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MagicFace: Stepping into Character through an Augmented Reality Mirror
Abstract
Augmented Reality (AR) is coming of age and appearing in various smartphone apps. One emerging AR type uses the front-facing camera and overlays a user's face with digital features that transform the physical appearance, making the user look like someone else, such as a popstar or a historical character. However, little is known about how people react to such stepping into character and how convincing they perceive it to be. We developed an app with two Egyptian looks, MagicFace, which was situated both in an opera house and a museum. In the first setting, people were invited to use the app, while in the second setting they came across it on their own when visiting the exhibition. Our findings show marked differences in how people approach and experience the MagicFace in these different contexts. We discuss how realistic and compelling this kind of AR technology is, as well as its implications for educational and cultural settings.
... Lastly, avatars visualized through "mirrors" are not revoked as long as they give the impression of being the reflection of the real world (e.g. Javornik et al. [29]). ...
... Its combination with AR provides users with a novel way to convey ideas by letting them change their attire dynamically. Among examples, the virtual make-up application MagicFace [29] was deployed in a museum and in an opera house to let visitors observe how they would look with Egyptian pharaoh makeup. Its creators see a broader use for such applications: they could help make-up artists in their creation process or aid on-stage performers step into character without having to dress up. ...
... Most of the user's body consequently remains visible outside of the display during 1PP full-body avatarization. In previous work, such displays were mostly used to implement virtual mirrors [29], [42], [49], [68]. ...
Virtual self-avatars have been increasingly used in Augmented Reality (AR) where one can see virtual content embedded into physical space. However, little is known about the perception of self-avatars in such a context. The possibility that their embodiment could be achieved in a similar way as in Virtual Reality opens the door to numerous applications in education, communication, entertainment, or the medical field. This article aims to review the literature covering the embodiment of virtual self-avatars in AR. Our goal is (i) to guide readers through the different options and challenges linked to the implementation of AR embodiment systems, (ii) to provide a better understanding of AR embodiment perception by classifying the existing knowledge, and (iii) to offer insight on future research topics and trends for AR and avatar research. To do so, we introduce a taxonomy of virtual embodiment experiences by defining a "body avatarization" continuum. The presented knowledge suggests that the sense of embodiment evolves in the same way in AR as in other settings, but this possibility has yet to be fully investigated. We suggest that, whilst it is yet to be well understood, the embodiment of avatars has a promising future in AR and conclude by discussing possible directions for research.
... Existing research shows the potential of AR as a tool for communicating personal health information that influences behavior and perceptions related to health. For example, previous research suggests that AR can lead to a user taking on the role of the character in a narrative (Javornik et al., 2017;Hoang et al., 2018), increase a sense of spatial presence (Jung et al., 2019), change one's perception of physical sensations (Yuan and Steed, 2010), and influence perceived threat susceptibility, severity, negative affect, and behavioral intentions (Jung et al., 2019;Seals et al., 2021). We discuss and build on the theoretical foundation for the potential of AR within the areas of personal health. ...
... Self-focused AR, where digital content is layered on the body vs. one's environment, is found to influence users to play out a role or alternative version of themselves (Jacobs et al., 2019). In an investigation of the extent to which an AR mirror can create an illusion of becoming another person, Javornik et al. (2017) found participants to easily and often immediately feel like characters displayed to them. The connection between AR content and users' perception has even been observed to impact how they experience their own physical body. ...
This article discusses novel research methods used to examine how Augmented Reality (AR) can be utilized to present “omic” (i.e., genomes, microbiomes, pathogens, allergens) information to non-expert users. While existing research shows the potential of AR as a tool for personal health, methodological challenges pose a barrier to the ways in which AR research can be conducted. There is a growing need for new evaluation methods for AR systems, especially as remote testing becomes increasingly popular. In this article, we present two AR studies adapted for remote research environments in the context of personal health. The first study (n = 355) is a non-moderated remote study conducted using an AR web application to explore the effect of layering abstracted pathogens and mitigative behaviors on a user, on perceived risk perceptions, negative affect, and behavioral intentions. This study introduces methods that address participant precursor requirements, diversity of platforms for delivering the AR intervention, unsupervised setups, and verification of participation as instructed. The second study (n = 9) presents the design and moderated remote evaluation of a technology probe, a prototype of a novel AR tool that overlays simulated timely and actionable environmental omic data in participants' living environment, which helps users to contextualize and make sense of the data. Overall, the two studies contribute to the understanding of investigating AR as a tool for health behavior and interventions for remote, at-home, empirical studies.
