This report is about VR and the effects the VR technology Oculus Rift may or may not have on the different kinds of immersion possible in virtual environments, or games. The report is based on the premise that modern games have evolved into more story based adventures with better graphics, often with moral choice as gameplay, and theories regarding new mediums and the dangers of not fully understanding them. It is also done in cooperation with a research team at Högskolan i Skövde, with a focus on moral dilemmas, and is using a virtual environment to test this combined effort. The game engine Unity is used to create a realistic environment and together with the Oculus Rift, is testing what kinds of effects the VR technology has on the users. 20 test participants have shared their experiences and the majority, independent of gaming experience, claims it has a positive effect.

Denna undersökning faller under två olika teoretiska fält, Sommerseth (2007), som använder sig av fenomenologins teorier för att förklara realism inom dataspel, och Freeman m.fl. (2000) som har en psykologisk utgångspunkt. Tillsammans används dessa teorier för att undersöka hur spelare uppfattar animationer i förhållande till Oculus Rift. Denna undersökning genomfördes genom åtta kvalitativa intervjuer, där deltagarna fick testa två olika versioner av ett spel, med olika animationer. Deltagarna filmades för att kunna observeras i efterhand. Data visar att spelare påverkas av tidigare erfarenheter och av spelkaraktärens fackla. Detta påverkade vilka animationer deltagarna uppfattade som realistiska. Data visade också på att Freemans m.fl. teori inte gick att applicera eftersom deltagarens spelvana tog över den kognitiva responsen. Vidare forskning kan göras på Freemans m.fl. metod för att se hur spelvanan hindrades, och även se hur spelare påverkas av ett annat objekt än en fackla.

Submitted by Renata Lopes (renatasil82@gmail.com) on 2016-04-26T13:02:00Z No. of bitstreams: 1 anamariavieiramonteiro.pdf: 6372072 bytes, checksum: 8287fa23d6dcb9cef1223ad14330e57a (MD5) / Approved for entry into archive by Adriana Oliveira (adriana.oliveira@ufjf.edu.br) on 2016-05-02T00:50:33Z (GMT) No. of bitstreams: 1 anamariavieiramonteiro.pdf: 6372072 bytes, checksum: 8287fa23d6dcb9cef1223ad14330e57a (MD5) / Made available in DSpace on 2016-05-02T00:50:33Z (GMT). No. of bitstreams: 1 anamariavieiramonteiro.pdf: 6372072 bytes, checksum: 8287fa23d6dcb9cef1223ad14330e57a (MD5) Previous issue date: 2016-02-24 / CAPES - Coordenação de Aperfeiçoamento de Pessoal de Nível Superior / A partir de 2012, verificou-se o ressurgimento de headsets de realidade virtual no contexto de sua apropriação por experimentos cinematográficos diversos. Dentre esses aparelhos, nenhum outro despertou tanto interesse midiático quanto o DK2 (Development Kit 2), protótipo final do Oculus Rift. Buscando compreender melhor tal fenômeno, partiu-se de leituras de Giorgio Agamben sobre o significado de “dispositivo” (dispositif) na obra de Michel Foucault e sobretudo da apropriação que Agamben faz desse termo para analisar os dispositivos sociotécnicos. Há, ainda, um entendimento segundo o qual máquinas de imagens não só atendem a demandas de visualidades preexistentes como também inauguram mecanismos de percepção, como Jean-Louis Baudry exemplifica com a estética do aparato cinematográfico. Segundo essa perspectiva, estética e política são indissociáveis do modo como o agenciamento do olhar coloca em jogo a percepção do mundo. Quanto ao papel do artista contemporâneo que queira pensar essas questões, caber-lhe-ia somente uma interferência significativa: alterar as funções em default do meio. Para Vilém Flusser, isso só é possível no nível dos códigos. No entanto, como apontam outros autores trazidos para o debate, mais importante do que interferir no programa é o que Agamben chama de “profanar” o aparelho. Acreditando que tal ideia seja pertinente para este trabalho, uma das suposições feitas em seu decorrer é a de que, até o presente, a maioria dos experimentos com a nova tecnologia em realidade virtual estaria no âmbito oposto da profanação, no que poderia ser a “atração”, da maneira como é entendida por teóricos do Primeiro Cinema e sua relação com o espectador. Como último esforço, por ora, criou-se uma narrativa tendo em vista atrair o observador para algo além do mero espetáculo tecnológico, de modo a explorar outras potencialidades do Oculus Rift. / Starting from 2012, there has been a significant interest in virtual reality headsets as cinematographic media. One of the most prominent devices, which has gained worldwide interest, is the DK2 (Development Kit 2), known as the final prototype of the Oculus Rift. Taking a closer look at this phenomenon, this very research has its origins in Giorgio Agamben's studies of Michel Foucalt's "dispositif", specially taking into account its impact on the former’s views on socio-technical devices. There is academic acknowledgement that such imaging technologies not only satisfy pre-existing visual demands but are also seen as a means of creating new methods of manipulating perception. An example of this is Jean-Louis Baudry's aesthetics of cinematic apparatus. According to such acknowledgement, aesthetics and politics are inherent in the way the world is captured to one’s gaze. As for the contemporary artist who wishes to work within this matter, there would be only one relevant move; to alter the medium's default functionality as established by the market. For Vilém Flusser, this interference lies with the device's actual code itself. However, other authors involved with this debate have pointed out that more importantly than interfering in the program is what Agamben calls the “profanation” of the device. Based on the forgoing assumption, the major appropriation of virtual technology can be categorized as an opposite to profanation: "attraction", as interpreted by theorists of early cinema and its spectatorship. In order to take this research to a new level, a virtual reality narrative has been intentionally created to alert the observer to something far beyond a mere technological spectacle, as well as to assist in exploring Oculus Rift's other potentials.

