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Academic literature on the topic 'Interactive immersion'

Author: Grafiati

Published: 4 June 2021

Last updated: 8 February 2022

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Journal articles on the topic "Interactive immersion"

Zhang, Yongfei, Jianshu Chen, Dan Miao, and Chen Zhang. "Design and Analysis of an Interactive MOOC Teaching System Based on Virtual Reality." International Journal of Emerging Technologies in Learning (iJET) 13, no. 07 (2018): 111. http://dx.doi.org/10.3991/ijet.v13i07.8790.

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In order to solve the problem of lack of immersion in the MOOC curriculum, through research on key technologies, a MOOC teaching interactive system based on virtual reality was constructed to improve it. Through the decompo-sition of complex objects or the addition of blank sub-objects, the system built corresponding collision detectors to achieve more realistic collision de-tection effects. The immersive and interactive nature of the virtual user in the virtual scene was enhanced. The results showed that the system used the immersive, interactive and constructive sense of virtual reality to build peo-ple's interest in learning. Therefore, the MOOC teaching interactive system based on virtual reality has a good sense of immersion, interaction and con-ceivability.

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Kim, Dong Hyun and 김상욱. "Immersive interactive content design for immersion of the audience." Journal of Digital Design 15, no. 1 (2015): 245–53. http://dx.doi.org/10.17280/jdd.2015.15.1.024.

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Biggin, Rose. "Labours of Seduction in Immersive and Interactive Performance." New Theatre Quarterly 36, no. 1 (2020): 73–83. http://dx.doi.org/10.1017/s0266464x20000111.

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Much theatrical work that calls itself ‘immersive’ uses tropes of the erotic to achieve its intended effects. In this article Rose Biggin identifies structural and performative strategies in the use of the erotic in this genre. What does it mean to identify the process of performed seduction as central to much immersive dramaturgy? Through readings of contemporary productions that draw upon (or appropriate) pre-existing erotically charged environments, the inevitable responsibilities for makers working in this context of immersion are considered, as is the importance of considering the consequences for those working in immersive spaces. Stress is laid on the crucial role that this form of performative labour often plays in immersive performance, and a continued recognition of its influence is emphasized. Rose Biggin is an independent scholar and theatre artist based in London. She received her PhD from the University of Exeter, researching audience immersion and the work of Punchdrunk, and both writes and makes work on gender, history, and language. She is author of Immersive Theatre and Audience Experience (2017).

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Thompson, Meredith, Cigdem Uz-Bilgin, M. Shane Tutwiler, et al. "Immersion positively affects learning in virtual reality games compared to equally interactive 2d games." Information and Learning Sciences 122, no. 7/8 (2021): 442–63. http://dx.doi.org/10.1108/ils-12-2020-0252.

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Purpose This study isolates the effect of immersion on players’ learning in a virtual reality (VR)-based game about cellular biology by comparing two versions of the game with the same level of interactivityand different levels of immersion. The authors identify immersion and additional interactivity as two key affordances of VR as a learning tool. A number of research studies compare VR with two-dimensional or minimally interactive media; this study focuses on the effect of immersion as a result of the head mounted display (HMD). Design/methodology/approach In the game, players diagnose a cell by exploring a virtual cell and search for clues that indicate one of five possible types of cystic fibrosis. Fifty-one adults completed all aspects of the study. Players took pre and post assessments and drew pictures of cells and translation before and after the game. Players were randomly assigned to play the game with the HMD (stereoscopic view) or without the headset (non-stereoscopic view). Players were interviewed about their drawings and experiences at the end of the session. Findings Players in both groups improved in their knowledge of the cell environment and the process of translation. Players who experienced the immersive stereoscopic view had a more positive learning effect in the content assessment, and stronger improvement in their mental models of the process of translation between pre- and post-drawings compared to players who played the two-dimensional game. Originality/value This study suggests that immersion alone has a positive effect on conceptual understanding, especially in helping learners understand spatial environments and processes. These findings set the stage for a new wave of research on learning in immersive environments; research that moves beyond determining whether immersive media correlate with more learning, toward a focus on the types of learning outcomes that are best supported by immersive media.

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Choi, Kanghyun, Yeo-Jin Yoon, Oh-Young Song, and Soo-Mi Choi. "Interactive and Immersive Learning Using 360° Virtual Reality Contents on Mobile Platforms." Mobile Information Systems 2018 (October 11, 2018): 1–12. http://dx.doi.org/10.1155/2018/2306031.

