Virtual reality as strategic communication: cultural defence in wartime Ukraine

As the COVID-19 pandemic abruptly pushed interior design (ID) instruction online, instructors were challenged to adapt, and students adapted a new method of virtual reality (VR). The VR method before COVID-19 was a Homido V2 VR headset with iPhone viewing 360-degree panorama jpeg, and during COVID-19 a liquid crystal display (LCD) computer monitor viewing 360-degree panorama jpeg. The purpose of this study was, if a statistically significant difference (SSD) in spatial presence was found between the two types of VR, then an argument could be supported to evaluate spatial presence, before VR is implemented into ID curriculum. This study was at one Midwestern United States university with a sample (N = 52) of ID undergraduate students. The results revealed an SSD in the spatial presence in the aforementioned VR types. This SSD was found in two of the three dependent variables: Spatial Presence: Possible Action (SPPA; U = 772, p < 0.001), example survey question feeling you could jump into the action, and Spatial Presence: Self Location (SPSL; U = 789, p < 0.001), example feeling you are in the middle of the action. The third dependent variable, Spatial Situation Model (SSM; U = 1320, p = 0.834) did not reveal an SSD, example imagining the arrangement of the spaces. To support results, the Virtual Reality Spatial Presence Index (VRSPI) applied scored neutral (neither strong, nor weak) for spatial presence in both. This study filled research gaps on VR spatial presence measurement, with implications supporting a measurable advantage in ID students using VR headsets and ID curriculum developers evaluating VR before implementation.

As omnichannel retail strategies increasingly blend virtual and physical experiences, retailers are recognizing the significant potential of virtual reality (VR). Considering the crucial role of spatial presence in determining the quality of VR experiences, this study explores novel ways to increase spatial presence, particularly for virtual tours as a digital in-store technology in grocery retail. Given a lack of research on priming in the context of VR, the goal of this study is to examine the impact of audio priming on spatial presence. Additionally, we explore the relationship between spatial presence and perceived enjoyment, as well as between perceived enjoyment and key pre-economic variables relevant to grocery retailers. The hypotheses are developed based on theoretical backgrounds in VR, spatial presence, fluency theory, and priming. To test our hypotheses, we conducted a one-factor between-subjects experiment involving 60 participants divided into one control and two treatment groups. Before participating in a virtual farm tour, each treatment group was exposed to a distinct audio priming stimulus focusing either on farm ambiance or VR technology. The results show significant differences in spatial presence among the groups. While priming participants on VR technology enhanced spatial presence, priming them on farm ambiance had no effect. Technology priming prevents consumers from experiencing a technology shock by familiarizing them with the technological aspects of the VR experience, increasing processing fluency. In contrast, ambiance priming relies on consumers’ pre-existing associations, which may not align with the actual VR experience, disrupting processing fluency. Furthermore, the results show that the increased spatial presence results in greater perceived enjoyment, which ultimately leads to an increased recommendation intention and attitude toward the retailer. Therein, this study highlights the potential of integrating audio priming in VR applications, specifically advocating for its strategic use in grocery retail settings to enhance consumer experiences in omnichannel environments.

User Experience and Engagement in the Reality–Virtuality Continuum: A Special Issue Guest Editorial

A primary affordance of virtual reality (VR) headsets is to give the user spatial presence or the illusion of being in the virtual environment. Although considerable research connects VR to spatial presence, spatial awareness, and spatial ability, little is known about how users develop spatial presence in VR learning environments. This study addresses that gap by exploring spatial presence experience construction in a VR educational game and investigating whether users’ knowledge, game experience, and VR experience impact the establishment of spatial presence. In this study, 56 high school students played an immersive 3D VR cell biology game where players search for clues within a virtual cell to diagnose the cell. Findings suggest that players’ perceptions of spatial presence are linked to how they allocate their attention during the game, their level of interest in cellular biology, and their visual-spatial acuity, but are not linked to their game experience, VR experience, or prior knowledge of the content area. These results indicate that well-scaffolded, engaging virtual environments can foster spatial presence among users, regardless of prior knowledge or experience, and gives practitioners clues about how to design VR learning environments.