... Therefore, strictly speaking, face-to-face interaction of users is only possible with the ARM metaphor, although a VRM can eventually simulate that effect. Some works use different terms to refer to VRM or ARM, such as magic mirror (Bork et al., 2017;Kim, Lee, & Kim, 2004), magic face (Javornik, Rogers, Gander, & Moutinho, 2017), mixed-reality (MR) mirror (Sato, Kitahara, & Ohta, 2009) or real-time mirror (Gonzalez-Franco, Perez-Marcos, Spanlang, & Slater, 2010). The terms virtual mirror or immersive mirror are also sometimes used for either VRM or ARM, creating some additional confusion. ...
... On the other hand, VRMs and ARMs are typically used in applications for cosmetics, clothing and optical retail, since they provide a way for customers to see how products would look like if they wore them. These virtual try-on applications have become very popular for entertainment, commercial or even cultural applications (Javornik et al., 2017), but can be used also for medical purposes. For instance, AR has been used in the field of plastic surgery to depict the results before the intervention of the patient (Ilusio, 2016). ...
Virtual and Augmented Reality are technologies widely used in a variety of areas, including the medical sector. On the other hand, regular mirrors have been traditionally used as tools to aid in mental health treatment for a variety of diseases and disorders. Although it is possible to build Virtual and Augmented Reality experiences based on mirror metaphors, there are very few contributions of this kind in the medical sector. In this chapter, the great benefits that regular mirrors have brought for mental health treatment are addressed. In addition, a review on the state of the art in mirror-based Virtual and Augmented Reality applications is given, highlighting the potential benefits that these enhanced mirrors could bring for the mental health treatment.
... Therefore, strictly speaking, face-to-face interaction of users is only possible with the ARM metaphor, although a VRM can eventually simulate that effect. Some works use different terms to refer to VRM or ARM, such as magic mirror (Bork et al., 2017;Kim, Lee, & Kim, 2004), magic face (Javornik, Rogers, Gander, & Moutinho, 2017), mixed-reality (MR) mirror (Sato, Kitahara, & Ohta, 2009) or real-time mirror (Gonzalez-Franco, Perez-Marcos, Spanlang, & Slater, 2010). The terms virtual mirror or immersive mirror are also sometimes used for either VRM or ARM, creating some additional confusion. ...
... On the other hand, VRMs and ARMs are typically used in applications for cosmetics, clothing and optical retail, since they provide a way for customers to see how products would look like if they wore them. These virtual try-on applications have become very popular for entertainment, commercial or even cultural applications (Javornik et al., 2017), but can be used also for medical purposes. For instance, AR has been used in the field of plastic surgery to depict the results before the intervention of the patient (Ilusio, 2016). ...
Virtual and Augmented Reality are technologies widely used in a variety of areas, including the medical sector. On the other hand, regular mirrors have been traditionally used as tools to aid in mental health treatment for a variety of diseases and disorders. Although it is possible to build Virtual and Augmented Reality experiences based on mirror metaphors, there are very few contributions of this kind in the medical sector. In this chapter, the great benefits that regular mirrors have brought for mental health treatment are addressed. In addition, a review on the state of the art in mirror-based Virtual and Augmented Reality applications is given, highlighting the potential benefits that these enhanced mirrors could bring for the mental health treatment.
... In contrast [4] map out an extended understanding of the nature and quality of the design space created behind the mirror within a volumetric space reflecting an increasing interest in mirrors in boxes [14], creating novel designs for health services [15], augmenting our selves, museums spaces and exhibits and for musicians. Similar to [16], [17] addresses some issues of the physical context of the mirror by using projections into the real world, as well as a screen moveable in relation to the mirror, to enhance the perception of a hybrid mixed reality environment. Some work has begun to look beyond the reflections of ourselves such as for enhanced digital displays in cars [18] and [19] have explored the conditions of the real world where the mirror is placed, such as lighting and distance. ...
... Practitioners and researchers can draw on these forms of 'dressing up' and other ways to transform the reflection of the self, which has been shown to be an effective way to engage users in other interactive and reflective experiences such as photo booths, photo apps [8,16] and interactive mirrors used for health and beauty applications [15]. Designing for the transformation of the reflection of the user allows people to enter into a role or alternative version of themselves and therefore 'perform narratives' in this role. ...
Interactive mirrors, typically combining semi-transparent mirrors, digital screens and interaction mechanisms have been developed for a variety of application areas. Drawing on existing techniques to create interactive mirror spaces, we investigated their performative qualities through artistic discovery and collaborative prototyping. We document a linked set of design explorations and two public, site-specific experiences that brought together artists, communities, and HCI researchers. We illustrate the abstracted interactive mirror space that practitioners in the performance art, theatre and museum sectors can work with. In turn, we also discuss six performative design strategies concerning the use of physical context, movement and narrative that HCI researchers who wish to deploy interactive mirrors in more mainstream settings need to consider.
