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Weird 🤔. I was playing with my friends at school and then a swing started moving i went over to see i found a dead bird the thing is years ago someone died in my school 👽👽👽👽. The haunted swing free download free. Nope! 👻👻👻👻👻👻👻👻👻👻👻👻👻👻👻👻👻👻👻. The Haunted Swing free download soccer. We use cookies to offer you a better experience, personalize content, tailor advertising, provide social media features, and better understand the use of our services. To learn more or modify/prevent the use of cookies, see our Cookie Policy and Privacy Policy. Virtual reality experiences typically isolate the user from the real world. Notions of immersion are conventionally associated with the idea of convincing users that they are in another place, disassociated from physical reality. Given the user is however situated in that physical reality, kinesthetic bodily sensations often conflict with the virtual reality. In this paper we seek to elucidate the challenges associated with developing Visual-Kinaesthetic Experiences - experiences which provide related visual and kinaesthetic spectacle. Rather than use complex motion platforms, we submit here that physical reality is replete with interesting kinaesthetic experiences, which may be repurposed by the application of new visuals to create engaging hybrid experiences. We approach this by describing the development and deployment of Oscillate - a virtual reality experience that takes place on a swing, using it as an example to draw out what makes such experiences intrinsically interesting, and to construct three design challenges for this space. The Challenges of Visual-Kinaesthetic Experience Paul T ennent, Joe Marshall, Brendan W alker, Patrick Brundell, Steve Benford Mixed Reality Laboratory, School of Computing Science, University of Nottingham Nottingham, UK fistname @ ABSTRACT Virtual reality experiences typically isolate the user from the real world. Notions of immersion are conventionally associ- ated with the idea of convincing users that they are in another place, disassociated from physical reality. Given the user is however situated in that physical reality, kinesthetic bodily sensations often conflict with the virtual reality. In this paper we seek to elucidate the challenges associated with developing Visual-Kinaesthetic Experiences - e xperiences which provide related visual and kinaesthetic spectacle. Rather than use com- plex motion platforms, we submit here that physical reality is replete with interesting kinaesthetic experiences, which may be repurposed by the application of new visuals to create en- gaging hybrid experiences. We approach this by describing the development and deployment of Oscillate - a virtual reality ex- perience that takes place on a swing, using it as an example to draw out what makes such experiences intrinsically interesting, and to construct three design challenges for this space. ACM Classification Keyw ords H. 5. 1 Information Interfaces and Presentation (e. g., HCI) Multimedia Information Systems Author Keywor ds Visual-Kinaesthetic Experience; V irtual Reality; Motion; V ertigo; Swings INTRODUCTION Virtual Reality (VR) is gaining increased traction as a topic both within academia and in the wider public consciousness. With the release of mass market systems such as the Playsta- tion VR, being built on the success of the Oculus Rift and more recently the HTC Vi ve, this is an appropriate time to consider a fundamental problem with VR in most settings. Vir - tual reality experiences typically isolate the user from the real world. Given the user is howe ver situated in that physical reality, kinesthetic bodily sensations Permission to make digital or hard copies of all or part of this work for personal or classroom use is granted without fee provided that copies are not made or distributed for profit or commercial advantage and that copies bear this notice and the full citation on the first page. Copyrights for components of this work owned by others than the author(s) must be honored. Abstracting with credit is permitted. T o copy otherwise, or republish, to post on servers or to redistribute to lists, requires prior specific permission and/or a fee. Request permissions from DIS 2017, June 10-14, 2017, Edinburgh, United Kingdom. Copyright is held by the owner/author(s. Publication rights licensed to ACM. ACM ISBN 978-1-4503-4922-2/17/06. 15. 00. DOI: often conflict with the intended virtual reality. Beyond simply loss of immersion, this lack of consistency between visual and vestibular systems is known to cause simulator sickness [21. One solution would appear to be to correct the relationship between motion and visuals. Indeed this has been the principal selling point of the HTC Vi ve, which uses one-to-one tracking and translation of the users head and controller positions to allow for room-scale e xperiences, and for many users this does appear to reduce instances of simulator sickness and improve immersion e. g. [27. Howev er, this approach can only work for certain types of experiences - the user must be standing and moving in ways a human can move, and the trackable space is currently limited to five meters squared. At the other end of the scale, motion platforms can be used to provide corrected kinaesthetic sensations for a user. This ap- proach forms the basis of many professional-level simulators 1, commercial VR treadmills 2, and software actuated racing car seats 3. However, the following quote from an intervie w with a former Formula 3 racing driver conducted as part of our re- search in this area: “No matter how good they are, simulators dont feel quite right”, suggests that such a perfect one-to-one mapping of kinaesthetic sensation may be some way from fea- sible; it is certainly prohibitively expensi ve in many contexts. While technologies for immersing people in visual and audio content – ranging from