This paper features an analysis of how some games are better designed for virtual reality than others and what we can learn from the games that work better to improve those that do not work as well. The thesis will briefly go through some of the problems in working with virtual reality. Data was collected by letting ten participants play four different games with the Oculus Rift and then answer questions related to their experience with these said games. Did the game cause the feeling of discomfort or create a sense of presence and did the game somehow break that presence? Based on the collected data and the analysis, the results indicate that some types of games work better than others for virtual reality, but that some design decisions can carry over to other games, granted with some effort, but that it is better if a game is created with virtual reality in mind from the start of the development. / Denna uppsats presenterar en analys om hur vissa spel är bättre designade för virtuell verklighet än andra och vad vi kan lära oss från spel som fungerar bättre för att förbättra de spel som inte fungerar lika bra. Uppsatsen kommer också behandla vissa problem som uppkommer när man arbetar med virtuell verklighet. Data samlades in genom att låta tio deltagare spela fyra olika spel med hjälp av Oculus Rift och sedan svara på några frågor relaterade till deras erfarenhet av dessa spel. Skapade spelen en känsla av obehag eller skapades en känsla av närvaro i spelvärlden och bröt spelet någonsin den med närvaron? Baserat på insamlad data och analys, indikerar resultatet på att vissa typer av spel fungerar bättre än andra för upplevelser i virtuella verkligheter, men att vissa designval kan överföras till andra spel, dock genom viss arbetsinsats, men att det är bättre om ett spel skapas med virtuell verklighet i åtanke från början av utvecklingen.