Introduction: Using our own hands allows humans to interact with the real world, as we learn from an early age. Virtual reality (VR) gloves allow a similar interaction in VR by transferring hand movements through natural mapping. Research outside the VR domain has already shown that this process creates a high level of presence and perceived naturalness. Research in the VR context, on the other hand, is still in an early stage and lacks explorative qualitative research following a human-centered approach and including the direct perceptions of users on mapped controls in system design. Against that background, this research investigates natural mapping in the VR context qualitatively. The study examines how participants experience VR input devices with different degrees of natural mapping (VR gloves, a Valve index controller, and an HTC Vive controller) on perceived naturalness, spatial presence, embodiment, and cognitive absorption.Methods: A focus group (N = 20 aged 22–36) did the VR experience with the devices and was asked about their experience in semi-structured interviews. Questions focused on perceived naturalness, spatial presence, cognitive absorption, and embodiment with the three devices. Data were analyzed using qualitative content analysis.Results: Feedback on spatial presence was widely positive for the VR glove due to the highly natural perceived movement capabilities. Mapping with the partly mapped index controller was also seen as natural and immersing if the movement matched the operated actions in the system. Participants mainly perceived the highest degree of cognitive absorption and embodiment while doing the task with the VR glove.Discussion: The findings indicate that the natural mapping capabilities of VR input devices strongly influence spatial presence. The VR glove stands out while being able to induce a feeling of embodiment in most cases. Furthermore, participants reported a connection between natural mapping and perceived cognitive absorption in the task.

Imagine & immerse yourself: Does visuospatial imagery moderate learning in virtual reality?

The purpose of the study is to analyse modern immersive technologies and the possibility of their application in the development of digital libraries in the context of the introduction of virtual, augmented and mixed reality technologies, as well as the use of artificial intelligence technologies. Research methods. To achieve the research goal, the methods of analysis and synthesis, generalisation of theoretical data, and a systematic approach were used. This made it possible to analyse the peculiarities of the use of immersive technologies in digital libraries and to determine the benefits of introducing such technologies in the creation of a modern information space of libraries. The scientific novelty lies in the analysis of immersive technologies in the context of their implementation in modern digital libraries. An analysis of the role of artificial intelligence, and augmented and virtual reality technologies in creating a modern information space in libraries has shown both the advantages and disadvantages of digitalisation in libraries. The ethical issues related to inclusiveness in the use of information resources and the protection and preservation of users’ data are analysed. Recommendations and approaches for the successful implementation of these technologies in digital libraries are proposed. Conclusions. Immersive technologies are becoming more widespread and their use in libraries is expanding. Ethical and legal issues in the use of virtual reality and augmented reality will inevitably arise in the future. Today, the Western world is making greater use of both technologies, although they are free and, in some cases less expensive than before. The article examines the transformative intersection of new technologies and digital libraries, highlighting the path to an enriched and accessible knowledge landscape. Focusing on artificial intelligence (AI), machine learning (ML), natural language processing (NLP), augmented reality (AR) and virtual reality (VR), it explores how these technologies are redefining the work of digital libraries. Artificial intelligence and machine learning algorithms enable intuitive content management and recommendations, changing the way users interact with digital resources. NLP bridges the gap between human language and digital systems by enhancing search functions. AR overlays digital information on the physical world, expanding the possibilities of interactive learning, while VR immerses users in virtual realms, revolutionising educational paradigms. This article discusses the integration of these technologies into digital libraries not only to preserve huge amounts of knowledge but also to present information in attractive and accessible formats. Through the creation of artificial intelligence-based metadata and tagging of content, digital libraries are systematically organized and enriched, improving search accuracy. These innovations not only preserve the past, but also illuminate a future where knowledge is publicly available, fostering curiosity, learning, and research. This article explores the potential of these technologies and describes the expectations of library users to ensure a user-centred approach in shaping the digital libraries of the future. The use of immersive technologies is making a significant contribution to the evolution of digital libraries, paving the way for inclusive and engaging knowledge experiences for diverse users around the world.

Background/Objectives: To assess the spatial presence and impact of an immersive virtual reality (VR) walk on symptoms of cybersickness, emotions, and participant engagement, with the aim of providing insights applicable to future therapeutic VR interventions for individuals with limited mobility. Methods: The experiment involved 30 healthy individuals who used VR headsets while seated on chairs to experience a 360° virtual tour of the Venice Canals in Los Angeles. The effect of immersion was evaluated using the Virtual Reality Sickness Questionnaire (VRSQ) to measure cybersickness symptoms, the International Positive and Negative Affect Schedule-Short Form (I-PANAS-SF) to assess emotions, the Spatial Presence Experience Scale (SPES) to evaluate spatial presence, and the Flow State Scale (FSS) to quantify the flow state. Results: The results indicated that the virtual walk elicited both positive and negative reactions. The increase in eye strain (+0.66), general discomfort (+0.6), and headache (+0.43) was achieved in the VRSQ scale. Despite experiencing nausea and oculomotor symptoms, participants reported a high level of flow (range of scale items from 3.47 to 3.70), suggesting a beneficial impact of immersion on their well-being. Furthermore, the analysis of the I-PANAS-SF results revealed a predominance of positive emotions, indicating a favorable perception of the experience. However, the SPES scores exhibited variability in the perception of spatial presence (mean spatial presence score 3.74, SD 2.06), likely influenced by the characteristics of the visual material used. Conclusions: Overall, the immersive VR walk, despite the potential risk of cybersickness symptoms, as a seated passive exploration still promoted feelings of satisfaction and fulfillment, allowing the participants to actively engage with the virtual environment. These findings suggest that seated VR experiences hold promise as a tool for promoting well-being, but further research is needed to address cybersickness and optimize VR content for therapeutic use in populations with limited mobility.

