Exploiting interactivity, influence, space and time to explore non-linear drama in virtual worlds

  • Authors:

  • Mike Craven;Ian Taylor;Adam Drozd;Jim Purbrick;Chris Greenhalgh;Steve Benford;Mike Fraser;John Bowers;Kai-Mikael Jää-Aro;Bernd Lintermann;Michael Hoch

  • Affiliations:

  • School of Computer Science, University of Nottingham, Nottingham, NG8 1BB, UK;School of Computer Science, University of Nottingham, Nottingham, NG8 1BB, UK;School of Computer Science, University of Nottingham, Nottingham, NG8 1BB, UK;School of Computer Science, University of Nottingham, Nottingham, NG8 1BB, UK;School of Computer Science, University of Nottingham, Nottingham, NG8 1BB, UK;School of Computer Science, University of Nottingham, Nottingham, NG8 1BB, UK;School of Computer Science, University of Nottingham, Nottingham, NG8 1BB, UK;NADA, Royal Institute of Technology, S-100 44 Stockholm, Sweden;NADA, Royal Institute of Technology, S-100 44 Stockholm, Sweden;ZKM - Zentrum für Kunst, und Medientechnologie, Lorenzstraβe 19, 76135 Karlsruhe, Germany;Sony Electronics DSL, San Jose and ZKM - Zentrum für Kunst, und Medientechnologie, Lorenzstraβe 19, 76135 Karlsruhe, Germany

  • Venue:
  • Proceedings of the SIGCHI Conference on Human Factors in Computing Systems
  • Year:
  • 2001

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Abstract

We present four contrasting interfaces to allow multiple viewers to explore 3D recordings of dramas in on-line virtual worlds. The first is an on-line promenade performance to an audience of avatars. The second is a form of immersive cinema, with multiple simultaneous viewpoints. The third is a tabletop projection surface that allows viewers to select detailed views from a bird's-eye overview. The fourth is a linear television broadcast created by a director or editor. A comparison of these examples shows how a viewing audience can exploit four general resources - interactivity, influence, space, and time - to make sense of complex, non-linear virtual drama. These resources provide interaction designers with a general framework for defining the relationship between the audience and the 3D content.