I den här rapporten undersöks stereoskopisk 3D. Vi utreder hur ett spel ska anpassas för att tafram en så bra och tydlig stereoskopisk 3D-effekt som möjligt och så att betraktaren upplever etttydligt djup utan att uppleva ett obehag på grund av effekten. Rapporten tittar djupare på vilkatekniska aspekter man behöver ta hänsyn till vid spelutveckling i stereoskopisk 3D. Samt vilkaprestandabegränsningar som man bör ta hänsyn till vid stereoskopisk 3D. Vi beskriver hurprocessen och framtagandet av prototypen Kodo med anaglyfisk stereoskopisk 3D såg ut.Prototypen togs fram för att testa och analysera resultatet av stereoskopisk 3D-effekten. / In this report we investigate the technique of stereoscopic 3D. This report investigates the stepsneeded to create a game adapted for an improved stereoscopic 3D effect. Furthermore weinvestigate what improvements one should make to avoid the beholder to experience anydiscomfort due to the effect. The report talks about technical aspects one needs to considerwhen using stereoscopic 3D, as well as performance issues we might need to take intoconsideration. The process of developing the prototype of the game Kodo using anaglyphstereoscopic 3D and OpenGL is described in this report. The prototype was then used for testingand analyzing the stereoscopic 3D effects.

[pt] O medo de voar é um problema real que afeta entre 10 porcento e 25 porcento da população mundial. Aproximadamente 25 porcento da população adulta experimenta um aumento significativo nos níveis de ansiedade ao serem solicitados a usar algum meio de transporte aéreo, e destes, 10 porcento evitam a situação. O tratamento que se mostrou mais efetivo no tratamento de fobias é a exposição in vivo. Porém, a dificuldade e o custo, e muitas vezes até o perigo, de usar aviões e voos reais para expor pessoas com medo de voar a esses estímulos assustam muitos pesquisadores, terapeutas e pacientes apesar da prevalência e do impacto do medo de voar. Neste trabalho é apresentada uma aplicação de realidade virtual que visa prover uma exposição sistemática a estímulos causadores de ansiedade relacionados ao medo de voar através de ambientes gerados por computador. Esta aplicação utiliza o conceito de imersão através do Oculus Rift, para prover uma experiência praticamente real aos pacientes. Para avaliar a aplicação proposta, em especial o sentimento de presença causado por ela, foram obtidos dados qualitativos a partir de entrevistas e questionários com seus meta-usuários, i.e., os psiquiatras que aplicarão o tratamento nos pacientes. / [en] Fear of flying is a real problem that affects 10 percent to 25 percent of the world s population. Approximately 25 percent of adults experience a significant increase in their anxiety levels when required to take any type of air transport and 10 percent of them avoid the situation. The approach that has proven to be the most effective in the treatment of phobias is in vivo exposure. However, the difficulty and the cost, and sometimes even the danger, of using real airplanes and real flights to expose people with fear of flying to these stimuli have daunted many researchers, therapists, and patients despite the prevalence and the impact of the fear of flying. We present in this study a virtual reality application that promotes a systematic exposure to the stimuli that causes significant increase in anxiety levels related to fear of flying through computer generated environments. This application uses the concept of immersion through the Oculus Rift to promote an almost real experience to the patients. To evaluate the proposed application, in special the sense of presence caused by it, we obtained qualitative data from interviews and questionnaires with its meta-users, i.e., the psychiatrists that will apply the treatment to their patients.

One of the earliest symptoms of Alzheimer’s Disease (AD) is a loss of spatial navigation. In this work, we improved an existing screening test for AD that analyzed a patient’s spatial navigation ability. The existing screening test was made more immersive, and therefore more reliable, by integrating support for a leading-edge consumer-targeted Head-Mounted Display (HMD). This integration brought some technical and usability challenges, that were addressed. Furthermore, we investigated the rehabilitative potential of Virtual Reality Navigational (VRN) activities in two case studies: an Early Stage AD (ESA) participant and a Late Stage AD (LSA) participant. We found that the ESA participant was able to significantly improve his navigation skills, and we observed some qualitative improvements in memory and navigation in his personal life. The LSA participant did not improve noticeably at the VRN tasks, but his mood improved after participating in the treatment sessions. These case studies suggested that VRN treatment may be beneficial for people with AD, especially at the onset stage. / February 2017

No description available.

