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E-grāmata: VR Book: Human-Centered Design for Virtual Reality

4.21/5 (71 ratings by Goodreads)
  • Formāts: 523 pages
  • Sērija : ACM Books
  • Izdošanas datums: 01-Sep-2015
  • Izdevniecība: Morgan & Claypool Publishers
  • Valoda: eng
  • ISBN-13: 9781970001136
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VR Book: Human-Centered Design for Virtual RealityPalielināt
  • Formāts: 523 pages
  • Sērija : ACM Books
  • Izdošanas datums: 01-Sep-2015
  • Izdevniecība: Morgan & Claypool Publishers
  • Valoda: eng
  • ISBN-13: 9781970001136
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This is a strong foundation of human-centric virtual reality design for anyone and everyone involved in creating VR experiences.

Without a clear understanding of the human side of virtual reality (VR), the experience will always fail.

The VR Book bridges this gap by focusing on human-centered design. Creating compelling VR applications is an incredibly complex challenge. When done well, these experiences can be brilliant and pleasurable, but when done badly, they can result in frustration and sickness. Whereas limitations of technology can cause bad VR execution, problems are oftentimes caused by a lack of understanding human perception, interaction, design principles, and real users. This book focuses on the human elements of VR, such as how users perceive and intuitively interact with various forms of reality, causes of VR sickness, creating useful and pleasing content, and how to design and iterate upon effective VR applications.

This book is not just for VR designers, it is for managers, programmers, artists, psychologists, engineers, students, educators, and user experience professionals. It is for the entire VR team, as everyone contributing should understand at least the basics of the many aspects of VR design. The industry is rapidly evolving, and The VR Book stresses the importance of building prototypes, gathering feedback, and using adjustable processes to efficiently iterate towards success. It contains extensive details on the most important aspects of VR, more than 600 applicable guidelines, and over 300 additional references.
Preface xix
Figure Credits xxvii
Overview 1(6)
Part I Introduction And Background 7(48)
Chapter 1 What Is Virtual Reality?
9(6)
1.1 The Definition of Virtual Reality
9(1)
1.2 VR Is Communication
10(2)
1.3 What Is VR Good For?
12(3)
Chapter 2 A History of VR
15(14)
2.1 The 1800's
15(3)
2.2 The 1900's
18(9)
2.3 The 2000's
27(2)
Chapter 3 An Overview of Various Realities
29(16)
3.1 Forms of Reality
29(1)
3.2 Reality Systems
30(15)
Chapter 4 Immersion, Presence, and Reality Trade-Offs
45(8)
4.1 Immersion
45(1)
4.2 Presence
46(1)
4.3 Illusions of Presence
47(2)
4.4 Reality Trade-Offs
49(4)
Chapter 5 The Basics: Design Guidelines
53(2)
5.1 Introduction and Background
53(1)
5.2 VR Is Communication
53(1)
5.3 An Overview of Various Realities
54(1)
5.4 Immersion, Presence, and Reality Trade-Offs
54(1)
Part II Perception 55(104)
Chapter 6 Objective and Subjective Reality
59(12)
6.1 Reality Is Subjective
59(2)
6.2 Perceptual Illusions
61(10)
Chapter 7 Perceptual Models and Processes
71(14)
7.1 Distal and Proximal Stimuli
71(1)
7.2 Sensation vs. Perception
72(1)
7.3 Bottom-Up and Top-Down Processing
73(1)
7.4 Afference and Efference
73(1)
7.5 Iterative Perceptual Processing
74(2)
7.6 The Subconscious and Conscious
76(1)
7.7 Visceral, Behavioral, Reflective, and Emotional Processes
77(2)
7.8 Mental Models
79(1)
7.9 Neuro-Linguistic Programming
80(5)
Chapter 8 Perceptual Modalities
85(26)
8.1 Sight
85(14)
8.2 Hearing
99(4)
8.3 Touch
103(2)
8.4 Proprioception
105(1)
8.5 Balance and Physical Motion
106(1)
8.6 Smell and Taste
107(1)
8.7 Multimodal Perceptions
108(3)
Chapter 9 Perception of Space and Time
111(28)
9.1 Space Perception
111(13)
9.2 Time Perception
124(5)
9.3 Motion Perception
129(10)
Chapter 10 Perceptual Stability, Attention, and Action
139(16)
10.1 Perceptual Constancies
139(4)
10.2 Adaptation
143(3)
10.3 Attention
146(5)
10.4 Action