... Some people (predominantly adults) showed interest in the device, looked at it closely but then walked away. When asked why they decided not to interact, the most common answer was that it required a time commitment: "Just busy doing other things, it looks really interesting but I don't have time for it," (man, 60+); "I'm not sure I have time for it," (man, [30][31][32][33][34][35][36][37][38][39][40]. ...
... One way to attract a more diverse audience is when school parties and other groups are invited to all have a go (cf. [31]). The data that was collected by PlayBat indicated that a large number of users had slightly or significantly changed their opinions-from negative to positive and from positive to even more positive. ...
Bats are often disliked and feared by people. How might we enable the general public to learn more about the true nature of these creatures, and even to like them? In this paper, we introduce PlayBat, a physical public display, which combines a multi-modal interface, a constrained narrative structure and real-time IoT environmentally sensed bat call data. The aim of our research is to investigate whether promoting curiosity and discovery through enabling people to explore real-life data, answer quiz-like questions and engage with a multi-modal interface, is effective at engaging people and confronting their fears. We report on the design process and implementation of PlayBat, and the findings from an in-the-wild study. We discuss how tapping into multiple senses can draw people in, evoke curiosity and even change their views.
... Johnson and Sun [14] projected virtual body organs on the body in an educational game. Javornik et al. [13] overlaid virtual makeup on the faces of performers through an augmented reality mirror to assist them in getting into respective character roles. In these examples, the body serves solely as a carrier of information. ...
... Using a similar 'augmented mirror interface', Javornik et al. [13] developed a system that overlays digital makeup on the face using a tablet with a front facing camera. Their work aims at assisting the task of role playing, especially for theatrical performers who need to become a character through virtual make-up. ...
The human body in HCI is often seen as an actuator for issuing commands and providing input to digital systems. We present the concept of the body as a canvas, in which the body acts as both an actuator and a display for information. Body as a canvas creates an interaction loop where interaction with information causes changes in the body, which in turn changes the display of information. Our qualitative study using an on-body projection system in a public exhibition investigates this concept with regards to body characteristics, types of body input, interactions between multiple bodies, and comparison to other display technologies. Findings show that body as a canvas creates connectedness between the body and information. Finally, we discuss how body characteristics and appearances can complement the information, when the body acts as a canvas.
... So far, however, research in the marketing field has focused on the acceptance of AR technology (Huang and Liao, 2015;Kang, 2014;Olsson and Salo, 2011;Rese et al., 2014), the perception of AR advertisements (Sung and Cho, 2012;Yaoyuneyong et al., 2016), guidance for the design of the AR experience (Javornik, 2016;Scholz and Smith, 2016), the anticipated consumer responses to media characteristics of AR (Javornik, 2016), post-use evaluation of individuals who have experience AR-based advertising (Kim and Forsythe, 2008) and the influence of AR advertising on purchase intentions for apparel shopping (Schwartz, 2011). According to Schwartz (2011), AR can provide online shoppers with a more direct and engaging product experience through attractive advertising (Javornik et al., 2017) and can thus lead to a decrease in items being returned and an increase in conversions. The technology of all types has significantly grown in popularity over the last few years, and the AR market is expected to continue this trend. ...
Purpose
The purpose of this paper is to investigate the role of the “Big Five” personality traits (extraversion, openness, agreeableness, conscientiousness and neuroticism) on the adoption of augmented reality (AR), with a particular focus on the role AR may play in interactive marketing.
Design/methodology/approach
A quantitative-based approach was followed by a questionnaire survey, which was completed by 230 respondents comprising graduate and postgraduate students, using structural equation modelling.
Findings
While the trait of openness was positively associated with the perceived ease of use of AR, the usefulness of AR and subjective norms, the trait of neuroticism was negatively associated with the perceived ease of use of AR. Extraversion was positively associated with subjective norms. Perceived ease of use of AR, the usefulness of AR and subjective norms were positively associated with attitudes toward AR.
Practical implications
The data gathered will add a valuable contribution to the currently limited data available on empirical consumer behaviour research, particularly in relation to the adoption of AR for interactive marketing.
Originality/value
The findings of this study will benefit academics working on the adoption of technology in rapidly developing fields such as automation and artificial intelligence; the study also contributes to the emerging interdisciplinary domain of psychology, information systems, marketing and human behaviour.
... When embodied in MR, self-avatars allow users to see themselves in their own environment, but inside a body with a different shape, size, or appearance. This ability not only finds applications in the entertainment and education fields (Javornik et al., 2017;Hoang et al., 2018), but also in the psychomedical areas. For example, virtual embodiment was previously used in MR to simulate medical prostheses (Lamounier Jr et al., 2012;Nishino et al., 2017) and to investigate non-intrusive therapies of chronic pain and mental disorders (Eckhoff et al., 2019;Kaneko et al., 2019). ...