Modern virtual reality is an ever growing subject in today’s society. I delved deeper into some key moments in the development of modern virtual reality. Oculus Rift has shown incredible potential. Some developments even seek to envelope the human senses in virtual reality as well.   With several different approaches to the same solution there are many ways that the experience can affect the overall immersion of a consumer into the product.  The tests I performed were primarily focused around the interaction between the human senses and immersion. The immersion can be increased or decreased by basic means of stimulating the human senses. This test was implemented by having volunteers participate in two phases in a supervised environment. In the first phase, the participants were subjected to an increase in immersion by stimulating senses other than their eyes and ears. The second phase involved reducing the participants’ sensory stimulation to see what the difference in immersion would be between the two phases.  The results of the investigation show that manipulating the human senses does have an impact on immersion when using virtual reality. Immersion can be affected by increasing or decreasing the stimuli for the human senses.

Within Gällö skog there is an increasing need for meetings in the forest at a distance. This is because many landowners do not live at or close to their forest property. The aim of this work was therefore to find a 3D conference solution for Gällö skog. The work has been carried out using the design process and Pugh's relative decision matrix. First, a requirement specification was made for both hardware and software selection. Then the Facebook Spaces, Rumii and AltSpaceVR software were investigated against this. When none of the aforementioned software was sufficiently satisfactory for this work, it was decided to develop a software. The developed software is based on a website and was developed by modifying an existing project from github.com. Through the modification made in the project, all requirements in the specification could ultimately be achieved. However, with some restrictions. The software works best in the Mozilla Firefox browser, and is not compatible with the iPhone. The user friendliness of Gällö skog also has development potential. The hardware in this work was chosen by comparing the VR glasses HTC Vive and Oculus Rift against each other and the developed requirement specification. As a result, HTC Vive was bought for the project. This because it fulfilled most of the work requirements, and that it had other features that enabled the headset to be used in future work. Finally, The conclusion of this work was that until this technology has come further, this solution may be insufficient. The idea is good, the solution is good, but the technology needs to come further for fully satisfactory results. When the VR technololgy have advanced further, a solution like this could be something that could be useful to companies. This because the inertaction of a 3D conference is improved compared to today's video chat. / Inom Gällö skog finns ett ökande behov av att hålla möten i skogen på distans. Detta eftersom många markägare inte bor på, eller vid sin skogsfastighet. Målet med detta arbete var därför att hitta en 3D-konferenslösning åt Gällö skog. Arbetet har genomförts med hjälp av designprocessen samt Pughs relativa beslutsmatris. Först togs en kravspecifikation fram både för val av hårdvara och mjukvara. Efter det undersöktes mjukvarorna Facebook Spaces, Rumii och AltSpaceVR mot denna. När ingen av de nämnda mjukvarorna var tillräckligt tillfredsställande för detta arbete så valdes att ta fram en egen mjukvara. Den framtagna mjukvaran baseras på en webbplats och togs fram genom att modifiera ett befintligt projekt från github.com. Genom den modifikation som gjordes i projektet så kunde alla krav i kravspecifikationen till slut uppnås. Dock med vissa restriktioner. Mjukvaran fungerar bäst i webbläsaren Mozilla Firefox, och är ej kompatibel med Iphone. Även användarvänligheten för Gällö skog har utvecklingspotential. Hårdvaran i detta arbete togs fram genom att jämföra VR-glasögonen HTC Vive och Oculus Rift mot varandra och den framtagna kravspecifikationen. Resultatet av detta blev att HTC Vive köptes in till projektet. Detta för att de uppfyllde flest av arbetets krav, samt att de hade övriga funktioner som gjorde att de kan användas även i framtida arbeten. Slutsatsen av detta arbete blev till slut att tills dess att tekniken kring detta har hunnit längre så blir denna lösning möjligtvis otillräcklig. Tanken är god, lösningen bra, men tekniken behöver komma längre för fullt tillfredsställande resultat. När VR-tekniken kommit längre skulle en lösning likt denna kunna vara något som kan bli användbart för fler företag. Detta eftersom interaktionen i en 3D-konferens förbättras jämfört med dagens videochattar.