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Recent advances in mobile virtual reality (VR) devices have paved the way for various VR applications in education. This paper presents a novel authoring framework for mobile VR contents and a play-based learning model for marine biology education. For interactive and immersive mobile VR contents, we develop a multilayer 360° VR representation with image-based interactions such as mesh deformation and water simulation, which enable users to realistically interact with 360° panoramic contents without consuming excessive computational resources. On the basis of this representation, we design and implement play-based learning scenarios to increase the interactivity and immersion of users. Then, we verify the effectiveness of our educational scenarios using a user study in terms of user-created VR contents, interactivity, and immersion. The results show that more experienced elements in VR contents improve the immersion of users and make them more actively involved.

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Lee, MyounJae, and Kyoung-Nam Kim. "Proposal on Immersion Assessment of Interactive Art." Journal of Digital Convergence 12, no. 9 (2014): 353–58. http://dx.doi.org/10.14400/jdc.2014.12.9.353.

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Rose, Tyler, and Karen B. Chen*. "Effect of levels of immersion on performance and presence in virtual occupational tasks." Proceedings of the Human Factors and Ergonomics Society Annual Meeting 62, no. 1 (2018): 2079–83. http://dx.doi.org/10.1177/1541931218621469.

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Occupational training has seen a shift towards newer, more immersive and interactive instruction delivery methods, including virtual reality. Much of this research, however, has not fully examined immersion and presence as primary characteristic that could influence training outcomes. Additionally, a variety of objective measures as indicators of presence virtual environments have received recent, yet limited research attention. This pilot study examined human performance and presence in virtual reality by monitoring cardiac activity during a simple occupational training task at varying levels of immersion. Physiologic response, via heart rate, and task performance did not see a statistically significant response to immersion in a simple occupational assembly task. Findings suggested that the level of immersion did not affect task performance in terms of accuracy. It is possible that simulations of simple occupational tasks for training task accuracy do not require high levels of immersion. Subjective presence response was marginally affected by immersion, and it exhibited a statistically significant correlation to heart rate. It is possible that certain types of physiological measures are more appropriate objective indicators of presence in different simulation contexts.

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Kim, Kirak, Chee-Onn Wong, and Keechul Jung. "Dynamic Display System for Better Interaction Ability in Interactive Installation." Leonardo 42, no. 3 (2009): 286–87. http://dx.doi.org/10.1162/leon.2009.42.3.286.

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In this paper, a dynamic display system that increases the ability of an interactive artwork is presented on an interactive installation. The dynamic display system aims to widen an interactive range to provide the maximum freedom to all spectators. The installation creates a high immersion and due to this, the artist can channel their somesthesia to be accessed easily by spectators. In addition, this installation provides flexible space in which artists can express their work to be widely available for spectators.

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Zhang, Dan, Guang Ming Jiao, Dun Wen Zuo, Jian Xie, J. P. Li, and Hua Lin Zhou. "Study on Desktop Virtual Assembly System for Interactive Assembly Process Planning." Key Engineering Materials 426-427 (January 2010): 371–75. http://dx.doi.org/10.4028/www.scientific.net/kem.426-427.371.

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Aiming at the shortcomings of traditional assembly process design and immersive virtual assembly system, the architecture of Desktop Virtual Assembly System (DVAS) for interactive assembly process planning is presented. The key technologies such as data conversion and reconstruction of assembly models, assembly intention recognition and assembly control navigation are studied. The lightweight storage of assembly models’ data and the intelligent constraints recognition are realized. The problem of assembly operations resulted from the lack of immersion is solved by movement navigation. The algorithms were proposed and applied to the DVAS prototype, and an application case is studied to demonstrate the effectiveness of the system.

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Park, Yeon Sook. "Performance of ‘Becoming’ Reinforced by Immersion of Interactive Art." CONTENTS PLUS 15, no. 3 (2017): 5–22. http://dx.doi.org/10.14728/kcp.2017.15.03.005.

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Dissertations / Theses on the topic "Interactive immersion"

Bustos, Christian. "Implementing implicit interaction in interactive film." Thesis, Södertörns högskola, Institutionen för naturvetenskap, miljö och teknik, 2016. http://urn.kb.se/resolve?urn=urn:nbn:se:sh:diva-30481.

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In this paper, an user study will be taken on in order to explore how different types of interaction affect the levels of immersion and experience within interactive film. The two different types of interaction that will be compared in this study are implicit interaction, and explicit interaction. The format of interactive film has not experienced too many changes the last years, and the user could experience a loss of immersion when using the format as it is shaped today. Usually, interactive films interrupt the flow of the narrative in order to give the user the time to make a choice. This makes the immersion get lost, and in some way, even part of the experience. In this paper, implicit interaction will be implemented within interactive film, and it will be tested by several participants from different disciplines. One hypothesis is that the users are more immersed in the narrative when trying out implicit interaction in an interactive film. The results of this paper could be useful for the community of computer entertainment, but also for the field of interaction design since this paper could reveal how users experience implicit interaction and how designers should approach to this type of interaction.

