Asia Pacific University Library catalogue

Includes bibliographical references (pages 541-566) and index.

Part I. Introduction and background -- 1. What is virtual reality? -- 1.1 The definition of virtual reality -- 1.2 VR is communication -- 1.3 What is VR good for? -- 2. A history of VR -- 2.1 The 1800s -- 2.2 The 1900s -- 2.3 The 2000s -- 3. An overview of various realities -- 3.1 Forms of reality -- 3.2 Reality systems -- 4. Immersion, presence, and reality trade-offs -- 4.1 Immersion -- 4.2 Presence -- 4.3 Illusions of presence -- 4.4 Reality trade-offs -- 5. The basics: design guidelines -- 5.1 Introduction and background -- 5.2 VR is communication -- 5.3 An overview of various realities -- 5.4 Immersion, presence, and reality trade-offs --

Part II. Perception -- 6. Objective and subjective reality -- 6.1 Reality is subjective -- 6.2 Perceptual illusions -- 7. Perceptual models and processes -- 7.1 Distal and proximal stimuli -- 7.2 Sensation vs. perception -- 7.3 Bottom-up and top-down processing -- 7.4 Afference and efference -- 7.5 Iterative perceptual processing -- 7.6 The subconscious and conscious -- 7.7 Visceral, behavioral, reflective, and emotional processes -- 7.8 Mental models -- 7.9 Neuro-linguistic programming -- 8. Perceptual modalities -- 8.1 Sight -- 8.2 Hearing -- 8.3 Touch -- 8.4 Proprioception -- 8.5 Balance and physical motion -- 8.6 Smell and taste -- 8.7 Multimodal perceptions -- 9. Perception of space and time -- 9.1 Space perception -- 9.2 Time perception -- 9.3 Motion perception -- 10. Perceptual stability, attention, and action -- 10.1 Perceptual constancies -- 10.2 Adaptation -- 10.3 Attention -- 10.4 Action -- 11. Perception: design guidelines -- 11.1 Objective and subjective reality -- 11.2 Perceptual models and processes -- 11.3 Perceptual modalities -- 11.4 Perception of space and time -- 11.5 Perceptual stability, attention, and action --

Part III. Adverse health effects -- 12. Motion sickness -- 12.1 Scene motion -- 12.2 Motion sickness and vection -- 12.3 Theories of motion sickness -- 12.4 A unified model of motion sickness -- 13. Eye strain, seizures, and aftereffects -- 13.1 Accommodation-vergence conflict -- 13.2 Binocular-occlusion conflict -- 13.3 Flicker -- 13.4 Aftereffects -- 14. Hardware challenges -- 14.1 Physical fatigue -- 14.2 Headset fit -- 14.3 Injury -- 14.4 Hygiene -- 15. Latency -- 15.1 Negative effects of latency -- 15.2 Latency thresholds -- 15.3 Delayed perception as a function of dark adaptation -- 15.4 Sources of delay -- 15.5 Timing analysis -- 16. Measuring sickness -- 16.1 The Kennedy simulator sickness questionnaire -- 16.2 Postural stability -- 16.3 Physiological measures -- 17. Summary of factors that contribute to adverse effects -- 17.1 System factors -- 17.2 Individual user factors -- 17.3 Application design factors -- 17.4 Presence vs. motion sickness -- 18. Examples of reducing adverse effects -- 18.1 Optimize adaptation -- 18.2 Real-world stabilized cues -- 18.3 Manipulate the world as an object -- 18.4 Leading indicators -- 18.5 Minimize visual accelerations and rotations -- 18.6 Ratcheting -- 18.7 Delay compensation -- 18.8 Motion platforms -- 18.9 Reducing gorilla arm -- 18.10 Warning grids and fade-outs -- 18.11 Medication -- 19. Adverse health effects: design guidelines -- 19.1 Hardware -- 19.2 System calibration -- 19.3 Latency reduction -- 19.4 General design -- 19.5 Motion design -- 19.6 Interaction design -- 19.7 Usage -- 19.8 Measuring sickness --

