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 report studies impostor rendering for use with the virtual reality head mounted display Oculus Rift. The technique is replacing 3D models with 2D versions to speed up rendering, in a 3D engine. It documents the process of developing a prototype in C++ and DirectX11 and the required research needed to complete the assignment. Included in this report are also the steps involved in getting Oculus Rift support to work in a custom 3D engine and measuring the impact of impostor rendering when rendering to two screens of the head mounted display. The goal was to find the maximum models the engine could draw, while keeping the frame rate locked at 60 frames per second. 2 testers at Nordicstation came to the conclusion that 40-50 meters was the optimal distance for impostor rendering. Any closer and the flatness was noticeable. The results showed a clear improvement in frame rate when rendering a graphically intensive scene. The end result showed that the goal could be achieved at a maximum of 3000 trees with 1000 leaves. Impostor rendering was deemed effective when drawing beyond 500 trees at a time. Less than that and the technique was not needed to achieve 60 frames per second. / Denna rapport undersöker renderingstekniken impostors när den används i en simpel 3D motor tillsammans med virtuella verklighetshjälmen Oculus Rift. Impostors betyder på engelska bedragare och tekniken går ut på att den byter ut avancerade 3D modeller mot simpla 2D versioner när de är ett visst avstånd ifrån användarens virtuella kamera. Om den är korrekt implementerad ska användaren inte märka att vissa modeller är platta och tekniken sparar på resurser då grafikmotorn inte behöver rita ut alla modeller. Rapporten går igenom vad som undersöktes i förundersökningen för att kunna utveckla en prototyp med utvecklingspråket C++ och DirectX 11. I rapporten står även hur prototypen utvecklades och hur stöd för Oculus Rift lades till. De slutliga resultaten visade att impostors hade en stor påverkan på uppdateringshastigheten när antalet 3D modeller som skulle ritas var många, annars hade tekniken ingen påverkan för att nå 60 bilder per sekund. 2 testare från Nordicstation kom fram till att ett avstånd på 40-50 meter från spelarens kamera till utritning av impostors var lämplig, för att dölja att de endast är platta versioner av 3d modeller. Testet visade att motorn kunde rita ut 3000 träd, med 1000 löv på varje, och hålla 60 bilder per sekund, vilket var målet. Detta på ett avstånd av 40m på impostors. Impostorrendering var effektiv när man ritade ut fler än 500 träd åt gången. Mindre antal gav ingen märkbar effekt på testdatorn som användes för testet.

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

Virtual reality is a concept that has existed for some time but the recent advances in the performance of commercial computers has led the development of different commercial head mounted displays, for example the Oculus Rift. With this growing interest in virtual reality, it is important to evaluate existing techniques used when designing user interfaces. In addition, it is also important to develop new techniques to be able to give the user the best experience when using virtual reality applications. This thesis investigates the design of a user interface for a virtual reality using Oculus Rift combined with the Razer Hydra and Leap Motion as input devices. A set of different graphical user interface components were developed and, together with the different input devices, evaluated with a user test to try to determine their advantages. During the implementation of the project the importance of giving the user feedback was shown. Adding both visual and aural feedback when interacting with the GUI increases the usability of the system. According to the conducted user test, people preferred using the Leap Motion even if it was not the easiest input device to use. It also showed that the current implementation of input devices was not precise enough to be able to draw conclusions about the different user interface components.

No description available.