high resolution projection systems to a new generation of head-mounted displays – are relatively well advanced and affordable, those for stimulating our more physical senses – especially our kinaesthetic sense of bodily movement through space – are far less so. In spite of impres- sive dev elopments in motion platforms, separation of what the user sees from movement that they feel remains a fundamental constraint on achieving deep immersion in future content. In this paper, we suggest that rather than use motion platforms which aim to create generic forms of movement experience, we rather make use of existing exciting kinaesthetic experiences, and create thrilling experiences which overlay them. One example of such an approach is virtual reality rollercoaster rides such as Alton T owers Galactica (2016) or Six Flags Dare Devil Dive (2016) both of which take an e xisting coaster and overlay virtual experiences to the ride. Rather than using technology to separate users from the external world, such experiences are in fact made more exciting by the rider s 1 2 Virtuix Omni www. 3 RacingCube knowledge that the physical sensations occuring to them are a real part of the world, that they are really flying through the air. A second, contrasting example is the game T aphobos [8] in which the player is buried alive. Taphobos uses a real cof fin to create physical sensations of constriction; the game is made more thrilling by the knowledge that physical coffin sensations are 100% real, as opposed to the result of haptic stimulation systems or other computer generated simulation. W e call systems which use this approach of highlighting and using exciting kinaesthetic experiences V isual-Kinaesthetic Experiences (VKE. In this paper, we describe the design of a VKE called Oscillate which overlays exciting virtual stimula- tion on top of a conventional playground swing. Oscillate was installed at Sheffield International Documentary Film Festival (Docfest) and Londons V ictoria and Albert Museum (The V&A) to significant critical acclaim and national media atten- tion. Key to the design of Oscillate is the manipulation of the movement in the virtual world so that it is deliberately differ - ent to that in the real world; we believe that manipulation of congruence between real and virtual worlds is a key challenge for VKE design. In our discussion section, we describe how VKEs pose challenges in three key ways: firstly they create unique practical challenges for those building and deploying them; secondly, they require ne w ways of evaluating experi- ence, and finally the use of new physical experiences creates new design challenges for builders of experiences. The key contributions of this paper are: 1. The concept of visual-kinaesthetic experiences (VKEs. 2. The presentation of Oscillate, an example VKE. 3. Discussion of three key challenges of VKEs. BACKGR OUND Kinaesthetic sensation as entertainment is established in hu- man culture from childhood games of spinning, to playground equipment and fairground rides, enabling what Caillois calls vertigo play [11. The pursuit of vertigo is described by Cail- lois as one of the four key forms of play. Such activities aim to ‘momentarily destroy the stability of per ception and inflict a kind of voluptuous panic on an otherwise lucid mind [11] such as in childhood games which involv e spinning to the point of dizziness. Caillois argues that the industrial revolution en- abled the creation of powerful machines such as fairground rides and racing cars, which allowed this kind of play to reach levels of intensity that made it popular amongst adults. It is therefore perhaps no surprise that researchers have been ex- ploring technologies for delivering kinaesthetic experiences for many years, most notably via robotic motion-platforms. In turn, the wider entertainment industry have adopted motion platforms to deliver VR simulation rides while also seeking ways of introducing greater freedom of movement and ev en interactivity into traditional ‘fixed rollercoaster rides, for ex- ample the robotic rides developed by robocoaster Rollercoasters and theme park rides have been the subject of much HCI research in and of themselves e. [5, 38, 28, 32] however much of this research has focused on the psychologi- cal or psychophysiological sensation (e. in [32] rather than the kinaesthetic. Similarly, rollercoasters have also served as an introduction to virtual reality for many people with Rift- coaster being one of the most popular demos for the Oculus Rift DK1, and even now, a search in the Oculus or Steam store for ‘rollercoaster delivers results in double figures. The combination of a physical rollercoaster and VR is a recent occurrence, initially done in guerrilla fashion such as [44] then more recently the parks themselves have de veloped rides which use VR visuals to refresh existing experiences - for example, the Alton T owers rollercoaster previously known as Air was repurposed in 2016 to become Galactica. VR Coaster (vrcoaster) who specialise in developing these rides currently cite twenty one installations around the world. Of course, motion platforms and rollercoasters are not the only sources of kinaesthetic sensation. The everyday world is replete with them - every time we travel in a car, or a lift, or one of any number of other situations we experience bod- ily sensations of motion. Other bodily sensations may also prove to be interesting to explore. Research has tapped into these sensations to create a plethora of interesting experiences playing with, for example, sensations of vertigo [9, 10] claus- trophobia [8, 24] hyperventilation [42] or interpersonal touch [18, 17] amongst many more. Similarly haptic interaction is a field unto itself covering interaction with virtual objects [36] and environments [1. One particularly interesting source of kinaesthetic sensation which resonates strongly with Callois