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This article describes an investigation of interactive narrative in virtual reality (VR) through Samuel Beckett's theatrical text Play. Actors are captured in a green screen environment using free-viewpoint video (FVV). Built in a game engine, the scene is complete with binaural spatial audio and six degrees of freedom of movement. The project explores how ludic qualities in the original text elicit the conversational and interactive specificities of the digital medium. The work affirms potential for interactive narrative in VR, opens new experiences of the text and highlights the reorganization of the author-audience dynamic.

This poster describes a reinterpretation of Samuel Beckett's theatrical text Play for virtual reality (VR). It is an aesthetic reflection on practice that follows up an a technical project description submitted to ISMAR 2017 [O'Dwyer et al. 2017]. Actors are captured in a green screen environment using free-viewpoint video (FVV) techniques, and the scene is built in a game engine, complete with binaural spatial audio and six degrees of freedom of movement. The project explores how ludic qualities in the original text help elicit the conversational and interactive specificities of the digital medium. The work affirms the potential for interactive narrative in VR, opens new experiences of the text, and highlights the reorganisation of the author-audience dynamic.

Since the early years of the twenty-first century, the performing arts have been party to an increasing number of digital media projects that bring renewed attention to questions about, on one hand, new working processes involving capture and distribution techniques, and on the other hand, how particular works—with bespoke hard and software—can exert an efficacy over how work is created by the artist/producer or received by the audience. The evolution of author/audience criteria demand that digital arts practice modify aesthetic and storytelling strategies, to types that are more appropriate to communicating ideas over interactive digital networks, wherein AR/VR technologies are rapidly becoming the dominant interface. This project explores these redefined criteria through a reimagining of Samuel Becketts Play (1963) for digital culture. This paper offers an account of the working processes, the aesthetic and technical considerations that guide artistic decisions and how we attempt to place the overall work in the state of the art.

Printed notation provides a highly succinct and unambiguous description of the structure of mathematical formulae in a manner which is difficult to replicate for the visually impaired. A number of different approaches to the verbal presentation of mathematical material have been explored, however, the fundamental differences between the two modalities of vision and audition are often ignored. This use of additional lexical cues, spatial audio or complex hierarchies of non-speech sounds to represent the structure and scope of equations may be cognitively demanding to process, and this can detract from the perception of the mathematical content. In this paper, a new methodology is proposed which uses the prosodic component found in spoken language, in conjunction with a limited set of spatialized earcons and spearcons, to disambiguate the structure of mathematical formulae. This system can potentially represent this information in an intuitive and unambiguous manner which takes advantage of the specific strengths and capabilities of audition.

A comparison of several spatialization systems is presented in terms of their localization accuracy under the nonideal listening conditions found in typical small concert halls. Of interest is the effect of real reverberant conditions, noncentral listening positions, and nonsymmetrical speaker arrays on source localization. The data are presented by comparison of empirical binaural measurements and perceptual listening tests carried out using Ambisonics, VBAP, SPAT∼, and Delta Stereophony systems. The listening tests are conducted by comparing the localization of phantom sources generated by the spatialization systems to sources generated by reference loudspeakers. The reference and phantom sources are presented at front, side, and back locations about a nine‐listener audience, and the systems are tested in a random order with a calibrated 16‐loudspeaker array situated nonsymmetrically around the audience area. The binaural recordings are compared to the subjective measurements of localization accuracy through the interaural level and time difference cues for each source position.

The prevalence of off-the-shelf wearable devices increases the monitoring and measurement of critical physiological parameters like activity, sleep, heart rate, and blood pressure. However, the accessibility of health data representations poses challenges for older adults, who often struggle to understand the criticality of their own health data without assistance. This poster highlights the challenges older adults face in accessing their health data from wearable technologies, specifically focusing on data representations. To address these challenges, it proposes a methodology that involves a heuristic evaluation of existing data representations with experts and accessibility studies with older adults using a mixed methods approach and objective measures. The heuristic evaluation aims to gain deeper insights into the usability of health data representations and identify underlying accessibility challenges to create a more tailored group of tasks and potential accessibility scenarios to be evaluated in health data representations by older adults. The outcomes seek to improve accessibility by developing a multimodal prototype with visual, auditory, and tactile feedback and promoting better health conditions and support for older adults through personalized and inclusive health data representation. https://arrow.tudublin.ie/cddpos/1010/thumbnail.jpg