This paper studies the sense of embodiment of virtual avatars in Mixed Reality (MR) environments visualized with an Optical See-Through display. We investigated whether the content of the surrounding environment could impact the user’s perception of their avatar, when embodied from a first-person perspective. To do so, we conducted a user study comparing the sense of embodiment toward virtual robot hands in three environment contexts which included progressive quantities of virtual content: real content only, mixed virtual/real content, and virtual content only. Taken together, our results suggest that users tend to accept virtual hands as their own more easily when the environment contains both virtual and real objects (mixed context), allowing them to better merge the two “worlds”. We discuss these results and raise research questions for future work to consider.
... [7]), smell stimuli [4], taste and texture stimuli [8] have been used to enhance experiences of the body and how we interact with the environment. Multisensory feedback has a role in exploring body perception and presentation [6], facilitate everyday function, foster coping capabilities, restore distorted body perceptions (e.g. body shape or size) and body capabilities (e.g. ...
The emerging possibilities of multisensory interactions provide an exciting space for disability and open up opportunities to explore new experiences for perceiving one's own body, it's interactions with the environment and also to explore the environment itself. In addition, dynamic aspects of living with disability, life transitions, including ageing, psychological distress, long-term conditions such as chronic pain and new conditions such as long-COVID further affect people's abilities. Interactions with this diversity of embodiments can be enriched, empowered and augmented through using multisensory and cross-sensory modalities to create more inclusive technologies and experiences. To explore this, in this workshop we will explore three related sub-domains: immersive multi-sensory experiences, embodied experiences, and disability interactions and design. The aim is to better understand how we can re-think the senses in technology design for disability interactions and the dynamic self, constructed through continuously changing sensing capabilities either because of changing ability or because of the empowering technology. This workshop will: (i) bring together HCI researchers from different areas, (ii) discuss tools, frameworks and methods, and (iii) form a multidisciplinary community to build synergies for further collaboration.
... AR mirrors depict augmented looks that are transformational, virtually modifying one's face in the mirror while offering a variety of interactions. The AR overlay can seamlessly appear on a person standing in front of a mirror without any input from the consumer (Javornik, Rogers, Gander, & Moutinho, 2017), which can entice the consumer to interact in a retail context and focus attention on a specific look -for instance, the Charlotte Tilbury "Magic Mirror" virtually applies the brand's signature looks such as "The Rebel" on the faces of those visiting the brand's stores. Other types of AR mirrors are focused on enabling the consumer to browse through and virtually try-on a wide range of products via a smartphone app (Scholz & Duffy, 2018). ...
Augmented reality mirrors are popular marketing tools that allow virtual try-on of products, such as makeup. We study how such sensory experiences affect consumer perception of the self, specifically the gap between actual and ideal attractiveness, and we conceptualise this change as augmented self. Over three lab experiments we show that viewing oneself in an AR mirror (as opposed to the regular mirror) affects the ideal-actual attractiveness gap and that this effect differs depending on a consumer’s self-esteem. Furthermore, we uncover that ideal self-congruence mediates this process. We also demonstrate that augmentation significantly changes variety-seeking. An additional survey-based study shows downstream effects of ideal self-congruence and ideal-actual gap on product choice and psychological well-being. While commercial immersive technologies are deployed to generate responses related to brands and products, this study demonstrates that the effects extend to consumers’ self-concept. We offer implications for academics and practitioners in marketing and human–computer interaction.
... While digital try-on already existed on the websites, an AR mirror is capable of making things more interactive (Javornik, 2016). These mirrors are being used in make-up salons, museum and dressing rooms of an opera house (Javornik, Rogers, Gander, & Moutinho, 2017). AR enables greater interactivity. ...
... We can then expect that, when a consumer can personalize the augmentation, meaning that she can modify the elements superimposed on the mirrored image, she can find a look that better matches the desired image, resulting in a greater perception of augmented self. However, the level of subjective knowledge or expertise is crucial in the process: previous studies have shown that those with higher level of expertise prefer to have more options to customize the look (Randall et al. 2007;Moreau et al. 2011;Javornik et al. 2017). Thus, we might expect that AR would be more impactful in terms of increasing self-perceptions when the users are able to personalise it. ...
... In addition, AR was previously found to increase users' engagement [31], which can be defined in terms of the amount of time devoted to the activity [24,61]. The major factors that increase user engagement are types of interaction [66], overall interactivity and diversity of the experience [3,29], aesthetics [51], and immersion [17]. ...