discussion of vertigo play is the playground. Egglestone et al. [13] consider possibilities for interaction and sensation afforded by playgrounds and equipment such as swings, slides, roundabouts and see-saws (teeter-totters. One of Benford et als "uncomfortable" experiences [4] uses a lar ge, motor actu- ated swing, coupled with visual limitations caused by wearing a gas mask. Uncomfortable interaction is often a component of kinaesthetic experiences as seen in e. [9, 8, 18. If these interactions can be seen as psychologically uncom- fortable, there are also sensations of physical discomfort to consider. First we must include the conventional notion of mo- tion sickness as described in e. [14] and caused by certain types of bodily motion, which may be an issue for kinaes- thetic experiences which move our body. Particularly relevant is simulator sickness, a form of motion sickness caused by disconnect between visual and vestibular stimulation [21. Conventionally, experience of VR is understood to be influ- enced by equipment, content, use circumstances and individ- ual characteristics [26. A great deal of previous research into evaluating VR has focused on task performance, sickness, and presence (broadly defined to be the sense of “being there”. In entertainment experiences such as we study here, some of this work may create tension with the nature of the entertainment. For example, VR researchers have ar gued that lack of control has negative impact on both presence [45] and sickness [40, 39. However, in the wider literature on HCI and games, we see arguments that voluntary surrender of control [23, 25] and associated experiences of psychological discomfort [4] are key to the design of thrilling and meaningful entertainment experiences. Similarly, entertainment makes use of suspense and suggestion to create unknown or negativ e expectations of future experiences, something which traditional VR research would again relate to adverse symptoms [30. One of the ear- liest examples of a visual-kinaesthetic experience was built in the 1890s at Atlantic City Boardwalk. Amariah Lakes haunted swing [46] is a swing inside an enclosed room. While the swing moves a small amount, the whole room is mechani- cally rotated around the swing to give the impression of very extreme swinging. The experience is very effective and has led to implementations of the illusion being used as amuse- ments for over a century. One such installation is the popular ride Hex - The Legend of the T owers at Alton T owers theme park. One consistent feature of the haunted swing illusion is the huge and expensive mechanism required for it to function. Indeed Hex, one of the biggest examples, which simultane- ously sits 78 riders reportedly cost approximately four million pounds to build [43. The haunted swing illusion forms part of the inspiration for our driver project Oscillate. OSCILLA TE T o explore how visual-kinaesthetic experiences might work in the real world, we have taken a performance-led, in the wild approach [3] in which artists drive the creation of per- formances in collaboration with interdisciplinary teams of researchers who help build technology, study deployment in artistic venues, and build theories based on this. This sec- tion describes the artwork Oscillate by Brendan W alker, two versions of which were installed at Sheffield International Doc- umentary Film Festival (Docfest) and London s Victoria and Albert Museum (The V&A) to significant critical acclaim. Overview Oscillate is a visual-kinaesthetic experience designed by artist Brendan W alker. It takes the form of a playground swing on which a rider sits and puts on a virtual realty headset and a pair of ear defenders. In the VR world, the gallery in which they are sitting is recreated correctly to scale but empty of other exhibits and inhabitants. As the rider be gins to swing, the correct motion occurs in the VR experience. Over the course of ninety seconds, the apparent maximum angle of the swing is increased to more than double the real swing angle causing the rider to seem to be swinging much higher than they actually are. In the following ninety seconds this multiplier decreases back to one. In the same cycle the distance between the rider and the floor is also increased, giving the vertiginous sensation of being very high up. Artistic Vision Oscillate is an immersive interactiv e artwork based on two pop- ular entertainment technologies: the multi millennia-old rope swing and 21st century virtual reality - the former designed to excite the vestibular system, the latter designed to excite the visual cortex. The title Oscillate was chosen to reference the physical oscillations used to excite the vestibular system; oscillations between immersion in real and virtual worlds; os- cillations between private and public spaces and interactions; oscillations between extreme and sedate ride encounters. The Artist adopted the simple motion of a swing for Oscillate in part because activation of a swing is a technique learned by most in childhood. Swinging is naturally self-limiting, that is, Figure 1. An illustration from an 1897 book Stage Illusions and Scientific Diversions, including Trick Photography. Public Domain people choose to swing as high as they wish or dare. Riders perceive themselves to be in control of their experience. The artist coupled the physicality of the swing with the design language of the playground, where the practical act of queuing also acts as a reason for spectating. The installation would need no instructions to be ridden, or watched. The element of physical jeopardy designed by the artist in Os- cillate is similar to that of an historical mechanical amusement park ride called the Haunted Swing (figure 1) which gives ones body the illusion of radical mov ement, although it may not be moving at all [46. The artist proposed making a virtual facsimile of the gallery physical space. The