Archives For Design

Great Wave Data

October 16, 2016

12410_medium

With augmented reality (AR) and virtual reality (VR) becoming the next computing platforms, app developers have been increasingly focused on building AR and VR apps.

One of the companies that aim to be on the cutting edge of Analytics VR and AR app development is GREAT WAVE. By helping people understand and analyze data more quickly, such a tool could provide richer, more insightful experiences than the ones derived from paper and screens. Studies conducted by researchers at Stanford and by the neuroscience and analytics team of the AR developers META (in conjunction with Accenture) demonstrate how the use of 3D information could amplify people’s efficiency and ability to focus on tasks.

Have a look at the video of GREAT WAVE:

 

Advertisements

2D vs 3D

September 8, 2016

12380_medium
Given the lack of studies that have systematically examined the perceptual cues that our brains use to rapidly process procedural tasks – META decided to partner with Accenture Labs on a pilot study examining the use of perceptual cues in AR. More specifically, they wanted to measure the effect an additional perceptual cue (motion) would have on the time it takes to complete a procedural task. The team operated under the hypothesis that integrating both stereo and motion perceptual cues could further reduce the limitations of 2D instructions – ultimately enabling people to more quickly complete a procedural task.

At this year’s Bay to Breakers pre-race expo, the colorful annual footrace in San Francisco (California), the team of Meta and Accenture researchers set up the procedural task of assembling a physical lighthouse Lego set.

They defined three conditions based on the different types of instructions participants were to receive:2D Paper, Holographic Static 3D (Stereo Cue), and Holographic Dynamic 3D (Stereo & Motion Cues).

Comparing the three instruction conditions, they found that Dynamic 3D Instructions enabled participants to more quickly complete each step. Participants using Static 3D Instructions and 2D Paper Instructions were much slower in comparison. This confirmed their hypothesis that the use of both the stereo and motion perceptual cues in AR instructions speeds up assembly time. Interestingly enough, the researchers found that participants using Static 3D Instructions were the slowest of the three instruction conditions. This was especially surprising to them because based on past studies conducted in 2003 and 2013 , they expected people using any kind of 3D instructions to perform the Lego building task more quickly than those using paper 2D Paper Instructions.

Check out this video:

 

Octagon AR +

June 4, 2016

12377_small

Worked with the Octagon AR platform. Octagon AR is an application that allows users creating their own marker to display 3D models from their library or the user´s personal library. Interesting, and useful applications for education.

 

12376_medium

Contributed a chapter on “Empathetic Things” to the publication ” Transdiscourse 2- Turbulence and Reconstruction”, De Gruyter.

Turbulence and Reconstruction is an anthology of viewpoints on society from the arts and the sciences. The authors believe that the arts and the sciences are effective spaces to encourage us to think differently about our outdated concepts of representation and categorization and reconstruct new potentials about how the designs of the future might benefit our environment and the survival of our bodies. Essential to all writers is the need to drop our old disciplinary boundaries to question our interdependent relationship to technology and to reality. Turbulence and reconstruction are processes that not only affect our representation and categorization, urban nature and energy consumption but also our relation to media and technology – the digital ideologies of interaction and substitution.

Models of Diversity

March 11, 2016

Untitled-1

Gave a talk on New Narratives at the conference Models of Diversity at the ETH and ZHDK Zurich.

The main aim of this conference was to create 3-way discourses to search for correlations and models that can foster deeper creative levels of discourses across the disciplines of art, science, sociology and philosophy. A round table conference with paired presentations of art researcher, scientists and theorists in diverse fields of inquiry-alongside dynamic moderators who tried to stimulate discourse.

Augmented Narratives

March 7, 2016

I started my new research-project on Augmented Narratives which will involve the platforms of META2 and OCTAGON. For users, good UX-design for Augmented Reality platforms should facilitate physical and psychological immersion in the mediated experience. A holistic, multi-dimensional approach that incorporates qualitative experience and a deep understanding of the psychological aspects of optimum user experience are an imperative for such environments to be successful.

The creation of such a flexible, holistic, and enveloping environment that allows well-tuned variations and personalized adjustments, requires new forms of digital storytelling and the application of new user experience-design paradigms – based on a deep knowledge of the users’ data-scape. How can we can assess and organize these new worlds – in order to create the best experiences?

augmented-narratives-small

Saschka Unseld  Creative Director, Oculus Story Studio

In virtual reality, you are at the center of every story. Saschka Unseld, head of Oculus Story Studio, wants to keep you there, experiencing virtual worlds directly, with characters who interact with you in real time. You read a book and you watch a film, but in virtual reality, you experience a story. It’s told through your senses, and Unseld and his team are now discovering what that means—how characters should react to you, how to make your experience interactive and responsive. It’s a learning curve that’s just beginning—built on a heritage of storytelling but breaking down the fourth wall in a new way. Unseld shared some of what his studio is learning at this year’s Future of Storytelling Conference.

The studio has already released two short form experiences, Lost and Henry. The latter was intended to be a comedy, but as Unseld explained, it was difficult to keep if from being a tragedy:

With Henry, for example what we did, we thought, “Okay, let’s try to tell a comedy — typical slapstick kind of animated character comedy.”

The final film turned out to be more sad than funny. If you would cut it as a film, exactly the same thing, you would have a lot of laughs. But in VR, you don’t. If someone falls on their face right next to you, it’s not funny.

In cinema. you have something like the fourth wall, which means there is this wall between the story and the world and the audience. In VR, there is no such thing as a fourth wall, because in VR you are right there with the characters in the world.