are shortly discussed and the concept for Amelia’s Dream is presented. Amelia’s Dream is a VR experience that is filmed using volumetric video capture technology, in which a young woman shares some of her dreams and concerns, relating to issues of gender equality. Focusing on how parasocial and physical interaction may impact the persuasive effects of VR, the research plan shortly elaborates on how the installation will be used for experimental studies into the possibilities of VR as a perspective shifter.
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