As technology advances, people increasingly interact with virtual objects in settings such as augmented reality where the virtual layer is superimposed on top of the real world. Similarly to interactions with physical objects, users may assign virtual objects with value, experience a sense of relatedness, and develop psychological ownership over these objects. The objective of this study is to understand how AR’s unique characteristics influences the emergence of meaning and ownership perceptions amongst users. We conducted a study of users’ interactions with a virtual dog over a three-week period, comparing between AR and a fully virtual setting. Our findings show that engagement with the application is a key determinant of the relation users develop with virtual objects. However, the effect of the background layer - whether physical or virtual – dominates the development of relatedness and ownership feelings, highlighting the importance of the “real” physical layer in shaping users’ perceptions.
... With progress in human tracking, several augmentation concepts have been explored around body, face and hair-allowing people to try on virtual make-up and glasses using face tracking [Javornik et al., 2017], hairs styles [Kemelmacher-Shlizerman, 2016] using hair tracking, and clothing [Facecake, 2015, Rogge et al., 2014, 2011, Yang et al., 2016. In this work, we are focused on ing a watertight costume to a body from a single RGB image. ...
We describe a method to automatically augment a watertight digital costume onto a person's body from a monocular RGB image. When overlaying a digital costume onto a body using pose matching, several parts of the person's cloth or skin remain visible due to differences in shape and proportions. In this paper, we present a practical solution to these artifacts which requires minimal costume parameterization work, and a straightforward inpainting approach. To our knowledge, our approach is the first to deliver plausible watertight costumes from RGB imagery only, and is compatible with mobile devices. We show successful results at high resolution in our video and project web page, as well as defects in the discussion section of paper, which can serve as comparison for future improvements.
How do we design for intersubjective, digitally-mediated encounters in the museum? We report on the process of designing a digital interactive installation called Sit with Me for a permanent museum exhibition on migration in Newcastle upon Tyne, UK. Focussing on this case-study, the article aims to unpick the tensions, challenges and opportunities arising from designing for intersubjectivity in the context of migration exhibitions. It particularly explores how perspectives from the past may be brought into a relation with contemporary visitor perspectives through the design of interaction spaces that enable dialogicality and other-oriented perspective taking. Our aim is to enrich current museological discourse on exhibiting and experiencing migration in museums, contributing much needed understandings on the use and role of digital interactive technologies in these contexts; we further contribute methodological insight about a research-through-design practice that critically addressed the museum’s desire to foster intersubjectivity in the encounters between Self and Other.
In the context of information visualization on physical building models (called phygital models) and given the visual support's characteristics (granularity, display surface, video projection), the design of proper visual feedbacks is complex. We propose a design space of visual feedbacks linked to two tasks: navigate through a graph of points of interest on the model and find a point of interest. We evaluate some design factors (movement, position and shape) in order to identify the proper feedbacks characteristics on physical models.
This paper discusses the different components of experience with AR applications in public—mainly in commercial contexts, but also relevant for the cultural and touristic contexts. It draws on recent studies and developments of AR marketing and investigates user-, technology- and context-related factors. In particular, it discusses the core experiential momentum—“augmentation”—and its value for the user, as well as the role of social interaction. Most importantly, the framework underlines the lack of studies that investigate the impact of AR on behaviour and behaviour change and calls for further research in that area. Finally, implications for designing AR experience in public are proposed.
The phrase "in-the-wild" is becoming popular again in the field of human-computer interaction (HCI), describing approaches to HCI research and accounts of user experience phenomena that differ from those derived from other lab-based methods. The phrase first came to the forefront 20-25 years ago when anthropologists Jean Lave (1988), Lucy Suchman (1987), and Ed Hutchins (1995) began writing about cognition being in-the-wild. Today, it is used more broadly to refer to research that seeks to understand new technology interventions in everyday living. A reason for its resurgence in contemporary HCI is an acknowledgment that so much technology is now embedded and used in our everyday lives. Researchers have begun following suit—decamping from their usability and living labs and moving into the wild; carrying out in-situ development and engagement, sampling experiences, and probing people in their homes and on the streets. The aim of this book is to examine what this new direction entails and what it ...
Digital technologies provide theater with new possibilities for combining traditional stage-based performances with interactive artifacts, for streaming remote parallel performances and for other device facilitated audience interaction. Compared to traditional theater, mixed-media performances require a different type of engagement from the actors and rehearsing is challenging, as it can be impossible to rehearse with all the functional technology and interaction. Here, we report experiences from a case study of two mixed-media performances; we studied the rehearsal practices of two actors who were performing in two different plays. We describe how the actors practiced presence during rehearsal in a play where they would be geographically remote, and we describe the challenges of rehearsing with several remote and interactive elements. Our study informs the broader aims of interactive and mixed media performances through addressing critical factors of implementing technology into rehearsal practices.