151(4)
Chapter 11 Perception: Design Guidelines
155(4)
11.1 Objective and Subjective Reality
155(1)
11.2 Perceptual Models and Processes
155(1)
11.3 Perceptual Modalities
156(1)
11.4 Perception of Space and Time
156(1)
11.5 Perceptual Stability, Attention, and Action
157(2)
Part III Adverse Health Effects 159(64)
Chapter 12 Motion Sickness
163(10)
12.1 Scene Motion
163(1)
12.2 Motion Sickness and Vection
164(1)
12.3 Theories of Motion Sickness
165(4)
12.4 A Unified Model of Motion Sickness
169(4)
Chapter 13 Eye Strain, Seizures, and Aftereffects
173(4)
13.1 Accommodation-Vergence Conflict
173(1)
13.2 Binocular-Occlusion Conflict
173(1)
13.3 Flicker
174(1)
13.4 Aftereffects
174(3)
Chapter 14 Hardware Challenges
177(6)
14.1 Physical Fatigue
177(1)
14.2 Headset Fit
178(1)
14.3 Injury
178(1)
14.4 Hygiene
179(4)
Chapter 15 Latency
183(12)
15.1 Negative Effects of Latency
183(1)
15.2 Latency Thresholds
184(1)
15.3 Delayed Perception as a Function of Dark Adaptation
185(2)
15.4 Sources of Delay
187(6)
15.5 Timing Analysis
193(2)
Chapter 16 Measuring Sickness
195(2)
16.1 The Kennedy Simulator Sickness Questionnaire
195(1)
16.2 Postural Stability
196(1)
16.3 Physiological Measures
196(1)
Chapter 17 Summary of Factors That Contribute to Adverse Effects
197(10)
17.1 System Factors
198(2)
17.2 Individual User Factors
200(3)
17.3 Application Design Factors
203(2)
17.4 Presence vs. Motion Sickness
205(2)
Chapter 18 Examples of Reducing Adverse Effects
207(8)
18.1 Optimize Adaptation
207(1)
18.2 Real-World Stabilized Cues
207(2)
18.3 Manipulate the World as an Object
209(1)
18.4 Leading Indicators
210(1)
18.5 Minimize Visual Accelerations and Rotations
210(1)
18.6 Ratcheting
211(1)
18.7 Delay Compensation
211(1)
18.8 Motion Platforms
212(1)
18.9 Reducing Gorilla Arm
213(1)
18.10 Warning Grids and Fade-Outs
213(1)
18.11 Medication
213(2)
Chapter 19 Adverse Health Effects: Design Guidelines
215(8)
19.1 Hardware
215(1)
19.2 System Calibration
216(1)
19.3 Latency Reduction
216(1)
19.4 General Design
217(1)
19.5 Motion Design
218(1)
19.6 Interaction Design
219(1)
19.7 Usage
220(1)
19.8 Measuring Sickness
221(2)
Part IV Content Creation 223(52)
Chapter 20 High-Level Concepts of Content Creation
225(12)
20.1 Experiencing the Story
225(3)
20.2 The Core Experience
228(1)
20.3 Conceptual Integrity
229(1)
20.4 Gestalt Perceptual Organization
230(7)
Chapter 21 Environmental Design
237(14)
21.1 The Scene
237(1)
21.2 Color and Lighting
238(1)
21.3 Audio
239(1)
21.4 Sampling and Aliasing
240(2)
21.5 Environmental Wayfinding Aids
242(4)
21.6 Real-World Content
246(5)
Chapter 22 Affecting Behavior
251(10)
22.1 Personal Wayfinding Aids
251(3)
22.2 Center of Action
254(1)
22.3 Field of View
255(1)
22.4 Casual vs. High-End VR
255(2)
22.5 Characters, Avatars, and Social Networking
257(4)
Chapter 23 Transitioning to VR Content Creation
261(6)
23.1 Paradigm Shifts from Traditional Development to VR Development
261(1)
23.2 Reusing Existing Content
262(5)
Chapter 24 Content Creation: Design Guidelines
267(8)
24.1 High-Level Concepts of Content Creation
267(2)
24.2 Environmental Design
269(2)
24.3 Affecting Behavior
271(1)
24.4 Transitioning to VR Content Creation
272(3)
Part V Interaction 275(94)
Chapter 25 Human-Centered Interaction
277(12)
25.1 Intuitiveness
277(1)
25.2 Norman's Principles of Interaction Design
278(6)
25.3 Direct vs. Indirect Interaction
284(1)
25.4 The Cycle of Interaction
285(2)
25.5 The Human Hands
287(2)
Chapter 26 VR Interaction Concepts
289(18)
26.1 Interaction Fidelity
289(2)
26.2 Proprioceptive and Egocentric Interaction
291(1)
26.3 Reference Frames
291(6)
26.4 Speech and Gestures
297(4)
26.5 Modes and Flow
301(1)
26.6 Multimodal Interaction
302(1)
26.7 Beware of Sickness and Fatigue
303(1)
26.8 Visual-Physical Conflict and Sensory Substitution
304(3)
Chapter 27 Input Devices
307(16)
27.1 Input Device Characteristics
307(4)
27.2 Classes of Hand Input Devices
311(6)
27.3 Classes of Non-hand Input Devices
317(6)
Chapter 28 Interaction Patterns and Techniques
323(32)
28.1 Selection Patterns
325(7)
28.2 Manipulation Patterns