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Nechvatal, Jospeh. "Immersive ideals/critical distances : a study of the affinity between artistic ideologies based in virtual reality and previous immersive idioms." Thesis, University of South Wales, 1999. https://pure.southwales.ac.uk/en/studentthesis/immersive-ideals--critical-distances(da015b14-2ee9-4d37-ad31-0b3f8ab7dda5).html.

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My research into Virtual Reality technology and its central property of immersion has indicated that immersion in Virtual Reality (VR) electronic systems is a significant key to the understanding of contemporary culture as well as considerable aspects of previous culture as detected in the histories of philosophy and the visual arts. The fundamental change in aesthetic perception engendered by immersion, a perception which is connected to the ideal of total-immersion in virtual space, identifies certain shifts in ontology which are relevant to a better understanding of the human being. This understanding was achieved through a broad inquiry into the histories of Virtual Reality, philosophy, and the visual arts and has lead to the formulation of an aesthetic theory of immersive consciousness indicative of immersive culture. The primary subject of this discourse is immersion then: an experience which will be identified within the dissertation as the indispensable characteristic of Virtual Reality. The understanding of immersion arrived at here will be used to fashion a synchronous theory of art particularly informed by encounters and concepts of immersion into virtuality. To sufficiently address this subject in a scholarly fashion, I have researched, found and accumulated aesthetic and philosophic examples of immersive tendencies, as found within the histories of art and philosophy, which subsequently contributed towards the articulation of what I have come to call immersive consciousness. As a result of formulating such an immersive consciousness, a good deal of the basis for the questioning of the Western ontological tradition has been found in the Western tradition itself when we look with new eyes and ask new uncertain questions. Moreover, this immersive consciousness will be used to propose some abstract questions encircling today's electronic-based culture. Through the structuring of the argument within the thesis - and overtly within the conclusion -1 have articulated a non-teleological creative strategy which provides the basis for an unconstraining integration of noologies (ways of semblancing the thinking process). This strategy provides a means of exemplifying - and for honoring - various methods of thinking. This structuring strategy is consistent with the 'hacker ethic' as defined by Steven Levy, as a demand that access to computers - and anything which might teach us something about the way the world works - should be unlimited and total. To follow this strategy, this dissertation has set out to understand how topical conceptions of virtual immersion connect to pre-existing systems of thought as revealed in art as they have extended out of antecedent ontological self-understands, historical human self-understands which have evidenced themselves in the elaboration of technological objectives. To do this I have forged a certain rhizomatic paternity/maternity for Virtual Reality within this dissertation by joining choice immersive examples of simulacra technology into mental connections with the relevant examples culled from the histories of art, architecture, information-technology, sex, myth, space, consciousness and philosophy.

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Stenmark, Joakim. "Interaktiv musik och dess effekt på immersion." Thesis, Högskolan i Skövde, Institutionen för informationsteknologi, 2017. http://urn.kb.se/resolve?urn=urn:nbn:se:his:diva-14070.

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Denna studie har ämnat att undersöka skillnaden i den upplevda immersionen mellan interaktiv musik och linjär musik inom spel. Bakgrundskapitlet redogör för litteratur och forskning angående musikens funktion i spel, linjär och interaktiv musik, immersion, och hur immersion kan mätas. En artefakt skapades i form av ett spel i två utföranden, ett som hade interaktiv musik och en som hade linjär musik inför en kvalitativ undersökning. Analysen antydde att med obetydlig skillnad så var den interaktiva musiken mer immersiv trots brister i den interaktiva musikens design. Den interaktiva musiken har haft en mekanisk påverkan medan den linjära musiken haft en mer emotionell påverkan. Mer forskning i frågan, bland annat ett extra kontrolltest och mer deltagare, behövs för att få ett tydligare svar.

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Johansson, Marcus. "Interactive motorsports broadcasting in a virtual reality environment." Thesis, Malmö universitet, Fakulteten för kultur och samhälle (KS), 2019. http://urn.kb.se/resolve?urn=urn:nbn:se:mau:diva-23935.

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Interactive TV in motorsport, specifically Formula 1, is an established service that has been developed over the last 20 years. Market research reveals trends in broadcasting pointing towards, in the future, sports, in general, will be consumed via VR. Broadcasting interactive TV with VR acting as the medium, however, is an unfamiliar territory where a gap in research exists in interaction design.The purpose of this thesis is to research the viewing habits of inexperienced and experienced viewers of F1 through empirical work that includes literature review, observation and interviews. The insights gathered are then conceptualized through workshops and sketching. These, in turn, helps produce a set of iterated prototypes that are usability tested to extract insights which reveal design recommendations for ergonomics and interface and elements for augmenting the viewing experience the designer should keep in mind when developing for VR broadcasted interactive motorsport TV.

