Augmented and virtual reality (AR/VR) has entered the mass market and, with it, will soon eye tracking as a core technology for next generation head-mounted displays (HMDs). In contrast to existing gaze interfaces, the 3D nature of AR and VR requires estimating a user's gaze in 3D. While first applications, such as foveated rendering, hint at the compelling potential of combining HMDs and gaze, a systematic analysis is missing. To fill this gap, we present the first design space for gaze interaction on HMDs. Our design space covers human depth perception and technical requirements in two dimensions aiming to identify challenges and opportunities for interaction design. As such, our design space provides a comprehensive overview and serves as an important guideline for researchers and practitioners working on gaze interaction on HMDs. We further demonstrate how our design space is used in practice by presenting two interactive applications: EyeHealth and XRay-Vision.

Natural haptic feedback in virtual reality (VR) is complex andchallenging, due to the intricacy of necessary stimuli and re-spective hardware. Pseudo-haptic feedback aims at providinghaptic feedback without providing actual haptic stimuli butby using other sensory channels (e.g. visual cues) for feed-back. We combine such an approach with the additional inputmodality of muscle activity that is mapped to a virtual force toinfluence the interaction flow.

Including haptic feedback in current consumer VR applications is frequently challenging, since technical possibilities to create haptic feedback in consumer-grade VR are limited. While most systems include and make use of the possibility to create tactile feedback through vibration, kinesthetic feedback systems almost exclusively rely on external mechanical hardware to induce actual sensations so far. In this paper, we describe an approach to create a feeling of such sensations by using unmodified off-the-shelf hardware and a software solution for a multi-modal pseudo-haptics approach. We first explore this design space by applying user-elicited methods, and afterwards evaluate our refined solution in a user study. The results show that it is indeed possible to communicate kinesthetic feedback by visual and tactile cues only and even induce its perception. While visual clipping was generally unappreciated, our approach led to significant increases of enjoyment and presence.

Virtual reality (VR) technology strives to enable a highly immersive experience for the user by including a wide variety of modalities (e.g. visuals, haptics). Current VR hardware however lacks a sufficient way of communicating the perception of weight of an object, resulting in scenarios where users can not distinguish between lifting a bowling ball or a feather. We propose a solely software based approach of simulating weight in VR by deliberately using perceivable tracking offsets. These tracking offsets nudge users to lift their arm higher and result in a visual and haptic perception of weight. We conducted two user studies showing that participants intuitively associated them with the sensation of weight and accept them as part of the virtual world. We further show that compared to no weight simulation, our approach led to significantly higher levels of presence, immersion and enjoyment. Finally, we report perceptional thresholds and offset boundaries as design guidelines for practitioners.

We perceive the flow of time as a constant factor in the real world, but there are examples in media, like films or games, where time is being manipulated and slowed down. Manipulating temporal cues is simple in linear media by slowing down video and audio. Interactive media like VR however poses additional challenges, because user interaction speed is independent from media speed. While the speed of the environment can still be manipulated easily, interaction is a new aspect to consider. We implemented such manipulation by slowing down visual feedback of user movements. In prior experiments we slowed down the virtual representation of a user by applying a velocity based low pass filter and by visually redirecting the motion. We found such a manipulation to be even contributing to realism, enjoyment or presence as long as it is consistent with the experience.

While we perceive time as a constant factor in the real world, it can be manipulated in media. Being quite easy for linear media, this is used for various aspects of storytelling e.g., by applying slow motion in movies or TV. Interactive media like VR however poses additional challenges, because user interaction speed is independent from media speed. While it is still possible to change the speed of the environment, for interaction it is also necessary to deal with the emerging speed mismatch, e.g., by slowing down visual feedback of user movements. In this paper, we explore the possibility of such manipulations of visual cues, with the goal of enabling the use of slow motion also in immersive interactive media like VR. We conducted a user study to investigate the impact of limiting angular velocity of a virtual character in first person view in VR. Our findings show that it is possible to use slow motion in VR while maintaining the same levels of presence, enjoyment and susceptibility to motion sickness, while users adjust to the maximum speed quickly. Moreover, our results also show an impact of slowing down user movements on their time estimations.