Vrijdag 12 mei wordt voor het eerst het Fontys XR Event gehouden. Een kans voor docenten en studenten om kennis te maken en te delen over de toepassingen in het onderwijs van deze virtuele toolbox. XR staat voor Extended Reality. En die bestaat uit de technologieën Virtual reality (VR) en Augmented Reality (AR) en Mixed Reality. De eerste kent iedereen wel via de VR-brillen waarbij je je afgesloten van de buitenwereld in een virtuele wereld begeeft. Bij AR zie je de echte wereld maar is er iets aan toegevoegd. Denk bijvoorbeeld aan Pokemon Go of, dichter bij huis, de AR waarbij je de nieuwbouw van Fontys op campus Rachelsmolen via je smartphone al kunt zien.
LINK
De gymzaal is de allermooiste werkplek die er bestaat. Maar het kan in onze ogen nog mooier en beter. Op welke wijze kan technologie, in het bijzonder augmented reality, iets toevoegen aan het bewegingsonderwijs? Welke meerwaarde heeft het voor leerlingen en voor docenten? Aan welke toepassingen kun je denken? En wat zijn de randvoorwaarden?
DOCUMENT
This paper shows an overview of design practices of the XR-lab at the Amsterdam University of Applied Sciences, The Netherlands. Over the course of six years, interdisciplinary teams of students have delivered 55+ prototypes in virtual, augmented, and mixed reality for a variety of 40+ clients. As human-computer interaction is entering a new evolutionary phase towards human-computer integration, new opportunities in extended reality (XR) have the potential to fundamentally alter human characteristics and abilities. Therefore, this paper begins with taking a philosophical stance on ‘being human’ and the anthropological concept of ‘liminality’ in XR-experiences. A further exploration of the concept of 'emotional rehearsal spaces' uses know-how from performance art, dance, architecture, and dramaturgy. Insights from tangible practices at the XR-lab show the cultural journey in XR-collaborations. This is made visible through a quick and dirty experiment on artistic thinking, design thinking, and system thinking, which shows how interdisciplinary collaborations are able to ignite new combinations of thought in design teams and individual professionals. Finally, we show an overview of specific design methods and tools that have been explored at the XR-lab over the years.
DOCUMENT
Abstract Background Visuospatial neglect (VSN) is a cognitive disorder after stroke in which patients fail to consciously process and interact with contralesional stimuli. Visual Scanning Training (VST) is the recommended treatment in clinical guidelines. At the moment, several mixed reality versions of Visual Scanning Training (VST) are being developed. The aim of this study was to explore the opinions of end-users (i.e., therapists) on the use of Virtual Reality (VR) and Augmented Reality (AR) in VSN treatment. Methods Therapists played one VR and two AR Serious Games, and subsequently flled out a questionnaire on User Experience, Usability, and Implementation. Results Sixteen therapists (psychologists, occupational, speech, and physiotherapists) played the games, thirteen of them evaluated the games. Therapists saw great potential in all three games, yet there was room for improvement on the level of usability, especially for tailoring the games to the patient’s needs. Therapists’ opinions were comparable between VR and AR Serious Games. For implementation, therapists stressed the urgency of clear guidelines and instructions. Discussion Even though VR/AR technology is promising for VSN treatment, there is no one-size-fts-all applicability. It may thus be crucial to move towards a plethora of training environments rather than a single standardized mixed reality neglect treatment. Conclusion As therapists see the potential value of mixed reality, it remains important to investigate the efcacy of AR and VR training tools.
DOCUMENT
Collaborative Mixed Reality Environments (CMREs) enable designing Performative Mixed Reality Experiences (PMREs) to engage participants’ physical bodies, mixed reality environments, and technologies utilized. However, the physical body is rarely purposefully incorporated throughout such design processes, leaving designers seated behind their desks, relying on their previous know-how and assumptions. In contrast, embodied design techniques from HCI and performing arts afford direct corporeal feedback to verify and adapt experiential aesthetics within the design process. This paper proposes a performative prototyping method, which combines bodystorming methods with Wizard of Oz techniques with a puppeteering approach, using inside-out somaesthetic- and outside-in dramaturgical perspectives. In addition, it suggests an interdisciplinary vocabulary to share and evaluate PMRE experiences during and after its design collaboration. This method is exemplified and investigated by comparing two case studies of PMRE design projects in higher-art education using the existing Social VR platform NEOS VR adapted as a CMRE.
DOCUMENT
A presentation on our internal use of MR for marine spatial planning, and the qualitative research that went along with this project.
DOCUMENT
Extended Reality technologies, such as Virtual Reality and Augmented Reality (AR), have been increasingly used in the domains of leisure and events. The rapid integration of these technologies raises questions on their use for enhancing staged performances. In this study, employing a between-participants experimental design, we measured the impact of AR on the experience of watching a live dance performance at a staged performance venue, and its recorded version viewed in a home-like environment. Two professional dancers choreographed and performed a 9-minute contemporary dance piece, which was subsequently augmented with computer-generated AR content. We measured participants’ emotions using physiological (skin conductance) signals, and self-reports assessing overall evaluation and willingness to recommend the performance. Results indicate that the live performance was experienced more positively than the at-home experience, regardless of AR. Physiological data showed a subtle yet positive impact of AR on participants’ emotional engagement during the live performances, but not in the at-home setting. Surprisingly, self-report data revealed that watching the performance without AR was evaluated more positively than watching it with AR. This study suggests that AR has the potential to positively impact staged performance experiences, but only when its content is coherently integrated with the performance.
LINK
The use of Augmented Reality (AR) in industry is growing rapidly, driven by benefits such as efficiency gains and ability to overcome physical boundaries. Existing studies stress the need to take stakeholder values into account in the design process. In this study the impact of AR on stakeholders' values is investigated by conducting focus groups and interviews, using value sensitive design as a framework. Significant impacts were found on the values of safety, accuracy, privacy, helpfulness and autonomy. Twenty practical design choices to mitigate potential negative impact emerged from the study.
MULTIFILE