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Wang, Dong. "Developing Immersive Experience in Virtual Tour Applications on Mobile Devices." Thesis, Linköpings universitet, Medie- och Informationsteknik, 2021. http://urn.kb.se/resolve?urn=urn:nbn:se:liu:diva-176274.

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As a cutting-edge technology, VR is applied to all aspects of life. Especially when the pandemic is spreading, the immersive experience of VR provides another possibility for people's virtual tours and online exhibitions. Limited by the high price of professional VR equipment, VR technology still exists in specific professional fields. This project mainly studies some of the challenges of immersive experience on mobile phones and improves the immersive experience to make the virtual tour convenient and straightforward on mobile phones. Through research, it is found that interactive 360-video may be a potential solution. Users can explore freely in 360-video and interact with people or things in the environment. The most important thing is that interactive 360-video can rely on mobile phones as a medium so that everyone can afford it, and it allows users to explore and discover anytime, anywhere. Examensarbetet är utfört vid Institutionen för teknik och naturvetenskap (ITN) vid Tekniska fakulteten, Linköpings universitet

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Sansone, Michael. "Immersion, stylization, naturalization, and the erasmatron bridging the gap between gameplay and narrative towards the promise of interactive storytelling /." [Gainesville, Fla.] : University of Florida, 2004. http://purl.fcla.edu/fcla/etd/UFE0005404.

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Långdal, Saga, and Linda Sjöquist. "Playing in a World of Voices." Thesis, Blekinge Tekniska Högskola, Institutionen för teknik och estetik, 2020. http://urn.kb.se/resolve?urn=urn:nbn:se:bth-20011.

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In this Bachelor thesis we navigate the ample world of vocal storytelling. Stories are told in all types of media today, but it all started with voices and narrative—from when poetry was sung and theatrical performances such as opera were amongst the most popular and beloved arts. We lift the ground where voices lie today and take them to their deserved place, from solely being an audial companion in media to a main element in interactive storytelling. Hand in hand with Design Fiction as a chosen design perspective and Research through Design as our research approach, we explore ways of creating an immersive, dynamic experience both creative and academically. We found ourselves in infinite ideations of futuristic scenarios which we wanted to symbolize with a world and characters through voices. With Research through Design, we learn not only by doing research, but through actually designing a functional prototype that grants agency to the person interacting with it. The learning process in building this prototype helped us gain significant knowledge in programming, implementation technique and writing for games, especially considering that we had very little experience with these subjects prior to this project. One could say that we were confident in our audio production skills and came with blind eyes when approaching this theme for the first time. The results of our work lead us to the conclusion that, with the adequate knowledge and methods, voices can function as a main element in interactive media prototypes. Narrative, voice design and implementation techniques combined create a group of powerful tools that can achieve interactive storytelling. I denna kandidatuppsats utforskar vi i en värld av röstligt berättande. Berättelser berättas i alla typer av media idag, men det hela började med röster. Vi vill lyfta fram röster och deras förmåga att driva en berättelse, från att endast vara en osynlig del i ett audiovisuellt verk till ett huvudelement i en interaktiv berättelse. Med hjälp av Design Fiction som designperspektiv och Research through Design som forskningsmetod utforskar vi ett sätt att skapa en uppslukande, dynamisk upplevelse både kreativ och akademisk. Vi lär oss inte bara genom forskning, utan genom att faktiskt utforma en funktionell prototyp där användaren aktivt interagerar med narrativet. Berättelsen befinner sig i tankar om futuristiska scenarier som vi försöker få till liv. Resultatet av vår undersökning leder oss till slutsatsen att med tillräcklig kunskap och rätt metoder så kan röster fungera som ett huvudelement i interaktiva medieproduktioner. Berättande, röstdesign och implementeringstekniker skapar tillsammans en grupp kraftfulla verktyg för att uppnå interaktivt berättande.

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Jörgensen, Tanja. "Den virtuella verklighetens magiska cirkel : En kvalitativ studie av ljud, bild, interaktion och immersion för applikationen Tilt Brush i VR-headsetet HTC Vive." Thesis, Högskolan Dalarna, Akademin Humaniora och medier, 2018. http://urn.kb.se/resolve?urn=urn:nbn:se:du-28679.

