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Art and Audience Understanding in Virtual Reality

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Presentation and Demo at Merged Future Northampton 2019 and ACM TVX 2019.

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Art and Audience Understanding in Virtual Reality

  1. 1. ART AND AUDIENCE UNDERSTANDING IN VIRTUAL REALITY Dr Mu Mu, Dr Alison Goodyear and Mr Murtada Dohan mumu@ieee.org, alison.goodyear@northampton.ac.uk, murtada.dohan@northampton.ac.uk All copyrights belong to their respective owners. Merged Futures 2019 event at the University of Northampton, Friday 14 June 2019
  2. 2. WELCOME! • Who we are • Two lightning talks: • Audience understanding - 10 mins • VR painting - 10 mins • Interactive session (two demos) -10 mins • Discussions and closing remarks - 10 mins Slides available to download. Please leave us your contact details.
  3. 3. CHAIRS • Dr Mu Mu: Senior Lecturer in Computing • 15+ years of experience in multimedia and communication networks research • Awardee of UKRI EPSRC Grant – sponsoring Merged Future event • @DRMMU, www.drmu.net, mu.mu@northampton.ac.uk • Dr Alison Goodyear: Artist, Researcher and Senior Lecturer in Fine Art • Experienced visual artist and Arts Council England awardee • Practice led PhD awarded by the University of the Arts London • @_AlisonGoodyear, www.alisongoodyear.co.uk, alison.goodyear@northampton.ac.uk • Mr Murtada Dohan: PhD candidate • BSc and MSc in Software Engineering, VR eye-tracking, Games development, ML • Work recently presented at the BBC • @MurtadaDohan, murtada.dohan@northampton.ac.uk
  4. 4. TALK 1 UNDERSTAND YOUR AUDIENCE: HUMAN FACTORS IN VR Dohan, M. and Mu, M., Understanding User Attention In VR Using Gaze Controlled Games. In Proceedings of ACM International Conference on Interactive Experiences for TV and Online Video (ACM TVX ’19), June 5–7, 2019, Salford (Manchester), United Kingdom. https://doi.org/10.1145/3317697.3325118 06/2019 Slavova, Y. and Mu, M., A Comparative Study of the Learning Outcomes and Experience of VR in Education, in Proceedings of the 25th IEEE Conference on Virtual Reality and 3D User Interfaces (IEEE VR 2018), Germany, 05/2018
  5. 5. WHY HUMAN FACTORS 1/2 • Human factor research is a keystone to future VR applications • Understanding human responses allows us to better connect designers and end users • We can: 1. Support VR developers to evaluate user engagement in order to improve VR designs or prototypes 2. Develop new generation VR content that reacts to user behaviour or individual personalities to tailor the experience
  6. 6. WHY HUMAN FACTORS 2/2 3. Enable more efficient VR rendering (e.g., foveated rendering) so low- cost equipment can deliver high quality results 4. Develop better VR applications for health and wellbeing (dementia, phobia, autism, etc.) 5. Enhance social interactions and collaborative work in VR
  7. 7. OUR RESEARCH We are a team of; researchers, software/system engineers, designers, and artists. We use games design techniques and Unity/Unreal game engines to develop prototypes then employ multimodal sensors to capture human responses in controlled user experiments. Results are analysed using VR eye-tracking & gaze analysis Bioelectrical signals EEG ECG GSR EMG Machine learning Games design User experiments
  8. 8. CASE STUDY: USER ATTENTION IN VR • We built gaze-controlled VR shooting games to study user attention in VR applications. • The research allows us to detect different levels of user engagement with VR objects (looking is not seeing). • We are also exploring social interactions in VR (human to human and human to AI).
  9. 9. TALK 2 VR PAINTING Goodyear, A. and Mu, M., Abstract Painting Practice: Expanding in a Virtual World. In Proceedings of ACM International Conference on Interactive Experiences for TV and Online Video (ACM TVX ’19), June 5–7, 2019, Salford (Manchester), United Kingdom. 06/2019
  10. 10. Abstract Painting Practice: Expanding in a Virtual World Dr Alison Goodyear Dr Mu Mu Faculty of Arts, Science and Technology University of Northampton
  11. 11. Physical painting practice • Mindless with the mindful • Digital with physical • Production with reproduction • Authentic with Inauthentic
  12. 12. ‘Egreeyallaisy’ (2018) Acrylic, ink & oil paint on silk over canvas 61 x 81cm ‘Zippdidapp’ (2018) Acrylic, ink & oil paint on silk over canvas 40 x 50cm
  13. 13. • Merging boundaries (physical + digital = phygital) • New painterly tools; scaling, editing, duplicating etc. • Immersive VR painting encounters • Abstract narrative cues; compositional, sequential, anticipatory • Closed loop i.e. learning from tracked behaviour Virtual painting practice
  14. 14. DEMO

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