Crime risks of three-dimensional virtual environments

Three-dimensional virtual environments (3dves) are the new generation of digital multi-user social networking platforms. Their immersive character allows users to create a digital humanised representation or avatar, enabling a degree of virtual interaction not possible through conventional text-based internet technologies. As recent international experience demonstrates, in addition to the conventional range of cybercrimes (including economic fraud, the dissemination of child pornography and copyright violations), the 'virtual-reality' promoted by 3dves is the source of great speculation and concern over a range of specific and emerging forms of crime and harm to users. This paper provides some examples of the types of harm currently emerging in 3dves and suggests internal regulation by user groups, terms of service, or end-user licensing agreements, possibly linked to real-world criminological principles. This paper also provides some directions for future research aimed at understanding the role of Australian criminal law and the justice system more broadly in this emerging field.

Virtual worlds to enhance student engagement

Both the School of Education and the discipline of Criminology at Deakin University have been using the 3-dimensional environment Second Life to deliver curriculum content and to engage students with each other and with teaching staff. The nature of this platform is facilitating more proactive student engagement with technology, including increased student competence in sharing artwork, problem solving and general discussion of complex criminological issues. In this paper, we provide some examples of how we are using Second Life in our curriculum offerings in Education and Criminology as a tool to promote greater engagement, particularly for students undertaking their courses by distance. We outine how the immersive nature of this platform can enhance the level of student interaction to produce a deeper form of engagement with our Unit material than is possible through conventional text and web-based document repositories.

Australian higher education institutions transforming the future of teaching and learning through 3D virtual worlds

What are educators‟ motivations for using virtual worlds with their students? Are they using them to support the teaching of professions and if this is the case, do they introduce virtual worlds into the curriculum to develop and/or expand students' professional learning networks? Are they using virtual worlds to transform their teaching and learning? In  recognition of the exciting opportunities that virtual worlds present for higher education, the DEHub Virtual Worlds Working Group was formed. It is made up of Australian university academics who are investigating the role that virtual worlds will play in the future of education and actively implementing the technology within their own teaching practice and  curricula. This paper presents a typology for teaching and learning in 3D virtual worlds and applies the typology to a series of case studies based on the ways in which academics and their institutions are exploiting the power of virtual worlds for diverse purposes ranging from business scenarios and virtual excursions to role-play, experimentation and language development. The case studies offer insight into the ways in which institutions are transforming their teaching for an unknown future through innovative teaching and learning in virtual worlds. The paper demonstrates how virtual worlds enable low cost alternatives to existing pedagogies as well as creating opportunities for rich, immersive and authentic activities that would otherwise not be feasible or maybe not even be possible. Through the use of virtual worlds, teaching and learning can be transformed to cater for an unknown future.

Enriching student experience and inter-professional learning of inclusive design with Second Life

This position paper reflects rapid advances in immersive 2D and 3D eLearning technologies and the expanding pool of ideas and applications in higher education across two professions. Inspiration has been drawn from examples in design learning, and various multidisciplinary collaborative projects through developmental research in Multi-User Virtual Environments (MUVEs). Linden Lab's Second Life (SL) is the most mature and popular of the ‘persistent’ virtual worlds. The study described in this paper aims to increase the authenticity of student learning through a range of SL simulated ‘life experiences’ relating to accessibility and mobility in the built environment. Significantly, the successes of such initiatives lie in several elements: teaching champions with vision and courage; detailed scripting of precise role-play encounters for first-time users to provide supportive ‘blended learning’ contexts; careful and vigilant strategic management of facilities and resources, and a robust design program. This paper focuses on the crucial alignment of these elements to the specific challenges of designing and navigating conception and development processes, to enable the execution and delivery of a tightly defined script for meaningful and memorable learning outcomes. This innovative pedagogical approach lacks time-tested outcomes, but is recognised equally as opportunity and challenge; risk and reward.

A simulation-based control interface layer for a high-fidelity anthropomorphic training simulator

Deakin University’s futuristic Universal Motion simulator will overcome the limitations of current motion simulator platforms by employing an anthropomorphic robot arm to provide the motion fidelity necessary to exploit the potential of modern simulation environments. Full motion simulators frequently utilize Stewart platforms to mimic the movement of vehicles during simulation. However, due to the limited motion range and dexterity of such systems, and their inability to convey realistic accelerations, they are unable to represent accurate motion characteristics. The Universal Motion Simulation aims to close the gap between the limitations of the current motion technology and real world, by introducing a flexible, modular, high-fidelity motion system that can be used for a variety of immersive training applications. The modular nature of the design allows interchangeable and configurable simulation pods to be attached to the end effectors.