rider would be seated in exactly the same place in the virtual and real worlds. Once seated, the rider would be able to visually examine the virtual and real worlds in the same way. When they started to swing, the riders trajectories in both worlds would be the same. However, over the first ninety seconds of the ride, the riders swing amplitude in the virtual world would become amplified up to a climax. Over the final ninety seconds the amplification factor would gradually return to neutral. This cycle would repeat, or reset if no rider was detected. To ac- company this experience, the virtual floor would lower and rise in harmony with the swinging motion, and also increase and decrease in intensity. The amplified swing illusion was designed to make the rider believe that they were swinging higher than they actually were, the floor dropping illusion sought to replicate the camera zooming technique employed by Hitchock in his movie V ertigo, in an attempt to replicate the dizzying effects of vertigo. A motivation and rew ard for swinging higher was required to counterbalance an increasing sense of physical jeopardy. Figure 2. Oscillate installation at Docfest 2015 T o answer this need, the artist placed the virtual facsimile of the gallery in outer space. Galaxies could be seen through skylights and doors, which were designed to entice the rider to swing higher, to peer into the cosmos beyond. Finally, the virtual world was designed to be completely empty of other exhibits and audience. He coated the walls of the virtual gallery in acoustic foam, easily recognisable from the design language of sound booths and equipped the rider with a pair of real ear defenders. The desired effect was to distance the rider from a watching public, and create an insular experience, but still to leave them with a muffled trace of real life. This trace was designed to help transport riders consciousness back to the real world, but subtle enough to allow the sound to be subsumed into the VR world should they choose to ignore it. Versions Oscillate has been deployed in two different galleries, first in 2015 at Sheffield International Documentary Film Festival (Docfest) version 1 - see figure 2) where it ran for two weeks, then in 2016 in Londons V ictoria and Albert Museum (the V&A) version 2 - see figure 3) for just one night. As a part of the artwork is that the virtual world is a to-scale representation of the room in which the swing is situated, this was recreated for each installation. Similarly the physical characteristics of the room at the V&A, specifically the very high ceiling, required the physical swing to be redesigned. Finally, with the rapid advancement in headset technology, the hardware was also updated to be wireless for version 2. Physical Swings V ersion 1 of the swing was designed to hang from a frame attached to the ceiling, and created from steel scaffolding to evoke memories of playground swings, albeit distorted by being upside down. Figure 2 shows the design of this mounting. Conversely, v ersion 2 of the swing was designed to be freestanding and more abstract in its cubic form. Figure 3 shows this clearly. In both cases the swing itself is chain mounted and hung from a crossbar with the seat being fifty centimetres from the floor. This accommodates most sizes of rider. In version 1 cabling for the headset and sensor were run down the left chain. Figure 3. Oscillate installation at The V&A 2016 Hardware Both versions of oscillate used the same two elements, a sensor mounted on the base of the seat of the swing to detect its motion, and a VR headset for the rider. In version 1, the sensor on the swing was a Phidget Spatial. a nine degree of freedom USB-connected motion sensor comprising a tri-axis accelerometer, gyroscope and magnetometer sampling at 256Hz. Only the gyroscope and accelerometer are used. In version 2, this sensor was replaced with a Samsung Galaxy S7 phone, connected with both Wifi and Bluetooth for redundancy, calculating the swing angle internally (see next section) and sending that to the headset at 100Hz. V ersion 1 used an Oculus Rift DK1 headset. This was se- lected over the also available DK2 for its lightness and the form and positioning of its cables. It was decided that the sacrifice of resolution was acceptable when weighed against these practical concerns. This was connected along with the seat sensor to a Windows PC a short distance a way which ran the software. For version 2, the PC was dispensed with and the headset replaced with a Samsung Gear VR, containing a second Samsung Galaxy S7 which was able to run the soft- ware locally. This had the distinct benefit of fewer cables - and thus fewer mechanical points of failure, traded against the need to monitor battery state. This was deemed acceptable risk as V ersion 2 was constantly invigilated. Capturing and Correcting Motion The most significant technical challenge of Oscillate was the need to correctly calculate the real angle of the swing from incoming accelerometer and gyroscope data. W e elected to limit our interest to a single axis (Y) reasoning that the swing primarily moves in a single axis. We were able to accurately read angular Y velocity from the gyroscope, and integrate this to provide an angle, howev er gyroscopes tend to drift so this needed to be corrected. Fortunately, the pendulum-motion of the swing creates a maximum z-axis acceleration as it passes through the origin, so we were able to use this to correct the gyroscope drift with every half swing. With a period of 2-3 seconds, this still allowed for a small amount of drift, howev er Figure 4. The virtual room representation at Docfest 2015 we accepted this as minimal error. The fact that the rider was effectively blindfolded, and the fact that we were also perturbing this angle over time allowed us a certain amount of undetectable error margin. We note that whilst we did consider more