Immersive technologies promise to revolutionize communication through enhanced sense of presence and interactivity. To enable interaction, reliable low-latency transport mechanisms are needed to handle the large volumes of data created by complex 3D objects. In this paper, we propose an open-source, codec-independent, selective forwarding unit (SFU) for real-time volumetric video streaming using WebRTC. For evaluation purposes, we provide a reference client implementation by extending VR2Gather, a TCP-based system for immersive communication. We conduct extensive evaluations using both new and existing datasets to compare the performance of WebRTC against TCP-based protocols in an emulated testbed environment. The evaluations demonstrate that WebRTC outperforms other protocols in high-latency scenarios and adapts video quality to user movement 13% and 36% faster than its TCP-based counterparts in networks with 5 ms and 10 ms of network latency, respectively.

Social Virtual Reality is envisioned to transform how individu- als communicate remotely, offering a sense of immersion and co- presence within a virtual space. Current platforms enabling remote social interactions rely on synthetic user representations. We ad- dress this limitation by enabling realistic human representation through volumetric content capture, encoding and transmission. Specifically, we present an extended version of VR2Gather, now a fully open source Unity package, available at https://github.com/ cwi-dis/VR2Gather-acmmm-oss. Our platform is a customisable system to transmit volumetric content in a multi-party real-time environment, easy to integrate into existing applications.

Eliciting and capturing drivers’ affective responses in a realistic outdoor setting with pedestrians poses a challenge when designing in-vehicle, empathic interfaces. To address this, we designed a controlled, outdoor car driving circuit where drivers (N=27) drove and encountered pedestrian confederates who performed non-verbal positive or non-positive road crossing actions towards them. Our findings reveal that drivers reported higher valence upon observing positive, non-verbal crossing actions, and higher arousal upon observing non-positive crossing actions. Drivers’ heart signals (BVP, IBI and BPM), skin conductance and facial expressions (brow lowering, eyelid tightening, nose wrinkling, and lip stretching) all varied significantly when observing positive and non-positive actions. Our car driving study, by drawing on realistic driving conditions, further contributes to the development of in-vehicle empathic interfaces that leverage behavioural and physiological sensing. Through automatic inference of driver affect resulting from pedestrian actions, our work can enable novel empathic interfaces for supporting driver emotion self-regulation.

Capturing drivers’ affective responses given driving context and driver-pedestrian interactions remains a challenge for designing in-vehicle, empathic interfaces. To address this, we conducted two lab-based studies using camera and physiological sensors. Our first study collected participants’ (N = 21) emotion self-reports and physiological signals (including facial temperatures) toward non-verbal, pedestrian crossing videos from the Joint Attention for Autonomous Driving dataset. Our second study increased realism by employing a hybrid driving simulator setup to capture participants’ affective responses (N = 24) toward enacted, non-verbal pedestrian crossing actions. Key findings showed: (a) non-positive actions in videos elicited higher arousal ratings, whereas different in-video pedestrian crossing actions significantly influenced participants’ physiological signals. (b) Non-verbal pedestrian interactions in the hybrid simulator setup significantly influenced participants’ facial expressions, but not their physiological signals. We contribute to the development of in-vehicle empathic interfaces that draw on behavioral and physiological sensing to in-situ infer driver affective responses during non-verbal pedestrian interactions.

This work presents the Co-Creation Space, a multilingual platform for professional and community artists to 1) generate raw artistic ideas, and 2) discuss and reflect on the shared meaning of those ideas. The paper describes the architecture and the technology behind the platform, and how it was used to facilitate the communication process during several user trials. By supporting ideation sessions around media items guided by a facilitator and allowing users to express themselves and be part of the creation of an artistic product, participants were enabled to access new cultural spaces and be part of the creative process.

Opera is a historic art that struggles to be approachable to modern audiences. In partnership with the Irish National Opera (INO), this work considers how VR may be used to develop a new form of immersive opera. To this end, we ran three open-ended focus groups to consider how creative, multisensory, and social VR technology may be employed in digital opera. Our findings assert the importance of creating an immersive experience by safely giving audiences agency to interact, to democratize personal and social experiences, and to consider different ways of representing their bodies, their social rituals, and the virtual social space. Using these findings, we envision a new form of VR opera that couples physical traditions with digital affordances.