This paper describes three interactive artefacts created for a children's exhibition intended to encourage creativity and allow educational opportunities to emerge naturally through playful exploration. We describe five sensibilities that were used to inform our designs: considering artefacts as resources and scaffolds for imaginative engagement, rewarding extended investment, facilitating requisite unpredictability, encouraging an imaginative orientation to participation, and permitting multiple loci for interaction. Based on observation of how our interactives were used by the public, we discuss how our approach facilitated "open interactions" in a manner that was sensitive to the museum context, favoured a mix of materialities, and manifested a subtle mix of participation and designer autonomy.
Nowadays, the use of technology to improve teaching and learning experiences in the classroom has been promoted. One of these technologies is augmented reality, which allows overlaying layers of virtual information on real scene with the aim of increasing the perception the user has of reality. In the educational context augmented reality have proved to offer several advantages, i.e. increasing learning engagement and increasing understanding of some topics, especially when spatial skills are involved.
Contents deployed in an augmented reality application are of two types, static, i.e. text, or dynamic, i.e. animations. As far as we know no research project has assessed how the type of content, static or dynamic, can affect the student learning experience in augmented reality applications. In this article the development and evaluation of an augmented reality application using static and dynamic content is described. In order to determine how the type of content affects the learning experience of the student, an experimental design in which the student interact with the application, using static and dynamic contents, for learning topics
related with an electronic fundamentals course was performed.
Nowadays, the use of technology to improve teaching and learning experiences in the classroom has been promoted. One of these technologies is augmented reality, which allows overlaying layers of virtual information on real scene with the aim of increasing the perception the user has of reality. In the educational context augmented reality have proved to offer several advantages, i.e. increasing learning engagement and increasing understanding of some topics, especially when spatial skills are involved. Contents deployed in an augmented reality application are of two types, static, i.e. text, or dynamic, i.e. animations. As far as we know no research project has assessed how the type of content, static or dynamic, can affect the student learning experience in augmented reality applications. In this article the development and evaluation of an augmented reality application using static and dynamic content is described. In order to determine how the type of content affects the learning experience of the student, an experimental design in which the student interact with the application, using static and dynamic contents, for learning topics related with an electronic fundamentals course was performed.
This study aims to investigate the impact of Virtual Reality (VR) and Augmented Reality (AR) on the overall visitor experience in the context of museum. In tourism research, few attempts have been made to examine factors which enhance visitor experience using new and emerging technologies such as VR & AR respectively, however research on visitor experience in the mixed environment by combining both VR & AR is scarce. In particular, this study examined the impact of social presence on visitor experience in the mixed (VR & AR) environment by applying social presence theory and experience economy theory. Questionnaires administered to 163 museum visitors revealed that social presence in mixed (VR & AR) environments is a strong predictor of four realms of experience economy. Furthermore, all aspects of experience economy, except for esthetic experience, have a significant influence on visitor experience, which consequently induce the tourists’ intention to revisit Geevor museum. The results of this study provide theoretical and managerial implications for adoption of VR & AR technologies in museum.
Innovative marketers can now leverage augmented reality to craft immersive brand experiences, create more interactive advertising, and enable consumers to experience products and spaces in novel ways. Augmented reality (AR) is the practice of displaying digital information over people’s real-time view of objects, people, or spaces in the physical world. While AR can play a valuable role in integrated marketing programs, little is known about the practice and how to execute effective AR programs in the marketplace. We address this gap and discuss a framework that describes the active and passive ingredients of augmented reality. We describe the basic design decisions that marketers need to make when planning an augmented reality campaign. We also explain how understanding and addressing the dynamics between various active and passive AR ingredients can help marketers to optimize their AR campaigns and enhance various types of consumer engagement: user-brand engagement, user-user engagement, and user-bystander engagement. Through our framework and analysis, we develop eight actionable recommendations for marketing managers. We advise marketers to follow the ENTANGLE acronym to design immersive AR experiences that maximize consumer engagement.
This paper examines how audiences experience live opera performance and the behaviours they exhibit during live-streaming of the performance. It aims to contribute to our understanding of how audiences, who increasingly inhabit an environment saturated with digital media, respond to contemporary opera performance. Based on a comparative study of audience experiences and behaviours during a live opera performance and the streamed opera screening, we investigate whether digital mediation affects audience appreciation, and whether streaming live opera means the same thing to an audience as the unmediated performance. We firstly outline the conception, design and performance of a contemporary opera and its simultaneous streaming to nearby digital screens. Then, we report the evaluation of the project as measured by a mix of qualitative and quantitative methods during the rehearsals, the live performance and the screening. As one of the few social studies of contemporary classical music in Britain, our study of opera audience behaviours sheds light on the challenges and opportunities afforded by digital technologies for opera companies. Understanding how audiences appreciate digital operas offers practical advice on how theatres and opera companies could respond to new forms of digital activities.