With the development of information technology, virtual reality been widely used in military, commercial, education and entertainment industries. By applying virtual reality technology to traditional library, this paper established a virtual digital library system. The system takes the library of NJUPT as the designing and modeling object, uses Unity3D as the virtual reality engine to develop the virtual library system, realizes the virtual library's scene construction, the virtual roaming, the scene interaction and the book loaning inquiry and other functions. This paper presents a method for selecting books based on the method of Ray, and designed a Web Service interface to realize communication between virtual reality environment and library management system. The users can get immersive experiences in the virtual library, and also can get the location and the situation of the books in the virtual library by VR glasses, PCs and Smart Mobile Phones.

With the development of information technology, virtual reality has been widely used in military, commercial, educational and entertainment industries. By applying virtual reality technology to traditional library, this paper establishes a virtual digital library system. The system takes the library of NJUPT as the designing and modeling object, uses Unity3D as the virtual reality engine to develop the virtual library system, realizing scene construction, the virtual roaming, the scene interaction and the book loaning inquiry and other functions of the virtual library. This paper presents a method for selecting books based on the method of Ray, and designs a Web Service interface to realize communication between virtual reality environment and library management system. The users can obtain immersive experiences in the virtual library, and also can get the location and the situation of the books in the virtual library by VR glasses, PCs and Smart Mobile Phones.

Unintended consequences of spatial presence on learning in virtual reality

In the field of medical case simulations, strong technologization has been observed for years, for example through Extended Reality. This study examined the impact of Virtual and Mixed Reality (VR, resp. MR) on the team training of paramedic trainees. In the quasi-experimental cross-sectional controlled comparison study, participants were assigned to an experimental group (= EG, mixed reality with manikin) and a comparison group (= CG, virtual reality without manikin). After a virtual case simulation, “VR sickness”, sense of presence, motivation, and sociodemographic variables were elicited. Parametric tests were used for mean comparison and correlation analysis. A total of 20 participants were evaluated in the EG and 16 in the CG. In both groups, high intrinsic motivation (mean 5.32/7), an acceptable sense of spatial presence (mean 4.24/6), and advanced usability (mean 68.54/100), were observed. VR sickness symptoms were present (SSQ total score: 11.43). In both groups, correlation was found between Identified Regulation and Usability (EG: r = .74, p < .001, CG: r = .76, p < .001). The same pattern could be observed for Intrinsic Motivation and Usability (EG: r = .83, p < .001, CG: r = .70, p = .003). Spatial Presence and Usability were also correlated in both groups (EG: r = .71, p < .001, CG: r = .61, p = .01). A significant mean score difference (p = .021) was found for Amotivation between the EG (Mean = 1.92/6) and the CG (Mean = 1.56/6). VR and MR are potential learning methods if they are implemented in a planned manner by competent faculty. Our recommendation is to use setup checklists, but also a competence-oriented approach, considering fiction contract and structured debriefing. The use of wireless head-mounted displays and "data gloves" is also recommended.

The article explores interactive storytelling in augmented and virtual reality. It is based on the research project Immersive Media Lab, bridges the gap between technological developments and their application, and aims to combine art, economy, and science. Due to their increased availability, virtual and immersive technologies have not only seen a resurgence in their popularity but also offer intriguing new perspectives regarding their use in different contexts. Consequently, the notions of interactivity and immersion also play significant roles in the study of storytelling in conjunction with virtual and augmented reality. The Immersive Media Lab has employed state-of-the-art AR/VR technology in five use cases: VR Interaction, Artistic Motion Tracking in AR/VR, Audio AR for Industry, AR/VR Interfaces for Industry, and AR Education for Patients. All of them, but one, developed prototypical applications related to the central concept of interactive storytelling. Furthermore, each use case addresses three distinct dimensions of storytelling: the production of a coherent story, the collection and transfer of knowledge, and the specificity of the technology used. Covering the areas of Creative Media, Smart Manufacturing, and Healthcare leads to a particular research design, as each area is connected to different research contexts and comes with appliances of immersive media. The article focuses on various theoretical inputs regarding interactive and immersive storytelling in general and relates them to the academic background of the five use cases. Furthermore, each use case defined a story in its context, the purpose of its narration, and its media-specific context. Finally, the paper reflects on the outcomes of the use cases and outlines their potential for future applications of interactive storytelling in immersive media.