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I denna studie som utgår från Huizingas begrepp ”den magiska cirkeln” undersöksapplikationen Tilt Brush för VR headsetet HTC Vive med avseende på dess bild ochljud samt hur detta tolkas och används under interaktionen med applikationens verktyg.Begreppet utgår ifrån att användaren kan låta sig uppslukas i ett spel så längeförväntningarna enligt spelets regler inte störs. Genom en fallstudie har applikationenstuderats med metoder som autoetnografi och multimodal analys utifrånsocialsemiotiska begrepp, samt öppna intervjuer med inslag av ”think-aloud”. Deliknande iakttagelser som framkommit med hjälp av olika metoder får anses styrkastudiens resultat. Resultaten i studien pekar på att det för interaktionens del är viktigt attvissa aspekter av ljudet, som har med positionering eller fysikens lagar att göra,stämmer överens med våra erfarenheter från verkligheten och att detta i sin tur stämmeröverens med det visuellt representerade. För bildens och ljudens meningserbjudanden iövrigt är användaren beredd att gå med på vilka oerhörda illusioner som helst så längebild och ljud kommuniceras i överensstämmelse och på ett trovärdigt sätt som lever upptill användarens förväntningar inom den magiska cirkeln, platsen för själva spelet.Förväntningarna behöver då inte ha med verkligheten att göra. Vad som uppfattas somhög modalitet styrs av vilken genre användaren förväntar sig att möta. Detta i sin turrelateras till användarens tidigare erfarenheter och sociala och kulturella bakgrund.

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Lima, Leonardo Souza de. "Imagens Digitais Interativas: Do Simulacro à Imersão." Universidade de São Paulo, 2018. http://www.teses.usp.br/teses/disponiveis/27/27159/tde-17072018-160612/.

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O presente trabalho propõe uma pesquisa teórica e poética acerca das imagens digitais interativas, um grupo muito amplo de objetos visuais que se caracterizam primordialmente por sua capacidade de reposta ao espectador que com ela se relaciona. Na relação com estas imagens o sujeito se conecta cognitivamente e emocionalmente a dispositivos digitais e sistemas informáticos, absorvendo e alimentando o fluxo de informações. Esta conexão implica posicionamentos radicais na relação entre corpo e mente, especialmente nos âmbitos da percepção, da cognição e da capacidade de ação. Partindo da contextualização tecnológica e cultural dos processos de digitalização que permeiam a sociedade contemporânea, tomamos as imagens interativas sob o olhar do conceito de simulacro, uma imagem sem original. Ao processo da produção de simulacros chamamos simulação. A este processo se associa uma proposta perceptiva que se direciona a encontrar os objetos de modo imediato, remetendo a ligação do sujeito ao objeto em sua virtualidade. Esta ligação intensa e imediata nos orienta a uma nova abordagem do conceito de imersão, que passamos a compreender como uma relação imediata entre sujeito e imagem digital interativa. Estas problematizações se desdobraram num esforço poético, o não-jogo REM, cujo desenvolvimento foi norteado pelo a-método do design de relações. The present work proposes a theoretical and poetic research about interactive digital images, a very broad group of visual objects characterized mainly by their power to react to the viewer with whom it relates. The subject connects cognitively and emotionally to digital devices and computer systems, absorbing and feeding the flow of information. This connection implies radical attitudes towards the relationship between body and mind, especially in the realm of perception, cognition, and ability to act. Starting from the technological and cultural contextualization of the processes of digitalization that goes through the contemporary society, we take the interactive images under the look of the concept of simulacrum, an image without original. The process of producing simulacra we call by simulation. This process associates a perceptive proposal that aims to find the objects in an immediate way, referring the connection of the subject to the object in its virtuality. This intense and immediate connection guides us towards a new approach to the concept of immersion, which we now comprehend as an immediate relation between subject and interactive digital image. These problematizations unfolded in a poetic effort, the REM not-game, whose development was guided by the a-method of the relationship design.

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Lopes, Cláudia Ribeiro Monteiro. "Comunicação e percepção no ciberespaço: um estudo sobre a experiência de imersão em ambientes lúdicos interativos." Pontifícia Universidade Católica de São Paulo, 2013. https://tede2.pucsp.br/handle/handle/4534.