The comprehension of micro-worlds has always been the focus and the challenge of chemistry learning. Junior high school students’ imaginative abilities are not yet mature. As a result, they are not able to visualize microstructures correctly during the beginning stage of chemistry learning. This study targeted “the composition of substances” segment of junior high school chemistry classes and, furthermore, involved the design and development of a set of inquiry-based Augmented Reality learning tools. Students could control, combine and interact with a 3D model of micro-particles using markers and conduct a series of inquiry-based experiments. The AR tool was tested in practice at a junior high school in Shenzhen, China. Through data analysis and discussion, we conclude that (a) the AR tool has a significant supplemental learning effect as a computer-assisted learning tool; (b) the AR tool is more effective for low-achieving students than high-achieving ones; (c) students generally have positive attitudes toward this software; and (d) students’ learning attitudes are positively correlated with their evaluation of the software.
Role-playing games have evolved into many forms in their thirty-year history. From the traditional pen-and-paper form, that originated with Dungeons & Dragons, with a group of friends playing around a table, to large live-action role-playing game, with hundreds of people acting out their assumed roles. The first computer role-playing games appeared over twenty-five years ago and massively multi-player role-playing games, such as World of Warcraft are now one of the most popular genres of digital games. Despite this diversity players at least seem to think they know when something is a role-playing game. When players, writers and game designers say “this is a role-playing game” there are no problems, they all seem to know what each other means, what is and is not a role-playing game. Yet there is no commonly accepted definition of the form. Understandable, perhaps, given the diversity, but the implicit agreement about its use means that there may well be some common underlying features shared by the various examples. Hampering any attempt to understand what makes a game a role-playing game is the subtle divide between role-playing and role-playing game. Role-playing can take in many places, not all of them games (such as ritual, social activities, therapy, etc). This means that definitions of the role-playing activity are not that useful in separating role-playing games from other games. In this paper we start from the position that the players are correct: they know what a role-playing game is. By examining a range of role-playing games some common features of them emerge. This results in a definition that is more successful than previous ones at identifying both what is, and what is not, a role-playing game.
For decades designers have used theatre metaphors to describe design methodologies and have used performance techniques to enhance the design process, two of which are improvisational acting and role-playing. Unfortunately, most design literature does not differentiate between these two practices even while using them in combination with various design methods. This paper discusses how improvisation and role-playing have been employed during the design process and why they are distinct from one another. The authors draw upon their current research involving improvisational acting and compare it with other role-playing research which examines role-playing from both a serious and entertainment angle. They conclude through this comparison that both performance techniques have their place in the design process and that more informed definitions of each technique can aid designers in deciding which technique's properties will benefit them the most.
Transportation was proposed as a mechanism whereby narratives can affect beliefs. Defined as absorption into a story, transportation entails imagery, affect, and attentional focus. A transportation scale was developed and validated. Experiment 1 (N = 97) demonstrated that extent of transportation augmented story-consistent beliefs and favorable evaluations of protagonists. Experiment 2 (N = 69) showed that highly transported readers found fewer false notes in a story than less-transported readers. Experiments 3 (N = 274) and 4 (N = 258) again replicated the effects of transportation on beliefs and evaluations; in the latter study, transportation was directly manipulated by using processing instructions. Reduced transportation led to reduced story-consistent beliefs and evaluations. The studies also showed that transportation and corresponding beliefs were generally unaffected by labeling a story as fact or as fiction.
How does designing for novel experiences with largely untried technologies get its inspiration? Here we report on a project whose goal was to promote learning through novel, playful visions of technologies. To this end, we experimented with a diversity of ambient and pervasive technologies to inspire and drive our design. Working as a large multi-disciplinary group of researchers and designers we developed novel and imaginative experiences for children. To crystallise our ideas we designed, implemented and experimented with a mixed reality adventure game, where children had to hunt an elusive, virtual creature called the Snark, in a large interactive environment. We describe our experiences, reflecting on the process of design inspiration in an area where so much remains unknown. Keywords Innovation, technology inspiration, novel user experiences, blue-sky research, physical/virtual integration, tangibles, conceptual development, wearables, middleware infrastructure, devices
The intersection of mobile marketing and shopper marketing, known as mobile shopper marketing, is a rapidly evolving area. We formally define mobile shopper marketing as the planning and execution of all mobile-based marketing activities that influence a shopper along and beyond the path-to-purchase: from the initial shopping trigger, to the purchase, consumption, repurchase, and recommendation stages. However, not much is known about mobile shopper marketing. We plug this gap by first discussing mobile shopper marketing and its scope in depth and then presenting a process model that connects the mobile shopping journey with four key entities, i.e., shopper, employee, organization, and mobile technology. For each of these themes, we identify the challenges that offer future research opportunities.