Part IV. Content creation -- 20. High-level concepts of content creation -- 20.1 Experiencing the story -- 20.2 The core experience -- 20.3 Conceptual integrity -- 20.4 Gestalt perceptual organization -- 21. Environmental design -- 21.1 The scene -- 21.2 Color and lighting -- 21.3 Audio -- 21.4 Sampling and aliasing -- 21.5 Environmental wayfinding aids -- 21.6 Real-world content -- 22. Affecting behavior -- 22.1 Personal wayfinding aids -- 22.2 Center of action -- 22.3 Field of view -- 22.4 Casual vs. high-end VR -- 22.5 Characters, avatars, and social networking -- 23. Transitioning to VR content creation -- 23.1 Paradigm shifts from traditional development to VR development -- 23.2 Reusing existing content -- 24. Content creation: design guidelines -- 24.1 High-level concepts of content creation -- 24.2 Environmental design -- 24.3 Affecting behavior -- 24.4 Transitioning to VR content creation --

Part V. Interaction -- 25. Human-centered interaction -- 25.1 Intuitiveness -- 25.2 Norman's principles of interaction design -- 25.3 Direct vs. indirect interaction -- 25.4 The cycle of interaction -- 25.5 The human hands -- 26. VR interaction concepts -- 26.1 Interaction fidelity -- 26.2 Proprioceptive and egocentric interaction -- 26.3 Reference frames -- 26.4 Speech and gestures -- 26.5 Modes and flow -- 26.6 Multimodal interaction -- 26.7 Beware of sickness and fatigue -- 26.8 Visual-physical conflict and sensory substitution -- 27. Input devices -- 27.1 Input device characteristics -- 27.2 Classes of hand input devices -- 27.3 Classes of non-hand input devices -- 28. Interaction patterns and techniques -- 28.1 Selection patterns -- 28.2 Manipulation patterns -- 28.3 Viewpoint control patterns -- 28.4 Indirect control patterns -- 28.5 Compound patterns -- 29. Interaction: design guidelines -- 29.1 Human-centered interaction -- 29.2 VR interaction concepts -- 29.3 Input devices -- 29.4 Interaction patterns and techniques --

Part VI. Iterative design -- 30. Philosophy of iterative design -- 30.1 VR is both an art and a science -- 30.2 Human-centered design -- 30.3 Continuous discovery through iteration -- 30.4 There is no one way, processes are project dependent -- 30.5 Teams -- 31. The define stage -- 31.1 The vision -- 31.2 Questions -- 31.3 Assessment and feasibility -- 31.4 High-level design considerations -- 31.5 Objectives -- 31.6 Key players -- 31.7 Time and costs -- 31.8 Risks -- 31.9 Assumptions -- 31.10 Project constraints -- 31.11 Personas -- 31.12 User stories -- 31.13 Storyboards -- 31.14 Scope -- 31.15 Requirements -- 32. The make stage -- 32.1 Task analysis -- 32.2 Design specification -- 32.3 System considerations -- 32.4 Simulation -- 32.5 Networked environments -- 32.6 Prototypes -- 32.7 Final production -- 32.8 Delivery -- 33. The learn stage -- 33.1 Communication and attitude -- 33.2 Research concepts -- 33.3 Constructivist approaches -- 33.4 The scientific method -- 33.5 Data analysis -- 34. Iterative design: design guidelines -- 34.1 Philosophy of iterative design -- 34.2 The define stage -- 34.3 The make stage -- 34.4 The learn stage --

Part VII. The future starts now -- 35. The present and future state of VR -- 35.1 Selling VR to the masses -- 35.2 Culture of the VR community -- 35.3 Communication -- 35.4 Standards and open source -- 35.5 Hardware -- 35.6 The convergence of AR and VR -- 36. Getting started --

Appendix A. Example questionnaire -- Appendix B. Example interview guidelines -- Glossary -- References -- Index -- Author's biography.

Virtual reality (VR) can provide our minds with direct access to digital media in a way that seemingly has no limits. However, creating compelling VR experiences is an incredibly complex challenge. When VR is done well, the results are brilliant and pleasurable experiences that go beyond what we can do in the real world. When VR is done badly, not only do users get frustrated, but they can get sick. There are many causes of bad VR; some failures come from the limitations of technology, but many come from a lack of understanding perception, interaction, design principles, and real users. This book discusses these issues by emphasizing the human element of VR. The fact is, if we do not get the human element correct, then no amount of technology will make VR anything more than an interesting tool confined to research laboratories. Even when VR principles are fully understood, the first implementation is rarely novel and almost never ideal due to the complex nature of VR and the countless possibilities that can be created. The VR principles discussed in this book will enable readers to intelligently experiment with the rules and iteratively design toward innovative experiences.

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