The use of virtual reality (VR) and augmented reality (AR) in connected environments is rarely explored but may become a necessary channel of communication in the future. Such environments would allow multiple users to interact, engage, and share multidimensional data across devices and between the spectrum of realities. However, communication between the two realities within a hybrid environment is barely understood. We carried out an experiment with 52 participants in 26 pairs, within two environments of 3D cultural artifacts: (1) a Hybrid VR and AR environment (HVAR) and (2) a Shared VR environment (SVR). We explored the differences in perceived spatial presence, copresence, and social presence between the environments and between users. We demonstrated that greater presence is perceived in SVR when compared with HVAR, and greater spatial presence is perceived for VR users. Social presence is perceived greater for AR users, possibly because they have line of sight of their partners within HVAR. We found positive correlations between shared activity time and perceived social presence. While acquainted pairs reported significantly greater presence than unacquainted pairs in SVR, there were no significant differences in perceived presence between them in HVAR.

Introduction Eszter Zimanyi (bio) and Emma Ben Ayoun (bio) Since the mid-2010s, humanitarian organizations, journalists, and artists have increasingly been turning to virtual reality (VR) and immersive filmmaking for its ostensibly unprecedented ability to conjure empathic feelings that lead to humanitarian action.1 Technology companies and charitable institutions alike have touted immersive storytelling's "potential for good"; prominent examples include the United Nations High Commissioner for Refugees virtual reality program, UNICEF's Augmented Reality/Virtual Reality for Good initiative, and Oculus's VR for Good project.2 These initiatives emphasize the power of immersive media in a variety of instructive contexts, including medical training and diagnostics, physical and psychological therapy, interactive historical education modules, and philanthropic fundraising for humanitarian causes.3 Scholars including Kate Nash, Mandy Rose, and Sasha Crawford-Holland have attended to the possibilities and pitfalls of experiments in immersive media within the context of documentary filmmaking; however, these analyses [End Page 154] primarily focus on immersive media's visual components.4 In the context of VR filmmaking, scholars such as Adam Daniel, Sarah Jones, and Steve Dawkins have drawn attention to the spectator's ability to enact a sovereign gaze within 360-degree spherical images, leaving other bodily sensations un(der)accounted for.5 Although immersive nonfiction media depends in part on the believability of virtual environments, the fantasies at play in immersive media—which attempt to make viewers feel that they have participated in something real—are not only about creating convincing ocular illusions. They are also about generating persuasive haptic sensations and legible bodily responses from viewers. As such, the embodied experience of engaging with and navigating these environments demands sustained attention from media scholars studying immersive nonfiction. This is especially pertinent within the context of humanitarian media, which aims to inspire direct action from viewers and to foment wide-scale social change. What political and ethical concerns arise when rendering humanitarian crises not merely visible but also tangible for public consumption?6 In recent years, industry specialists, journalists, and early adopters of VR have heralded VR filmmaking as an unparalleled breakthrough in narrative storytelling, overshadowing an important element of its lineage: nonfiction media's long history of experimentation with interactivity and immersion.7 In the context of traditional cinema spectatorship, immersion has traditionally been defined as the loss of one's self to the narrative; however, Alison Griffiths defines immersion as "the sensation of entering a [End Page 155] space that immediately identifies itself as somehow separate from the world and that eschews conventional modes of spectatorship in favor of a more bodily participation in the experience."8 Following Griffiths's attention to bodily participation, we conceptualize nonfiction, humanitarian immersive media as media that makes a documentary claim to the real while seeking to directly mobilize spectators' bodies through the use of interactive and engrossing tactics.9 Throughout this introduction, we consciously engage the language used in promotional materials and interviews by the creators of many of these works—language that is often steeped in histories of exclusion and a very abstracted, and limited, understanding of VR's typical viewer. The fact that the majority of VR exhibition takes place in broadly inaccessible spaces—such as museums and festivals—means that the audiences who get to experience these works are imagined to be not only able-bodied but also correspondingly privileged in their modes of access to new technologies and artistic works. We define humanitarian media broadly to include projects engaged with both human and environmental concerns; likewise, our conception of nonfiction media includes contemporary digital projects that use personal testimonies and statistical data to ground their virtual representations of real-world characters and locations. Through this framework, our dossier re-centers and historicizes embodiment across maps, gallery installations, interactive web-based projects, and contemporary VR filmmaking in order to ask how immersive nonfiction media engage, discipline, destabilize, and erase the spectatorial body. What types of humanitarian responses can nonfiction media provoke when viewers are tasked with mastering (virtual) spaces through a mastery of their own bodies? The ethical implications of immersive nonfiction media, particularly virtual reality, have received a great deal of attention in recent years, both within media studies and beyond...