Voice is a rich modality for conveying emotions, however emotional prosody production can be situationally or medically impaired. Since thermal displays have been shown to evoke emotions, we explore how thermal stimulation can augment perception of neutrally-spoken voice messages with affect. We designed ThermalWear, a wearable on-chest thermal display, then tested in a controlled study (N=12) the effects of fabric, thermal intensity, and direction of change. Thereafter, we synthesized 12 neutrally-spoken voice messages, validated (N=7) them, then tested (N=12) if thermal stimuli can augment their perception with affect. We found warm and cool stimuli (a) can be perceived on the chest, and quickly without fabric (4.7-5s) (b) do not incur discomfort (c) generally increase arousal of voice messages and (d) increase / decrease message valence, respectively. We discuss how thermal displays can augment voice perception, which can enhance voice assistants and support individuals with emotional prosody impairments.

Millions of photos are shared online daily, but the richness of interaction compared with face-to-face (F2F) sharing is still missing. While this may change with social Virtual Reality (socialVR), we still lack tools to measure such immersive and interactive experiences. In this paper, we investigate photo sharing experiences in immersive environments, focusing on socialVR. Running context mapping (N=10), an expert creative session (N=6), and an online experience clustering questionnaire (N=20), we develop and statistically evaluate a questionnaire to measure photo sharing experiences. We then ran a controlled, within-subject study (N=26 pairs) to compare photo sharing under F2F, Skype, and Facebook Spaces. Using interviews, audio analysis, and our questionnaire, we found that socialVR can closely approximate F2F sharing. We contribute empirical findings on the immersiveness differences between digital communication media, and propose a socialVR questionnaire that can in the future generalize beyond photo sharing.

This article presents an end-to-end system for capturing physiological sensor data and visualising it on a real-time graphic dashboard and as part of an art installation. More specifically, it describes an event where the level of engagement of the audience was measured by means of Galvanic Skin Response (GSR) sensors and of the presenter through a sweater fitted with GSR, ECG and acceleration sensors. The gathered data was presented in real-time through a visualisation projected onto a screen and a physical electro-mechanical installation, which would change the height of helium-filled balloons depending on the atmosphere in the auditorium. Thereby trying to create a tangible way of making the invisible visible.

This demo showcases a real-time visualisation displaying the level of engagement of a group of people attending a Jazz concert. Based on wearable sensor technology and machine learning principles, we present how this visualisation for enhancing events was developed following a user-centric approach. We describe the process of running an experiment using our custom physiological sensor platform, gathering requirements for the visualisation and finally implementing said visualisation. The end result being collaborative artwork to enhance people's immersion into cultural events.

The CWI-ADE2016 Dataset is a collection of more than 40 million Bluetooth Low Energy (BLE) packets and of 14 million accelerometer and temperature samples generated by wristbands that people wore in a nightclub. The data was gathered during Amsterdam Dance Event 2016 in an exclusive club experience curated around human senses, which leveraged technology as a bridge between the club and the guests. Each guest was handed a custom-made wristband with a BLE-enabled device that broadcast movement, temperature and other sensor readings. A network of Raspberry Pi receivers deployed for the occasion captured broadcast packets from wristbands and any other BLE device in the environment. This data provides a full picture of the performance of the real life deployment of a sensing infrastructure and gives insights to designing sensing platforms, understanding networks and crowds behaviour or studying opportunistic sensing. This paper describes an analysis of this dataset and some examples of usage.

Measuring the experience of audience of arts events is essential in the “experience economy” of this day and age, but it is a difficult task. The value of such information goes beyond evaluating the impact of the arts, as it can provide insights and feedback to enhance the work of artists and the experiences of other audience members. Through in-depth understanding of the needs of the providers and consumers of the arts, we progressively developed a biosensor infrastructure that was deployed in theaters. Over the years, we identified the challenges and issues related to developing and deploying a biosensor infrastructure in theaters. These collective experiences and identified issues were categorized into three main areas: processes, data, and system. A total of seven heuristics are developed across the three main areas. Processes place the stakeholders and audiences at the core of the research; data provides guidelines for data validity, collecting a variety of data, and supporting real-time data gathering; and systems covers the concurrency, scalability, deployment and feedback of the infrastructure. We believe that this set of heuristics forms the foundation for an adequate infrastructure to measure audience experience in the wild and it is a valuable source of guideline for future work.

This paper presents a web interface for the exploration of audience response to a performing arts event. The platform temporally synchronises data obtained from physiological sensors with video recordings. More concretely, it is geared towards people from the creative industry, e.g. theatre directors, who want to gain deeper insights into how audiences perceive their performances. The platform takes the raw data from sensors and corresponding video recordings and visualises both synchronised in a more digestible manner. This document presents the major features of the application and explains the reasoning behind its various visualisations and interactive capabilities and how it can benefit performing artists.