332(3)
28.3 Viewpoint Control Patterns
335(9)
28.4 Indirect Control Patterns
344(6)
28.5 Compound Patterns
350(5)
Chapter 29 Interaction: Design Guidelines
355(14)
29.1 Human-Centered Interaction
355(3)
29.2 VR Interaction Concepts
358(3)
29.3 Input Devices
361(2)
29.4 Interaction Patterns and Techniques
363(6)
Part VI Iterative Design 369(102)
Chapter 30 Philosophy of Iterative Design
373(6)
30.1 VR Is Both an Art and a Science
373(1)
30.2 Human-Centered Design
373(1)
30.3 Continuous Discovery through Iteration
374(1)
30.4 There Is No One Way-Processes Are Project Dependent
375(1)
30.5 Teams
376(3)
Chapter 31 The Define Stage
379(22)
31.1 The Vision
380(1)
31.2 Questions
380(2)
31.3 Assessment and Feasibility
382(1)
31.4 High-Level Design Considerations
383(1)
31.5 Objectives
383(1)
31.6 Key Players
384(1)
31.7 Time and Costs
385(2)
31.8 Risks
387(1)
31.9 Assumptions
388(1)
31.10 Project Constraints
388(3)
31.11 Personas
391(1)
31.12 User Stories
392(1)
31.13 Storyboards
393(1)
31.14 Scope
393(2)
31.15 Requirements
395(6)
Chapter 32 The Make Stage
401(26)
32.1 Task Analysis
402(3)
32.2 Design Specification
405(5)
32.3 System Considerations
410(3)
32.4 Simulation
413(2)
32.5 Networked Environments
415(6)
32.6 Prototypes
421(2)
32.7 Final Production
423(1)
32.8 Delivery
424(3)
Chapter 33 The Learn Stage
427(26)
33.1 Communication and Attitude
428(1)
33.2 Research Concepts
429(7)
33.3 Constructivist Approaches
436(7)
33.4 The Scientific Method
443(4)
33.5 Data Analysis
447(6)
Chapter 34 Iterative Design: Design Guidelines
453(18)
34.1 Philosophy of Iterative Design
453(1)
34.2 The Define Stage
454(4)
34.3 The Make Stage
458(6)
34.4 The Learn Stage
464(7)
Part VII The Future Starts Now 471(18)
Chapter 35 The Present and Future State of VR
473(12)
35.1 Selling VR to the Masses
473(1)
35.2 Culture of the VR Community
474(1)
35.3 Communication
475(5)
35.4 Standards and Open Source
480(3)
35.5 Hardware
483(1)
35.6 The Convergence of AR and VR
484(1)
Chapter 36 Getting Started
485(4)
Appendix A Example Questionnaire 489(6)
Appendix B Example Interview Guidelines 495(2)
Glossary 497(44)
References 541(26)
Index 567(34)
Author's Biography 601
Jason Jerald, Ph.D., is Co-Founder and Principal Consultant at NextGen Interactions. In addition to primarily focusing on NextGen Interactions and its clients, Jason is Chief Scientist at Digital ArtForms, is Adjunct Visiting Professor at the Waterford Institute of Technology, serves on multiple advisory boards of companies focusing on VR technologies, coordinates the Research Triangle Park-VR Meetup, and speaks about VR at various events throughout the world. Jason has been creating VR systems and applications for approximately 20 years. He has been involved in over 60 VR-related projects across more than 30 organizations including Valve, Oculus, Virtuix, Sixense, NASA, General Motors, Raytheon, Lockheed Martin, three U.S. national laboratories, and five universities. Jason's work has been featured on ABC's Shark Tank, on the Discovery Channel, in the New York Times, and on the cover of the MIT Press Journal Presence: Teleoperators and Virtual Environments. He has held various technical and leadership positions including building and leading a team of 300 individuals, and has served on the ACM SIGGRAPH, IEEE Virtual Reality, and IEEE 3D User Interface Committees. Jason earned a Bachelor of Computer Science degree with an emphasis in Computer Graphics and Minors in Mathematics and Electrical Engineering from Washington State University. He earned a Master and a Doctorate degree in Computer Science from the University of North Carolina at Chapel Hill with a focus on perception of motion and latency in VR. The graduate work consisted of building a VR system with under 8ms of end-to-end latency; the development of a mathematical model relating latency, head motion, scene motion, and perceptual thresholds; and validation of the model through psychophysics experiments. Jason holds over 20 publications and patents directly related to VR.
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