An empirical examination of feedback : user control and performance in a hapto-audio-visual training environment

Utilising advanced technologies, such as virtual environments (VEs), is of importance to training and education. The need to develop and effectively apply interactive, immersive 3D VEs continues to grow. As with any emerging technology, user acceptance of new software and hardware devices is often difficult to measure and guidelines to introduce and ensure adequate and correct usage of such technologies are lacking. It is therefore imperative to obtain a solid understanding of the important elements that play a role in effective learning through VEs. In particular, 3D VEs may present unusual and varied interaction and adoption considerations. The major contribution of this study is to investigate a complex set of interrelated factors in the relatively new sphere of VEs for training and education. Although many of the factors appears to be important from past research, researcher have not explicitly studied a comprehensive set of inter-dependant, empirically validated factors in order to understand how VEs aid complex procedural knowledge and motor skill learning. By integrating theory from research on training, human computer interaction (HCI), ergonomics and cognitive psychology, this research proposes and validates a model that contributes to application-specific VE efficacy formation. The findings of this study show visual feedback has a significant effect on performance. For tactile/force feedback and auditory feedback, no significant effect were found. For satisfaction, user control is salient for performance. Other factors such as interactivity and system comfort, as well as level of task difficulty, also showed effects on performance.

Virtual reality interaction techniques

This paper addresses the problems associated with interaction in immersive virtual reality and makes recommendations as to how best to deal with these problems, thereby producing a usable virtual reality interactive environment. Immersive virtual reality means that the users are immersed or contained inside the environment in which they are working. For example, they are able to turn their heads and look around, as well as use their bodies to control the system.

The work in progress involves a study of various virtual reality input devices, some designed and implemented as part of the project. Additionally, the paper describes a simple framework for separation of the interaction and application parts of a virtual reality system in order to facilitate an object oriented approach to the implementation of the recommendations, and to the building of future virtual reality applications which incorporate these ideas.

A generic virtual reality interaction system and its extensions using the common object request broker architecture (CORBA)

The paper describes the design and implementation of an immersive Virtual Reality (VR) interaction system. The system aims to provide a flexible mechanism for programmers to implement interaction in their VR applications, making good use of all accepted practices in the field. The paper further describes how the system was extended to a multi-user system using the CORBA middleware layer.

Should we teach an old game new tricks?

The Middle East Politics Simulation (MEPS) is a simulation of diplomacy and political tension in the Middle East. This online role-play exercise is aimed at providing students with an improved level of understanding of the political dimensions of the region. Having been run since 1993, the MEPS has not had any major updates to its platform in all those years. However, as such a mature online entity there is the question of whether the MEPS will continue to engage students as their expectations of what constitutes an online role-playing environment became steadily raised by their familiarity with more graphically immersive platforms. The reliance on social media tools for students and political figures to use as conduits for communication is also unrepresented in the MEPS and the subject of some student dissatisfaction in previous years. This research assesses student attitudes towards the MEPS with an eye to balancing the demands of technology, functionality, equity of experience, security and, most importantly, learning outcomes.

Performing the technical image

The recent public multi-screen performance of formalist experimental animation by film artists such as Guy Sherwin, Bruce McLure and Greg Pope respond to the immediacy and speed of new digital technologies, the rise of Vilem Flusser’s ‘technical image’ and the consequent disappearance of reflective space identified by Prensky, Kroker, Virilio and Postman. Flusser’s ‘technical images’, benefiting from the digital’s painterly hyper-malleability structure and content, signifier and signified, so much the subject of Peter Gidal’s arguments in support of his concept of ‘materialist film’ in the 1970’s.  In the digital those formal editing strategies used to create the ‘technical image’ within analogue image construction that traditionally took place in the artist’s studio within the camers and optical printer are now executed inside the computer, having migrated into the post-production process.  Within the work of these artist’s recent multi-screen presentations these manipulations are now-elusively experienced in live ephemeral performance, re-forming and laying bare those processes that have been rendered invisible in digital technology.  The significance of this work partly lies in its ability to communicate historical information a-historically. Guy Sherwin and Lynn Loo’s method in their play with 16mm film flashes and after-images and Sherwin’s mirror performance further reproduces Goethe’s method from his Theory of Colours (1840). Greg Pope’s scratch performances re-enact the operation of Konrad Zuse’s 1930’s computing machine. Affinities are drawn between Bruce McLure’s immersive overpowering sonic and flicker performances with Edwin Land’s 1960’s experiments on colour constancy on which Land’s Retinex Theory of colour is based.