Virtual try-ons have recently emerged as a new form of Augmented Reality application. Using motion caption techniques, such apps show virtual elements like make-up or accessories superimposed over the real image of a person as if they were really wearing them. However, there is as of yet little understanding about their value for providing a viable experience. We report on an in-situ study, observing how shoppers approach and respond to such a “Magic Mirror” in a store. Our observations show that the virtual try-on resulted in initial surprise and then much exploration when shoppers looked at themselves on a display that had been set up as part of a make-up counter. Behavior tracking data from interactions using the mirror supported this. Survey data collected afterwards suggested the augmented experience was perceived to be playful and credible while also acting as a strong driver for future behavior. We discuss opportunities and challenges that such technology brings for shopping and other domains.
Handheld and wearable smart devices have enabled Augmented Reality (AR) Technologies (ART), including AR Hypermedia (ARH) print ads, in which mobile smart devices act as viewfinders to superimpose virtual hyperlinked 2D images over traditional print ads. This study utilizes eight constructs, Attitude-toward-the-Ad (Aad), Informativeness, Entertainment, Irritation, Advertising Value, Time-Effort, Novelty, and Ad Effectiveness, to compare consumer response to three different ad formats, a Traditional print ad, a Quick Response code Hypermedia (QRH) print ad, and an ARH print ad. Results showed the ARH print ad was preferred, yielding higher perceptions of Informativeness, Novelty, and Effectiveness; whereas the QRH print ad resulted in higher Irritation; and the Traditional print ad resulted in higher Time-Effort. Theoretical and managerial recommendations are offered based on these findings.
In this paper, the authors show that augmented reality technology has a positive impact on the motivation of middle-school students. The Instructional Materials Motivation Survey (IMMS) (Keller, 2010) based on the ARCS motivation model (Keller, 1987a) was used to gather information; it considers four motivational factors: attention, relevance, confidence, and satisfaction. Motivational factors of attention and satisfaction in an augmented-reality-based learning environment were better rated than those obtained in a slides-based learning environment. When the impact of the augmented reality system was analyzed in isolation, the attention and confidence factors were the best rated. The usability study showed that although this technology is not mature enough to be used massively in education, enthusiasm of middle-school students diminished most of the barriers found.
Multi-touch tabletops have been much heralded as an innovative technology that can facilitate new ways of group working. However, there is little evidence of these materialising outside of research lab settings. We present the findings of a 5-week in-the-wild study examining how a shared planning application - designed to run on a walk-up-and-use tabletop - was used when placed in a tourist information centre. We describe how groups approached, congregated and interacted with it and the social interactions that took place - noting how they were quite different from research findings describing the ways groups work around a tabletop in lab settings. We discuss the implications of such situated group work for designing collaborative tabletop applications for use in public settings.
Using empirical data, this research suggests that key features of a typical theatrical rehearsal process can significantly improve the sense of presence for participants within a shared virtual environment. Research of shared virtual environments (VEs) for the production of theater shows suggests that theater applications have specific requirements for presence. These can be summarized as characterization, repetition, and group dynamic, while the level of presence is dependent on the actor-avatar, actor-space, and actor-actor relationships.
Immersion is the subjective impression that one is participating in a comprehensive, realistic experience. Interactive media
now enable various degrees of digital immersion. The more a virtual immersive experience is based on design strategies that
combine actional, symbolic, and sensory factors, the greater the participant's suspension of disbelief that she or he is “inside”
a digitally enhanced setting. Studies have shown that immersion in a digital environment can enhance education in at least
three ways: by allowing multiple perspectives, situated learning, and transfer. Further studies are needed on the capabilities
of immersive media for learning, on the instructional designs best suited to each type of immersive medium, and on the learning
strengths and preferences these media develop in users.
X-Men: Apocalypse' Takes Over Snapchat Lenses Retrieved from http
- Katie Rogers
Katie Rogers. 2016. X-Men: Apocalypse' Takes Over
Snapchat Lenses. Retrieved from
http://www.nytimes.com/2016/05/24/business/x-men-
apocalypse-takes-over-snapchat-lenses.html?_r=0
Snapchat Branded Lense Campaigns: Best Practices and Strategies. Karen Freberg
- Karen Freberg
Karen Freberg. 2016. Snapchat Branded Lense
Campaigns: Best Practices and Strategies.
Revealing the Shopper Experience of Using a "Magic Mirror
- Ana Javornik
- Yvonne Rogers
- Ana Maria Moutinho
- Russell Freeman
Ana Javornik, Yvonne Rogers, Ana Maria Moutinho,
and Russell Freeman. 2016. Revealing the Shopper
Experience of Using a "Magic Mirror" Augmented
Reality Make -Up Application. Proceedings of the
2016 ACM Conference on Designing Interactive
Systems: 871-882.
Michael Hitchens Anders Drachen and others