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Made available in DSpace on 2016-04-26T18:13:13Z (GMT). No. of bitstreams: 1 Claudia Ribeiro Monteiro Lopes.pdf: 6217635 bytes, checksum: 9ddb54ebde346a568a9dad5f973289b1 (MD5) Previous issue date: 2013-06-28 Conselho Nacional de Desenvolvimento Científico e Tecnológico This Doctoral Research deals with the relationships between communication and perception in cyberspace. The scope of this investigation encompasses the immersive experience of the participants in games and the interaction of these participants with their virtual representations in the form of different spectres. For all theoretical purposes, the reception and resignificance of stimuli from the sensitive world by the subject of the sensation were apprehended through the concept of cyberspace, a typical and known phenomenon of cyberculture. Cyberculture, in turn, was understood as a socio-historical period marked by the dissemination of digital technologies and networks, and in its current state, by the overdetermination of the civilizing process through cyberspace. The research problem has to do with the peculiarities of the modus operandi of perception during immersion in online multiuser games and to their repercussions on the currently perceivable anthropological mutations in relation to the real world inherited from historical tradition. This research belongs to the field of studies about forms of social and cultural insertion of virtual technologies and networks, thus addressing an emerging theme in the area of Communication. The theoretical and epistemological foundations of this study include perspectives about perception (Maurice Merleau-Ponty, Paulo Sérgio do Carmo and Lucia Santaella), cyberperception (Roy Ascott, Lucia Leão and Santaella), cyberculture (Eugênio Trivinho), the body (Merleau-Ponty, Santaella and Trivinho), interactive immersion (Derrick de Kerckhove and Trivinho) and games (Joan Huiguinza, Tom Bissel, Jane McGonigal and Arlindo Machado). In view of the nature of this Doctoral Research, the methodology encompasses bibliographic research and review and corpus analysis, consisting of online games, whose scenes and narratives will be taken as media immersion environments for previously selected players. With these characteristics, situated in the line of research Mediatic Culture and Environments of the Program of Postgraduate Studies in Communication and Semiotics of PUC/SP (PEPGCOS/PUC-SP), the objectives of this investigation are (a) grasp the specificity of the esthetic and perceptual experience online, in the ambit of the Abstract games; (b) verify the possible implications of cyberspace in the player s ordinary (offline) life; and (c) contribute to the development of studies in this thematic field A presente Tese de Doutorado versa sobre as relações entre comunicação e percepção no ciberespaço. O âmbito de incidência da investigação recai sobre a experiência imersiva dos participantes de games e sobre a interação desses participantes com suas representações virtuais na forma de diferentes espectros. Para todos os efeitos teóricos, a recepção e a ressignificação dos estímulos do mundo sensível pelo sujeito da sensação foram apreendidas pelo conceito de cibercepção, fenômeno típico e conhecido da cibercultura. A cibercultura, por sua vez, foi entendida como época social-histórica marcada pela propagação de tecnologias e redes digitais e, no estado atual, pela sobredeterminação do processo civilizatório pelo ciberespaço. A problemática da pesquisa diz respeito às peculiaridades do modus operandi da percepção durante a imersão em jogos multiusuários e às suas repercussões nas mutações antropológicas perceptivas atuais em relação ao mundo real herdado da tradição histórica. A pesquisa se insere no campo de estudos sobre formas de inserção social e cultural das tecnologias e redes virtuais, abarcando, portanto, temática emergente na área de Comunicação. As bases teóricas e epistemológicas do estudo incluem perspectivas acerca da percepção (Maurice Merleau-Ponty, Paulo Sérgio do Carmo e Lucia Santaella), da cibercepção (Roy Ascott, Lucia Leão e Santaella), da cibercultura (Eugênio Trivinho), do corpo (Merleau-Ponty, Santaella e Trivinho), da imersão interativa (Derrick de Kerckhove e Trivinho) e de jogo (Joan Huiguinza, Tom Bissel, Jane McGonigal e Arlindo Machado). Em razão da natureza da Tese, a metodologia abrange pesquisa e revisão bibliográficas e análise de corpus, composto por games, cujos cenários e narrativas foram tomados como ambientes mediáticos de imersão para jogadores previamente selecionados. Com essas características, situadas na Linha de Pesquisa Cultura e Ambientes Midiáticos do PEPGCOS/PUC-SP, a investigação objetiva (a) apreender a especificidade da experiência estésica e perceptiva online, no âmbito dos games; (b) verificar as possíveis implicações da cibercepção na vida ordinária (off-line) do jogador e (c) contribuir para o desenvolvimento de estudos nesse campo temático

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Books on the topic "Interactive immersion"

Narrative as virtual reality: Immersion and interactivity in literature and electronic media. Johns Hopkins University Press, 2001.

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1951-, Aylett Ruth, ed. Interactive storytelling: Third Joint Conference on Interactive Digital Storytelling, ICIDS 2010, Edinburgh, UK, November 1-3, 2010 : proceedings. Springer, 2010.

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Immersive multimodal interactive presence. Springer, 2012.