complex models, a swing with a person on it does not behave as a perfect pendulum, due to a combination of body position changes and flex in the chains connecting the seat to the swing bar. Measuring seat angle also means that our measurement is very slightly different to swing angle due to seat angle changes when body position changes, but while actively swinging, this alters angle by <5 degrees on very extreme swings. In version 1 the raw data was collected by the PC and the angle was calculated there. In version 2 this work was offloaded to the phone which hosted the sensors, freeing up resources for rendering, and allowing data to be transmitted wirelessly at a lower rate (100Hz instead of 256Hz. Headset orientation was detected using the on-board sensors of the headsets. In version 2, the magnetometers of both devices were used to determine the angle at which the software started ensuring that a good mapping was maintained for the orientation of the device, avoiding problems caused because the device normally resets direction when the headset is put on - potentially causing misalignment. Unlike the Gear VR, the Oculus Rift DK1 did not do this orientation reset, so instead the rider was asked to look straight forward for two seconds after putting on the headset but before starting to swing to correct the drift in headset orientation. This drift was a known issue with the Rift DK1 and has been subsequently corrected by future versions which use cameras to track the position and orientation in coordination with the fast on-board sensors. Virtual Worlds The primary visual conceit of Oscillate is that the gallery in which it is situated is represented in perfect one-to-one scale in the VR world, albeit with some texturing changes, and that the rider is isolated from other pieces and people in the same gallery first by their not being included in the virtual world and secondly by the application of physical ear defenders. To extend this idea of isolation, the gallery is then taken out of Figure 5. The virtual room representation at The V&A 2016 context and apparently suspended in outer space. This also gives the rider something unusual to look at, and through the skylight, an incentive to swing higher. The worlds were built using the Unity game engine. in each case from detailed millimetre correct plans of the rooms. A 3D painted flat skybox was used to cre- ate the feeling of being in outer space. For Docfest, the walls were textured to look like anechoic foam (figure 4. For ver- sion 2, the gallery contained a number of very large tapestries. In conversation with the curator, the artist drew inspiration from the reported acoustic properties of tapestries, and chose to isolate and represent these artefacts as pieces of anechoic foam instead of covering the full walls (figure 5. Oscillate does not provide a representation of the swing or the rider, though version 2 does include the swing s outer structure as a reflective surface. In both cases the position of the riders head is represented by a moving light source which helps to add dynamism to the scene. In the case of the V&A, a much larger room, additional lighting was provided as spotlights above the ‘tapestries. Physical-Virtual decoupling The main component of the Oscillate experience is the chang- ing relationship between how far the user is physically swing- ing and how far they appear to be swinging. The virtual angle is a function of both the physical angle and the time within a session. The point in the session is used to generate a value between 0 and 1 where 0 is the start of the session, 1 is the peak (90 seconds) and 0 is the end of the session. if we use t to represent this value and θ r to represent the physical an- gle, with a constant α to represent our target maximum angle multiplication then we can calculate the virtual angle θ v as: θ v = θ r + α t θ r W e did not want the apparent angle to exceed 175 degrees, believing that the illusion would break (based on the theory of quarantining [7] if the rider appeared to be “swinging over the crossbar”, so the value was clamped in the range -175 to 175 degrees and we selected a value of 2. 5 for α. This meant that a rider swinging out to 50 degrees would reach an apparent maximum swing angle in the virtual representation of 125 We present two proof of concept experiences for a virtual reality (VR) game that draws on several medium-specific qualities of mobile, location-based, and tangible storytelling. In contemporary smartphone-VR, experiences are limited by short playtimes, limited interactions, and limited movement within a physical space. To address these limitations, we suggest a reconceptualization of smartphone-VR. Rather than design that deems the smartphone the least capable VR platform, we propose design that adds VR to an already rich mobile storytelling platform. We argue that by drawing on otherwise separate storytelling media, designers can circumvent limitations related to smartphone-VR while also extending the range of smartphone-based storytelling. We conclude by reflecting on possible implications of this extended design space. It is becoming popular to render art exhibitions in Virtual Reality (VR. Many of these are used to deliver at-home experiences on peoples own mobile devices, however, control options on mobile VR systems are necessarily less flexible than those of situated VR fixtures. In this paper, we present a study that explores aspects of control in such VR exhibitions - specifically comparing ‘on rails movement with ‘free also expand the concept of museum audio guides to better suit the VR medium, exploring the possibility of embodied characterguides. We compare these controllable guides with a more traditional audio-guide. The study uses interviews to explore users experience qualitatively, as well as questionnaires addressing both user experience and simulator sickness. The results suggest that