This paper investigates immersive Extended Reality (XR) broadcasting as a means of enhancing audience experience within production-realistic workflows. An XR broadcast system was iteratively refined through broadcaster-in-the-loop evaluations to improve usability and production stability. A controlled audience study then compared an immersive XR broadcast with a conventional 2D Twitch stream presenting identical content. Participants in the XR condition viewed the broadcast using head-mounted displays within a shared virtual studio, while participants in the 2D condition viewed the stream on desktop displays while physically co-located in the same classroom environment, providing a strong baseline that preserved interpersonal awareness.

Figure 1: Overview of Spatial Media Controller.Our XR application was designed based on two workshops made with media professionals.Its goal is to showcase what volumetric capture (Presenter), 360° video (journalist), and XR (Audience and Director) can currently offer to the news broadcasting domain.

Emerging kits and methods about Extended Reality (XR) systems are mainly centered on the prototyping phase. The ideation phase, which comes before prototyping, is currently still under-explored. In this work, we propose UXR-kit: a toolkit and a method for the co-design of ideas for XR systems. UXR-kit is based on an approach inspired by design studios and generative techniques and highlights the specificities of XR systems. Results from an experimental study suggest that UXR-kit allows the emergence of ideas for XR designs through both World-In-Miniature representations and first-person representations at scale 1:1.

Measuring brain activity with electroencephalography (EEG) is mature enough to assess mental states. Combined with existing methods, such tool can be used to strengthen the understanding of user experience. We contribute a set of methods to estimate continuously the user's mental workload, attention and recognition of interaction errors during different interaction tasks. We validate these measures on a controlled virtual environment and show how they can be used to compare different interaction techniques or devices, by comparing here a keyboard and a touch-based interface. Thanks to such a framework, EEG becomes a promising method to improve the overall usability of complex computer systems.

In most of today projects, the digital data, knowledge and expertise required are so large that a single person is far from enough to achieve the best decisions. Many critical processes now require several people to share the project specific information as well as their own views to collectively converge towards a right conclusion. Touch tables are promising collaborative work interfaces, but require the development of specific functionalities related to their horizontal format. An especially important element is the remote collaboration one, which should ensure distant teams can work together as efficiently as if they were working close to each other. To bring such interfaces out of the lab and into real-world industrial processes, we have developed several solutions which should ease the integration of such tables in existing data and systems.

Computers offer a wealth of promises for real-time musical control. One of them is to enable musicians to change the structure of their instruments in the same time they are playing them, allowing them to adapt their tools to their wills and needs. Few interaction styles provide enough freedom to achieve this. Improvised interfaces are tangible interfaces made out of found objects and tailored by their users. We propose to take advantage of these improvised interfaces to turn the surrounding physical environment into a dynamic musical instrument with tremendous possibilities. Methods dealing with design issues are presented and an implementation of this novel approach is described.

For hand–object interaction in real situations the interplay between the local tactile interaction and force interaction seems to be very important. In current haptic interfaces, however, two different trends are present: force feedback devices which offer a permanent invariable grip and a resultant force, and tactile devices, which offer variable local patterns, often used for texture rendering. The purpose of the present work is to combine the two types of devices in a coherent manner. In the new device presented here, the tactile stimulation is obtained from strictly the same interaction loop, and obeys to the same physical model, as the force feedback, providing the information on the spatial distribution of forces circulating between the object and the fingertip. An experiment on following sharp edges of virtual object comparing the force feedback alone and different tactile augmentations is presented and discussed, alone with some open epistemological issues.

This study proposes to use the analysis of physiological signals (electroencephalogram (EEG), electromyogram (EMG), heart beats etc) to control sound synthesis algorithms in order to build biologically driven musical instruments. A real time music synthesis environment and algorithms are developed to map these signals into sound. Finally, a "bio-orchestra”, with two new digital musical instruments controlled by the EEGs and EMGs of two bio-musicians demonstrated this concept with a live concert on stage.