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Peer, Angelika, and Christos D. Giachritsis, eds. Immersive Multimodal Interactive Presence. Springer London, 2012. http://dx.doi.org/10.1007/978-1-4471-2754-3.

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Cai, Yiyu. 3D Immersive and Interactive Learning. Springer Singapore, 2013.

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Cai, Yiyu, ed. 3D Immersive and Interactive Learning. Springer Singapore, 2013. http://dx.doi.org/10.1007/978-981-4021-90-6.

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Obadia, Lionel. L'ethnographie comme dialogue: Immersion et interaction dans l'enquête de terrain. PubliSud, 2003.

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Building the Realtime User Experience: Creating Immersive and Interactive Websites. O'Reilly Media, Incorporated, 2010.

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Char Davies' immersive virtual art and the essence of spatiality. University of Toronto Press, 2007.

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McRobert, Laurie. Char Davies' immersive virtual art and the essence of spatiality. University of Toronto Press, 2007.

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Book chapters on the topic "Interactive immersion"

Hameed, Asim, and Andrew Perkis. "Spatial Storytelling: Finding Interdisciplinary Immersion." In Interactive Storytelling. Springer International Publishing, 2018. http://dx.doi.org/10.1007/978-3-030-04028-4_35.

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Bakk, Ágnes Karolina. "Magic and Immersion in VR." In Interactive Storytelling. Springer International Publishing, 2020. http://dx.doi.org/10.1007/978-3-030-62516-0_29.

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Chang, Ching-Wen. "Museum Immersion Interactive Design:." In Cross-Cultural Design. Applications in Health, Learning, Communication, and Creativity. Springer International Publishing, 2020. http://dx.doi.org/10.1007/978-3-030-49913-6_19.

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Brom, Cyril, Jakub Gemrot, Ondřej Burkert, Rudolf Kadlec, and Michal Bída. "3D Immersion in Virtual Agents Education." In Interactive Storytelling. Springer Berlin Heidelberg, 2008. http://dx.doi.org/10.1007/978-3-540-89454-4_11.

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Arndt, Sebastian, Martin Ervik, and Andrew Perkis. "Factors of Immersion in Interactive Digital Storytelling." In Interactive Storytelling. Springer International Publishing, 2017. http://dx.doi.org/10.1007/978-3-319-71027-3_22.

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Wu, Wenjie, and Stefan Rank. "Story Immersion in a Gesture-Based Audio-Only Game." In Interactive Storytelling. Springer International Publishing, 2015. http://dx.doi.org/10.1007/978-3-319-27036-4_21.

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Mason, Stacey. "On Games and Links: Extending the Vocabulary of Agency and Immersion in Interactive Narratives." In Interactive Storytelling. Springer International Publishing, 2013. http://dx.doi.org/10.1007/978-3-319-02756-2_3.

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Liang, Xiaohua. "Interactive Peer Learning in an English Immersion Context." In Lecture Notes in Electrical Engineering. Springer London, 2012. http://dx.doi.org/10.1007/978-1-4471-4793-0_93.

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Hayes, Aleshia Taylor, Tetyana Kucher Dhimolea, Nanxi Meng, and Geneva Tesh. "Levels of Immersion for Language Learning from 2D to Highly Immersive Interactive VR." In Chinese Language Learning Sciences. Springer Singapore, 2021. http://dx.doi.org/10.1007/978-981-16-3416-1_4.

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Buchtová, Michaela. "Interactive Installation Design to Enhance Audience Immersion and Informational Behaviour." In Lecture Notes in Computer Science. Springer Berlin Heidelberg, 2012. http://dx.doi.org/10.1007/978-3-642-33542-6_51.

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Conference papers on the topic "Interactive immersion"

Cook, Margaret, Amber Ackley, Karla Chang Gonzalez, et al. "InNervate immersion." In SIGGRAPH '19: Special Interest Group on Computer Graphics and Interactive Techniques Conference. ACM, 2019. http://dx.doi.org/10.1145/3306214.3338580.

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Knorr, Sebastian, Matis Hudon, Julian Cabrera, Thomas Sikora, and Aljosa Smolic. "Deepstereobrush: Interactive Depth Map Creation." In 2018 International Conference on 3D Immersion (IC3D). IEEE, 2018. http://dx.doi.org/10.1109/ic3d.2018.8657860.

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Cailhol, Simon, Philippe Fillatreau, and Jean-Yves Fourquet. "Interactive multimodal path planning in immersion." In 2013 IEEE 11th International Workshop of Electronics, Control, Measurement, Signals and their application to Mechatronics (ECMSM). IEEE, 2013. http://dx.doi.org/10.1109/ecmsm.2013.6648954.

