An increasing number of virtual reality applications require environments that emulate real-world conditions. These environments often involve dynamic virtual humans showing realistic behaviors. Understanding user perception and navigation among these virtual agents is key for designing realistic and effective environments featuring groups of virtual humans. While collision risk significantly influences human locomotion in the real world, this risk is largely absent in virtual settings. This paper studies the impact of the expected collision feedback on user perception and interaction with virtual crowds. We examine the effectiveness of commonly used collision feedback techniques (auditory cues and tactile vibrations) as well as inducing participants to expect that a physical bump with a real person might occur, as if some virtual humans actually correspond to real persons embodied into them and sharing the same physical space. Our results indicate that the expected collision feedback significantly influences both participant behavior—encompassing global navigation and local movements—and subjective perceptions of presence and copresence. Specifically, the introduction of a perceived risk of actual collision was found to significantly impact global navigation strategies and increase the sense of presence. Auditory cues had a similar effect on global navigation and additionally enhanced the sense of copresence. In contrast, vibrotactile feedback was primarily effective in influencing local movements.

Accurate and reliable human motion reconstruction is crucial for creating natural interactions of full-body avatars in Virtual Reality (VR) and entertainment applications. As the Metaverse and social applications gain popularity, users are seeking cost-effective solutions to create full-body animations that are comparable in quality to those produced by commercial motion capture systems. In order to provide affordable solutions though, it is important to minimize the number of sensors attached to the subject’s body. Unfortunately, reconstructing the full-body pose from sparse data is a heavily under-determined problem. Some studies that use IMU sensors face challenges in reconstructing the pose due to positional drift and ambiguity of the poses. In recent years, some mainstream VR systems have released 6-degree-of-freedom (6-DoF) tracking devices providing positional and rotational information. Nevertheless, most solutions for reconstructing full-body poses rely on traditional inverse kinematics (IK) solutions, which often produce non-continuous and unnatural poses. In this article, we introduce SparsePoser, a novel deep learning-based solution for reconstructing a full-body pose from a reduced set of six tracking devices. Our system incorporates a convolutional-based autoencoder that synthesizes high-quality continuous human poses by learning the human motion manifold from motion capture data. Then, we employ a learned IK component, made of multiple lightweight feed-forward neural networks, to adjust the hands and feet toward the corresponding trackers. We extensively evaluate our method on publicly available motion capture datasets and with real-time live demos. We show that our method outperforms state-of-the-art techniques using IMU sensors or 6-DoF tracking devices, and can be used for users with different body dimensions and proportions.

Integrating music into Computer Science (CS) education can stimulate children’s creativity, change the stereotypical perspective of CS, and encourage women, ethnic or cultural minorities involved in the Computer Science area. In this paper, we use Augmented Reality (AR) technology to design a tangible programming system - AR-MPro for children, acting as a bridge between programming and music. It allows children to create customized AR effects to visualize music with low-cost materials by constructing tangible program sequences. AR-MPro is expected to broaden participation in computing, and be more intuitive, intriguing and instructional to enrich children’s creating and programming experiences.

The use of self-avatars is gaining popularity thanks to affordable VR headsets. Unfortunately, mainstream VR devices often use a small number of trackers and provide low-accuracy animations. Previous studies have shown that the Sense of Embodiment, and in particular the Sense of Agency, depends on the extent to which the avatar's movements mimic the user's movements. However, few works study such effect for tasks requiring a precise interaction with the environment, i.e., tasks that require accurate manipulation, precise foot stepping, or correct body poses. In these cases, users are likely to notice inconsistencies between their self-avatars and their actual pose. In this paper, we study the impact of the animation fidelity of the user avatar on a variety of tasks that focus on arm movement, leg movement and body posture. We compare three different animation techniques: two of them using Inverse Kinematics to reconstruct the pose from sparse input (6 trackers), and a third one using a professional motion capture system with 17 inertial sensors. We evaluate these animation techniques both quantitatively (completion time, unintentional collisions, pose accuracy) and qualitatively (Sense of Embodiment). Our results show that the animation quality affects the Sense of Embodiment. Inertial-based MoCap performs significantly better in mimicking body poses. Surprisingly, IK-based solutions using fewer sensors outperformed MoCap in tasks requiring accurate positioning, which we attribute to the higher latency and the positional drift that causes errors at the end-effectors, which are more noticeable in contact areas such as the feet.

Abstract The animation of user avatars plays a crucial role in conveying their pose, gestures, and relative distances to virtual objects or other users. Self‐avatar animation in immersive VR helps improve the user experience and provides a Sense of Embodiment. However, consumer‐grade VR devices typically include at most three trackers, one at the Head Mounted Display (HMD), and two at the handheld VR controllers. Since the problem of reconstructing the user pose from such sparse data is ill‐defined, especially for the lower body, the approach adopted by most VR games consists of assuming the body orientation matches that of the HMD, and applying animation blending and time‐warping from a reduced set of animations. Unfortunately, this approach produces noticeable mismatches between user and avatar movements. In this work we present a new approach to animate user avatars that is suitable for current mainstream VR devices. First, we use a neural network to estimate the user's body orientation based on the tracking information from the HMD and the hand controllers. Then we use this orientation together with the velocity and rotation of the HMD to build a feature vector that feeds a Motion Matching algorithm. We built a MoCap database with animations of VR users wearing a HMD and used it to test our approach on both self‐avatars and other users' avatars. Our results show that our system can provide a large variety of lower body animations while correctly matching the user orientation, which in turn allows us to represent not only forward movements but also stepping in any direction.