users generally prefer to have control over both their movement and the guide, however, if relinquishing movement control, they prefer the uncontrolled guide. The paper presents three key findings: 1) users prefer to be able to directly control their movement; 2) this does not make a notable difference to simulator sickness; 3) embodied guides are potentially a good way to deliver additional information in VR exhibition settings. In this paper, we present a study that explores aspects of control in such VR exhibitions - specifically comparing ‘on rails movement with ‘free movement. We also expand the concept of museum audio guides to better suit the VR medium, exploring the possibility of embodied character-guides. Game designers working with Head-Mounted Displays (HMDs) are usually advised to avoid causing disorientation in players. However, we argue that disorientation is a key element of what makes "vertigo play" such as spinning in circles until dizzy, balancing on high beams, or riding theme park rides) engaging experiences. We therefore propose that designers can take advantage of the disorientation afforded by HMDs to create novel vertigo play experiences. To demonstrate this idea, we created a two-player game called "AR Fighter" in which two HMD-wearing players attempt to affect each other's balance. A study of AR Fighter (N=21) revealed three recurring vertigo-experience themes for researchers to analyse and associated design tactics for practitioners to create digital vertigo play experiences. With this work we aim to guide others in using disorientation as intriguing game element to create novel digital vertigo play experiences, broadening the range of games we play. Empowerment of movement through superhuman strength and flexibility is a staple of action video game design. However, relatively little work has been done on the same in the context of Virtual Reality and exergames, especially outside the most obvious parameters such as jumping height and locomotion speed. We contribute a controlled experiment (N=30) of exaggerating avatar flexibility in a martial arts kicking task. We compared different settings for a nonlinear mapping from real to virtual hip rotations, with the aim of increasing the avatar's range of movement and kicking height. Our results show that users prefer medium exaggeration over realistic or grossly exaggerated flexibility. Medium exaggeration also yields significantly higher kicking performance as well as perceived competence and naturalness. The results are similar both in 1st and 3rd person views. To the best of our knowledge, this is the first study of exaggerated flexibility in VR, and the results suggest that the approach offers many benefits to VR and exergame design. In this paper we describe an exploratory study that incorporates the design, implementation and study of a system that utilises virtual reality, tangible interaction and force feedback. The approach we take is to design a VR system that incorporates a moveable tangible interface (wheelchair) which overlaps seamlessly with a 3d counterpart in the virtual world. The user interacts with the virtual environment by pushing the physical wheelchair, which simultaneously controls the virtual avatar. In the virtual world we place objects that once collided with trigger force feedback by stopping the physical wheelchair. In this paper we discuss the design rationale and technical implementation and follow by describing the next phase of this work in progress. The mixed reality lab has now been a staple of the CHI community for twenty years. From its founding in 1999 through to today, we have placed our relationship with art and artists at the forefront of our research methods. In this retrospective exhibition, we present some of our most recent and exciting work, alongside some of our archived works, and ask viewers to consider twenty years of CHI research and innovation - not just from our lab, but from the whole CHI community. Back in 1999 when we started, Virtual Reality was the exciting new technology. A lot has changed since then. When we use digital systems to stimulate the senses, we typically stimulate only a subset of users' senses, leaving other senses stimulated by the physical world. This creates potential for misalignment between senses, where digital and physical stimulation give conflicting signals to users. We synthesize knowledge from HCI, traditional entertainments, and underlying sensory science research relating to how senses work when given conflicting signals. Using this knowledge we present a design dimension of sensory alignment, and show how this dimension presents opportunities for a range of creative strategies ranging from full alignment of sensory stimulation, up to extreme conflict between senses. Overlaying virtual worlds onto existing physical rides and altering the sensations of motion can deliver new experiences of thrill, but designing how motion is mapped between physical ride and virtual world is challenging. In this paper, we present the notion of an abstract machine, a new form of intermediate design knowledge that communicates motion mappings at the level of metaphor, mechanism and implementation. Following a performance-led, in-the-wild approach we report lessons from creating and touring VR Playground, a ride that overlays four distinct abstract machines and virtual worlds on a playground swing. We compare the artist's rationale with riders' reported experiences and analysis of their physical behaviours to reveal the distinct thrills of each abstract machine. Finally, we discuss how to make and use abstract machines in terms of heuristics for designing motion mappings, principles for virtual world design and communicating experiences to riders. For many of us, the notion of ‘fun conjures up visions of experiences that are amusing, pleasant, entertaining, playful—perhaps even frivolous. Rides, games, shows