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Zioulis, Nikolaos, Dimitrios Alexiadis, Alexandros Doumanoglou, et al. "3D tele-immersion platform for interactive immersive experiences between remote users." In 2016 IEEE International Conference on Image Processing (ICIP). IEEE, 2016. http://dx.doi.org/10.1109/icip.2016.7532380.

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Lev, Nadya, and Star St.Germain. "HoloVista: Designing for Immersion." In SIGGRAPH '21: Special Interest Group on Computer Graphics and Interactive Techniques Conference. ACM, 2021. http://dx.doi.org/10.1145/3450415.3466172.

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Desai, Kevin, Suraj Raghuraman, Rong Jin, and Balakrishnan Prabhakaran. "QoE Studies on Interactive 3D Tele-Immersion." In 2017 IEEE International Symposium on Multimedia (ISM). IEEE, 2017. http://dx.doi.org/10.1109/ism.2017.27.

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Fearghail, Colm O., Cagri Ozcinar, Sebastian Knorr, and Aljosa Smolic. "Director’s Cut - Analysis of VR Film Cuts for Interactive Storytelling." In 2018 International Conference on 3D Immersion (IC3D). IEEE, 2018. http://dx.doi.org/10.1109/ic3d.2018.8657901.

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Kaliakatsos-Papakostas, Maximos, Aggelos Gkiokas, and Vassilis Katsouros. "Interactive Control of Explicit Musical Features in Generative LSTM-based Systems." In AM'18: Sound in Immersion and Emotion. ACM, 2018. http://dx.doi.org/10.1145/3243274.3243296.

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Jung, ChangYong, Woncheol Lee, and Hyunggi Kim. "Increasing in sense of Immersion in Interactive Media Artworks." In Multimedia 2014. Science & Engineering Research Support soCiety, 2014. http://dx.doi.org/10.14257/astl.2014.54.01.

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Prouzeau, Arnaud, Anastasia Bezerianos, and Olivier Chapuis. "Visual Immersion in the Context of Wall Displays." In ISS '16: 2016 ACM International Conference on Interactive Surfaces and Spaces. ACM, 2016. http://dx.doi.org/10.1145/3009939.3009945.

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Reports on the topic "Interactive immersion"

Baluk, Nadia, Natalia Basij, Larysa Buk, and Olha Vovchanska. VR/AR-TECHNOLOGIES – NEW CONTENT OF THE NEW MEDIA. Ivan Franko National University of Lviv, 2021. http://dx.doi.org/10.30970/vjo.2021.49.11074.

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Abstract:

The article analyzes the peculiarities of the media content shaping and transformation in the convergent dimension of cross-media, taking into account the possibilities of augmented reality. With the help of the principles of objectivity, complexity and reliability in scientific research, a number of general scientific and special methods are used: method of analysis, synthesis, generalization, method of monitoring, observation, problem-thematic, typological and discursive methods. According to the form of information presentation, such types of media content as visual, audio, verbal and combined are defined and characterized. The most important in journalism is verbal content, it is the one that carries the main information load. The dynamic development of converged media leads to the dominance of image and video content; the likelihood of increasing the secondary content of the text increases. Given the market situation, the effective information product is a combined content that combines text with images, spreadsheets with video, animation with infographics, etc. Increasing number of new media are using applications and website platforms to interact with recipients. To proceed, the peculiarities of the new content of new media with the involvement of augmented reality are determined. Examples of successful interactive communication between recipients, the leading news agencies and commercial structures are provided. The conditions for effective use of VR / AR-technologies in the media content of new media, the involvement of viewers in changing stories with augmented reality are determined. The so-called immersive effect with the use of VR / AR-technologies involves complete immersion, immersion of the interested audience in the essence of the event being relayed. This interaction can be achieved through different types of VR video interactivity. One of the most important results of using VR content is the spatio-temporal and emotional immersion of viewers in the plot. The recipient turns from an external observer into an internal one; but his constant participation requires that the user preferences are taken into account. Factors such as satisfaction, positive reinforcement, empathy, and value influence the choice of VR / AR content by viewers.

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Sibert, Linda E., James N. Templeman, Robert C. Page, Jeremy T. Barron, and Justin A. McCune. Initial Assessment of Human Performance Using the Gaiter Interaction Technique to Control Locomotion in Fully Immersive Virtual Environments. Defense Technical Information Center, 2004. http://dx.doi.org/10.21236/ada424639.

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Parodi, Andrea. A Theoretically Driven Investigation of the Efficacy of an Immersive Interactive Avatar Rich Virtual Environment in Pre-deployment Nursing Knowledge and Teamwork Skills Training. Defense Technical Information Center, 2013. http://dx.doi.org/10.21236/ada612695.

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