This is a corrigendum for the paper ''Exploring the Perspectives of Social VR-Aware Non-Parent Adults and Parents on Children's Use of Social Virtual Reality'', Proceedings of the ACM on Human-Computer Interaction, Volume 8, Issue CSCW1, Article No. 54. We report 1) the error, 2) the changes made, and 3) the result based on those changes. These corrections do not alter the overall conclusions of the study but ensure that the reported findings are more accurate and reflective of the data.

In the near future ubiquitous Augmented Reality (AR) will see virtual spatial content seamlessly integrated into our everyday lives through fashionable, wearable devices such as AR glasses. In doing so, we will unlock the capacity for multiple stakeholders to augment and personalize our view of reality - not always to the benefit of users. Using speculative design, we explore the risks and repercussions of third party-driven AR-enacted manipulation and deception through the lens of supermarket grocery shopping - an activity where consumers are routinely tracked and exposed to manipulation of attention and purchasing decisions. Through a scenario generation activity, 20 participants (mixing both existing XR users and frequent shoppers) co-created 58 scenarios reflecting on how AR-driven manipulation or deception of shoppers could be enacted. Our results show that (1) manipulation, rather than deception, is the primary means of affecting consumer behaviour, necessitating we consider AR Manipulative and Deceptive Designs (MDDs) more broadly. Moreover (2), we highlight a) how known MDDs can manifest in AR, and b) four novel MDDs that are specific to AR: Redirected Navigation, Directed & Forced Attention Shifts, Reality Interference and Delayed and Detained. We reflect on the stakeholders that would manipulate consumer perception of reality, the different manipulations enacted across the lifecycle of consumer shopping, and the AR elements exploited to deliver these ARMDDs, deriving insights into future harms, ethics and safeguarding around ARMDDs to minimize their impact.

Social Virtual Reality (VR), where people meet in virtual spaces via 3D avatars, is used by children and adults alike. Children experience new forms of harassment in social VR where it is often inaccessible to parental oversight. To date, there is limited understanding of how parents and non-parent adults within the child social VR ecosystem perceive the appropriateness of social VR for different age groups and the measures in place to safeguard children. We present results of a mixed-methods questionnaire (N=149 adults, including 79 parents) focusing on encounters with children in social VR and perspectives towards children's use of social VR. We draw novel insights on the frequency of social VR use by children under 13 and current use of, and future aspirations for, child protection interventions. Compared to non-parent adults, parents familiar with social VR propose lower minimum ages and are more likely to allow social VR without supervision. Adult users experience immaturity from children in social VR, while children face abuse, encounter age-inappropriate behaviours and self-disclose to adults. We present directions to enhance the safety of social VR through pre-planned controls, real-time oversight, post-event insight and the need for evidence-based guidelines to support parents and platforms around age-appropriate interventions.

Dark patterns are deceptive designs that influence a user’s interactions with an interface to benefit someone other than the user. Prior work has identified dark patterns in windows, icons, menus, and pointer (WIMP) interfaces and ubicomp environments, but how dark patterns can manifest in Augmented and Virtual Reality (collectively XR) requires more attention. We therefore conducted 10 co-design workshops with 20 experts in XR and deceptive design. Our participants co-designed 42 scenarios containing dark patterns, based on application archetypes presented in recent HCI/XR literature. In the co-designed scenarios, we identified 10 novel dark patterns in addition to 39 existing ones, as well as 10 examples in which specific characteristics associated with XR potentially amplified the effect dark patterns could have on users. Based on our findings and prior work, we present a classification of XR-specific properties that facilitate dark patterns: perception, spatiality, physical/virtual barriers, and XR device sensing. We also present the experts’ assessments of the likelihood and severity of the co-designed scenarios and highlight key aspects they considered for this evaluation, for example, technological feasibility, ease of upscaling and distributing malicious implementations, and the application’s context of use. Finally, we discuss means to mitigate XR dark patterns and support regulatory bodies to reduce potential harms.

As Augmented Reality Television (ARTV) transitions out of the feasibility phase, it is crucial to understand the impact of design decisions on the viewers’ ARTV experiences. In a previous study, six ARTV design dimensions were identified by relying on insights from existing prototypes. However, the set of possible dimensions is likely to be broader. Building on top of previous work, we create an ARTV design space and present it in a textual cheat sheet. We subsequently evaluate the cheat sheet in a between-subject study (n = 10), with participants with wide-ranging expertise. We identified six new dimensions (genre, broadcast mode, audience demographics, cartoonish vs. photoreal representation, modality, and privacy), and a new aspect (360°) for the display dimension. In light of our observations, we provide an updated ARTV design space and observe that asking participants to write ARTV scenarios can be an effective method for harvesting novel design dimensions.

While augmented reality television (ARTV) is being investigated in research labs, the high cost of AR headsets makes it difficult for audiences to benefit from the research. However, the relative affordability of virtual reality (VR) headsets provides ARTV researchers with opportunities to test their prototypes in VR. Additionally, as VR becomes an acceptable medium for watching conventional TV, augmenting such viewing experiences in VR creates new opportunities. We prototype a nature documentary ARTV experience in VR and conduct a remote user study (n = 10) to investigate six points on the visual display design dimension of presenting a lifelike programme-related hologram. We manipulated the starting point and the movement behaviour of the hologram to gain insight into viewer preferences. Our findings highlight the importance of personal preferences and that of the perceived role of a hologram in relation to the underlying TV content; suggesting there may not be a single way to augment a TV programme. Instead, creators may need to provide the audiences with capabilities to customise ARTV content.

Commercialisation of augmented reality (AR) devices has led to their growing application in domestic environments and leisure activities. One such domain is that of television, where AR is one of several technologies driving innovation (c.f. Internet broadcasting, second screen devices). We conduct a systematic literature review to quantify research at the intersection of AR and broadcast television. We identify six common themes and a set of cross-cutting design decisions. We distill this information into a design space incorporating six dimensions: abstraction, interaction, time, display, context and editorial control. We provide methods to operationalise the dimensions to enable research and development of novel concepts, and through this generate six design guidelines to shape future activity at the intersection of AR and television.

We examine the concept and characteristics of “Augmented Reality Television” (ARTV) using a four-step investigation method consisting of (1) an analysis of commonly-accepted perspectives on Augmented and Mixed Reality systems, (2) a literature survey of previous work on ARTV, (3) relevant connections with other areas of scientific investigation from TVX/IMX, such as Ambient Media, Interactive TV, and 3-D TV, and (4) by proposing a conceptual framework for ARTV called the “Augmented Reality Television Continuum.” Our work comes at a moment when the excitement and hype about the potential of AR for home entertainment has overlooked rigorous analysis and clear-cut examinations of the concepts involved, which should be the hallmark of any exact science. With this work, our goal is to draw the community’s attention toward fundamentals and first principles of ARTV and to tease out its salient qualities on solid foundations.