and perhaps even the experience of visiting an art gallery can embody these senses of fun, providing amusing and momentary distractions from the toils of life. And yet, such experiences often have a darker side to them. Thrill rides such as roller coasters may be scary and physically demanding. Games routinely involve us in pretending to commit unspeakable acts such as butchering others. And the works we encounter in theatres and galleries may challenge, confront and even outrage us. So perhaps fun is not so frivolous after all? Maybe fun inevitably encompasses a ‘dark side as a vital, even necessary, part of the entertainment. Vertigo – the momentary disruption of the stability of perception – is an intriguing game element that underlies many unique play experiences, such as spinning in circles as children to rock climbing as adults, yet vertigo is relatively unexplored when it comes to digital play. In this paper we explore the potential of Galvanic Vestibular Stimulation (GVS) as a game design tool for digital vertigo games. We detail the design and evaluation of a novel two player GVS game, Balance Ninja. From study observations and analysis of Balance Ninja (N=20) we present three design themes and six design strategies that can be used to aid game designers of future digital vertigo games. With this work we aim to highlight that vertigo can be a valuable digital game element that helps to expand the range of games we play. Vertigo can be described as an attempt to momentarily destroy the stability of perception and inflict a kind of voluptuous panic upon an otherwise lucid mind. Vertigo has, however, not been generally considered as a design resource and we believe it to be under-explored in the area of digital bodily play. To investigate how vertigo could be considered as a design resource in this context, we conducted a review of relevant literature and held a design workshop with nine students to explore the potential of vertigo as a design resource for digital bodily play. From our exploration we identify five key design themes that designers might consider when designing a Vertigo Experience. Through this work we hope to encourage designers of bodily play experiences to consider vertigo as a design resource in their games. Taphobos is an experience that puts a player inside a real coffin whilst wearing a virtual reality (VR) headset. They must work together over voice communication with a second player outside the coffin who is trying to rescue the buried player. The second player uses a normal PC screen to navigate a 3D world in which the coffin is hidden, to find it they must communicate over headphones to the buried player. This is because there are clues and riddles hidden in the coffin that only the buried player can see through their VR headset. All of this must be done whilst the player is in a very confined space and with limited time due to oxygen, in both the real and virtual worlds. This work is intended to explore "uncomfortable experiences and interactions" as part of academic research in the Human Computer Interaction field (HCI) from an MSc by Research in Computer Science student, James Brown. The player inside the coffin will experience various emotions as they are put in and then try to get out of the confined space. Claustrophobia as well as the fear of being buried alive "taphophobia" may well affect players of the game and they must cope with these emotions as they play. We present Mediated Body, an exploration into designing for engaging experience in embodied interaction. Mediated Body entails a Suit worn by a Performer engaging in social play with a Participant. The Performer and the Participant each wear a pair of headphones, and when they touch each other's bare skin, they both hear a complex sound pattern. Our approach, which we call research-through explorative-design, is a combination of experimental design in the lab and explorative design in the field, where qualitative assessments are used to elicit transferable knowledge contributions. This paper represents a case study of this somewhat innovative research approach in action. On the topical level, our results include three artifact-level elements that contribute to engaging experience: connecting touch and audio with the right balance between direct and emergent responsivity, justifying bare-skin touch between strangers, and providing openended action props with non-trivial internal complexity. Moreover, we suggest three experiential qualities as analytical tools pertaining to engaging experience in embodied interaction: the duality of performative immersion, the "magic circle" of transformative social play, and the explorative nature of emergent meaning-making. In this vision paper we explore the potential for enhancing theme parks through the introduction of adaptive cyber-physical attractions. That is, some physical attraction that is controlled by a digital system, which takes participants' actions as input and, in turn, alters the participants' experiences. This paper is thus divided into three main parts; 1) a look at the types of attractions that a typical theme park may offer and, from this, the identification of a gap in an agency versus structure spectrum that recent research and industry developments are starting to fill; 2) a discussion of the advantages that cyber-physical play has in filling this gap and a few examples of envisioned future attractions; and 3) how such cyber-physical play can uniquely allow for adaptive attractions, whereby the physical attraction is personalized to suit the capabilities or preferences of the current attraction participants, as well as some foreseeable design considerations and challenges in doing so. Through the combination of these three parts, we hope to promote further research into augmenting theme parks with adaptive cyber-physical play attractions. This study presents the results of a survey of 269 undergraduate students conducted to examine fright experiences caused by video games. Over half of the participants reported game-induced fear. Sex, sensation-seeking, and empathy all emerged as important individual differences in terms of enjoyment of frightening content, consumption of frightening content, and frequency of fright experience. Interactivity and presentations of realism also predicted fear. This work identifies titles, stimuli, and features that caused fright experience. 