'It's not enough for the work of art to be great' : children and young people as museum visitors

This paper examines trends in the understanding of children as visitors to art and natural history museums. It begins by examining research into the qualities of engagement by museum visitors generally. It then addresses the specific challenges posed by children as visitors, and the responses developed by museums to enhance their engagement. Three strategies are identified: social/family-centred interactivity, immersive experiences and engagement through interpretive dialogue. The three examples of programs of children’s engagement examined in this paper represent a major departure from such models towards a profoundly social form of interaction. The paper argues that these strategies are museums’ responses to shifts in pedagogical theory, and have been developed to increase the engagement of the child-visitor with exhibitions. Such strategies represent a genuine engagement between adults (both museum staff and parents) and children, and an opportunity for children to define the experience of cultural engagement. The consequence of this is a redefinition of the cultural role of museums in relation to children.

Enhancing audio-haptic enabled novel dental training platform performance

Existing haptic and non-haptic dental simulators do not eliminate the problem of hand instability while using the haptic devices for training purpose. This paper reports an audio-haptic dental training platform, which uses a Hand Stability System to reduce the effect of nervousness and hand instability for trainee dental students. Maintaining the ease of implementation, application customizability and the cost factor, the proposed platform increases the training efficiency by enhancing the immersive haptic experience with hand stability. This haptic platform includes multiple angle viewing techniques, audio feedback and session recording for after action review. Trials using this preliminary platform reduced the effect of human nervousness and hand instability due to the customized design.

Instrumental vision

This chapter interrogates stereo-immersive ‘virtual reality’ (VR), the technology that enables a perceiver to experience what it is like to be immersed in a simulated environment. While the simulation is powered by the “geometry engine” (Cutting, 1997: 31) associated with high-end computer imaging technology, the visual experience itself is powered by ordinary human vision: the vision system’s innate capacity to see “in 3D”. To understand and critically appraise stereo-immersive VR, we should study not its purported ‘virtuality’, but its specific visuality, because the ‘reality’ of a so-called ‘virtual environment’ is afforded by the stereoacuity of binocular vision itself. By way of such a critique of the visuality of stereo-immersive VR, this chapter suggests that we think about the ‘practice’ of vision, and consider on what basis vision can have its own ‘materiality’. Pictorial perception is proposed as an exemplary visual mode in which the possibilities of perception might emerge. Against the ‘possibilities’ of vision associated with pictures, the visuality of stereo-immersive VR emerges as a harnessing, or ‘instrumentalisation’ of vision’s innate capabilities. James J. Gibson’s ‘ecological’ approach to vision studies is referenced to show the degree to which developers of VR have sought — and succeeded — to mimic the ‘realness’ of ordinary perceptual reality. This raises a question concerning whether the success of stereo-immersive VR is simultaneously the source of its own perceptual redundancy: for to bring into being the perceptual basis of ordinary ‘real’ reality, is to return the perceiver to what is already familiar and known.

Virtual worlds for student engagement

In this paper, we study the scope of virtual worlds for student engagement in higher education. The motivation for the study is the gap in opportunities for interactivity that exist for off-campus students compared with on-campus students. A student taking a course at a university, while located in a different geographic location, has limited opportunity for student-student and student-teacher interaction; this effects student engagement significantly. We conduct a feasibility analysis for engaging students in a virtual world; Second Life is used as the test-bed to create the virtual world environment. We present preliminary findings, the promises and the limitations of Second Life as an immersive environment for engaging students.

As if the future matters : teaching design for sustainable communities

Between 2007 and 2010 a series of intensive annual field trips took around 100 predominantly city-based Australian and international students from The University of Adelaide into rural communities (numbers ranged from 82 in 2007 to 105 in 2009). Country areas/towns (rather than the city) were chosen because in them issues of sustainability are ‘in your face’ and much clearer for students to comprehend than in the city. The trips required co-operation between the respective communities, the School and the students. The organization required for this number of students was time-consuming and prone to disruption, and the series ended when the principal organisers moved on to new positions and the School reverted to less time-costly modes of teaching. This paper provides a retrospective insight into the series of field trips and examines their educational and professional value for the participants – students, staff and communities. We begin by describing the aims of the course and argument for an immersive educational approach, then present the logistics and process for the field trips, discuss the outcomes for the stakeholders, and finally present some conclusions.