3D display technologies have been linked to visual discomfort and fatigue. In a lab-based study with a between-subjects design, 433 viewers aged from 4 to 82 years watched the same movie in either 2D or stereo 3D (S3D) and subjectively reported on a range of aspects of their viewing experience. Our results suggest that a minority of viewers, around 14% experience adverse effects due to viewing S3D, mainly headache and eyestrain. A control experiment where participants viewed 2D content through 3D glasses suggests that around 8% may report adverse effects which are not due directly to viewing S3D, but instead are due to the glasses or to negative preconceptions about S3D (the ‘nocebo effect. Women were slightly more likely than men to report adverse effects with S3D. We could not detect any link between pre-existing eye conditions or low stereoacuity and the likelihood of experiencing adverse effects with S3D. Practitioner Summary: Stereoscopic 3D (S3D) has been linked to visual discomfort and fatigue. Viewers watched the same movie in either 2D or stereo 3D (between-subjects design. Around 14% reported effects such as headache and eyestrain linked to S3D itself, while 8% report adverse effects attributable to 3D glasses or negative expectations. Socially awkward experiences are often looked upon as something to be avoided. However, examples from the non-digital entertainment domain suggest that social awkwardness can also facilitate engaging experiences. Yet there has been little research into exploring social awkwardness in digital games. In response, we present Musical Embrace, a digital game that promotes close physical proximity through the use of a novel pillow-like controller to facilitate socially awkward play between strangers. Through our observations from demonstrating Musical Embrace at a number of events, we have derived a set of strategies to engage players by "facilitating social awkwardness" allowing players to "transform social awkwardness" while also letting players "take control of social awkwardness. With our work we hope to inspire game designers to consider the potential of social awkwardness in digital games and guide them when using it to facilitate engaging play experiences.

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The Haunted Swing free download mp3. AHHHH OMG CALL THE GHOSTBUSTERS XD. 28 October 2015 History With Halloween only days away its once again time to dust off the face paints, shine-up the vampire fangs and artistically destroy a pumpkin. To get into the “horror” of things, I began delving through some of our resources to find something suitably ghoulish from the vestiges of history. My search lead me unexpectedly to a photogravure of an amusement ride called ‘The Haunted Swing from a souvenir album for San Franciscos California Midwinter International Exposition in 1894. Image @ Special Collections Research Center, Henry Madden Library, California State University, Fresno. Further reproduction prohibited without permission. Invented by Amariah Lake in the early 1890s, the Haunted Swing became a popular attraction and appeared as part of the Midwinter fairs ‘Midway Plaisance amusement area. Admittedly, this photograph portrays a fairly innocuous scene devoid of any of the typical horror clichés such as solitary rocking chairs, sallow-looking children or tormented wraiths. However, this clever contraption was concerned with procuring a different type of fright. Located in the middle of a traditional sitting room interior, the swing was suspended from a bar across the ceiling and could accommodate approximately 15 people. When the ride began, the swing appeared to move back and forth at an increasing pace until it seemed to complete a full rotation and its participants were imbued with the sensation of hanging upside down whilst inexplicably defying the rules of gravity. In reality it was the walls of the make-shift room which rotated (bolted-down furniture and all) whilst the swing itself hardly moved. But the illusion was so cleverly coordinated that participants would emerge confused, dizzy, faint, and often nauseous. An external view of ‘The Haunted Swing building situated on the fairs ‘Midway Plaisance. Image @ Special Collections Research Center, Henry Madden Library, California State University, Fresno. Further reproduction prohibited without permission. The Haunted Swing may seem tame in comparison to the blood splattered, special effect-laden, Hollywood horrors to which we have all become accustomed. But during the 1890s when logic and progress reigned, this ride exposed a vulnerable disconnect between the minds ability to reason and the bodys ability to perceive. It highlighted the frightening fact that the body and the mind are vulnerable to manipulation and cannot always be trusted, a fear popularised in classic Gothic horrors of this period such as Robert Louis Stevensons Strange Case of Dr Jekyll and Mr Hyde, or Bram Stokers Dracula. And, as is demonstrated by the prevalence of modern-day incarnations of Lakes Haunted Swing in fairgrounds across the world, this fear is as perpetual as the rotations of the ride itself. These photogravures are taken from the Worlds Fairs: A Global History of Expositions resource which will be published in spring 2016. Full access restricted to authenticated academic institutions who have purchased a license.

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