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We investigated the accuracy of gender stereotypes regarding digital game genre preferences. In Study 1, 484 female and male participants rated their preference for 17 game genres (gender differences). In Study 2, another sample of 226 participants rated the extent to which the same genres were presumably preferred by women or men (gender stereotypes). We then compared the results of both studies in order to determine the accuracy of the gender stereotypes. Study 1 revealed actual gender differences for most genres—mostly of moderate size. Study 2 revealed substantial gender stereotypes about genre preferences. When comparing the results from both studies, we found that gender stereotypes were accurate in direction for most genres. However, they were, to some degree, inaccurate in size: For most genres, gender stereotypes overestimated the actual gender difference with a moderate mean effect size.
Manifestations of aggressive driving, such as tailgating, speeding, or swearing, are not trivial offenses but are serious problems with hazardous consequences—for the offender as well as the target of aggression. Aggression on the road erases the joy of driving, affects heart health, causes traffic jams, and increases the risk of traffic accidents. This work is aimed at developing a technology-driven solution to mitigate aggressive driving according to the principles of Persuasive Technology. Persuasive Technology is a scientific field dealing with computerized software or information systems that are designed to reinforce, change, or shape attitudes, behaviors, or both without using coercion or deception.
Against this background, the Driving Feedback Avatar (DFA) was developed through this work. The system is a visual in-car interface that provides the driver with feedback on aggressive driving. The main element is an abstract avatar displayed in the vehicle. The feedback is transmitted through the emotional state of this avatar, i.e., if the driver behaves aggressively, the avatar becomes increasingly angry (negative feedback). If no aggressive action occurs, the avatar is more relaxed (positive feedback). In addition, directly after an aggressive action is recognized by the system, the display is flashing briefly to give the driver an instant feedback on his action.
Five empirical studies were carried out as part of the human-centered design process of the DFA. They were aimed at understanding the user and the use context of the future system, ideating system ideas, and evaluating a system prototype. The initial research question was about the triggers of aggressive driving. In a driver study on a public road, 34 participants reported their emotions and their triggers while they were driving (study 1). The second research question asked for interventions to cope with aggression in everyday life. For this purpose, 15 experts dealing with the treatment of aggressive individuals were interviewed (study 2). In total, 75 triggers of aggressive driving and 34 anti-aggression interventions were identified. Inspired by these findings, 108 participants generated more than 100 ideas of how to mitigate aggressive driving using technology in a series of ideation workshops (study 3). Based on these ideas, the concept of the DFA was elaborated on. In an online survey, the concept was evaluated by 1,047 German respondents to get a first assessment of its perception (study 4). Later on, the DFA was implemented into a prototype and evaluated in an experimental driving study with 32 participants, focusing on the system’s effectiveness (study 5). The DFA had only weak and, in part, unexpected effects on aggressive driving that require a deeper discussion.
With the DFA, this work has shown that there is room to change aggressive driving through Persuasive Technology. However, this is a very sensitive issue with special requirements regarding the design of avatar-based feedback systems in the context of aggressive driving. Moreover, this work makes a significant contribution through the number of empirical insights gained on the problem of aggressive driving and wants to encourage future research and design activities in this regard.
Companies increasingly seek to use gay protagonists in audio-visual commercials to attract a new affluent target group. There is also growing demand for the diversity present in society to be reflected in media formats such as advertising. Studies have shown, however, that heterosexual consumers (especially men), who may be part of the company's loyal consumer base, tend to react negatively to gay-themed advertising campaigns. Searching for an instrument to mitigate this unwanted effect, the present study investigated whether carefully selected background music can shape the perceived gender of gay male advertising protagonists. In a 2 × 2 between-subjects online experiment (musical connotation × gender of the participant), 218 heterosexual participants watched a commercial promoting engagement rings that featured gay male protagonists, scored with feminine- or masculine-connoted background music. As expected, women generally reacted more positively than men to the advertising. Men exposed to the masculine-connoted background music rated the promoted brand more positively, and masculine music also enhanced (at least in the short term) these men's acceptance of gay men in general (low and medium effect sizes) more than was the case for feminine background music. Carefully selected background music affecting the perceived gender of gay male advertising protagonists may prevent negative reactions from heterosexual audiences and, therefore, motivate companies to use gay protagonists in television commercials on a more regular basis.
Plenty of theories, models, measures, and investigations target the understanding of virtual presence, i.e., the sense of presence in immersive Virtual Reality (VR). Other varieties of the so-called eXtended Realities (XR), e.g., Augmented and Mixed Reality (AR and MR) incorporate immersive features to a lesser degree and continuously combine spatial cues from the real physical space and the simulated virtual space. This blurred separation questions the applicability of the accumulated knowledge about the similarities of virtual presence and presence occurring in other varieties of XR, and corresponding outcomes. The present work bridges this gap by analyzing the construct of presence in mixed realities (MR). To achieve this, the following presents (1) a short review of definitions, dimensions, and measurements of presence in VR, and (2) the state of the art views on MR. Additionally, we (3) derived a working definition of MR, extending the Milgram continuum. This definition is based on entities reaching from real to virtual manifestations at one time point. Entities possess different degrees of referential power, determining the selection of the frame of reference. Furthermore, we (4) identified three research desiderata, including research questions about the frame of reference, the corresponding dimension of transportation, and the dimension of realism in MR. Mainly the relationship between the main aspects of virtual presence of immersive VR, i.e., the place-illusion, and the plausibility-illusion, and of the referential power of MR entities are discussed regarding the concept, measures, and design of presence in MR. Finally, (5) we suggested an experimental setup to reveal the research heuristic behind experiments investigating presence in MR. The present work contributes to the theories and the meaning of and approaches to simulate and measure presence in MR. We hypothesize that research about essential underlying factors determining user experience (UX) in MR simulations and experiences is still in its infancy and hopes this article provides an encouraging starting point to tackle related questions.
With the rise of immersive media, advertisers have started to use 360° commercials to engage and persuade consumers. Two experiments were conducted to address research gaps and to validate the positive impact of 360° commercials in realistic settings. The first study (N = 62) compared the effects of 360° commercials using either a mobile cardboard head-mounted display (HMD) or a laptop. This experiment was conducted in the participants’ living rooms and incorporated individual feelings of cybersickness as a moderator. The participants who experienced the 360° commercial with the HMD reported higher spatial presence and product evaluation, but their purchase intentions were only increased when their reported cybersickness was low. The second experiment (N = 197) was conducted online and analyzed the impact of 360° commercials that were experienced with mobile (smartphone/tablet) or static (laptop/desktop) devices instead of HMDs. The positive effects of omnidirectional videos were stronger when participants used mobile devices.
As an emerging market for voice assistants (VA), the healthcare sector imposes increasing requirements on the users’ trust in the technological system. To encourage patients to reveal sensitive data requires patients to trust in the technological counterpart. In an experimental laboratory study, participants were presented a VA, which was introduced as either a “specialist” or a “generalist” tool for sexual health. In both conditions, the VA asked the exact same health-related questions. Afterwards, participants assessed the trustworthiness of the tool and further source layers (provider, platform provider, automatic speech recognition in general, data receiver) and reported individual characteristics (disposition to trust and disclose sexual information). Results revealed that perceiving the VA as a specialist resulted in higher trustworthiness of the VA and of the provider, the platform provider and automatic speech recognition in general. Furthermore, the provider’s trustworthiness affected the perceived trustworthiness of the VA. Presenting both a theoretical line of reasoning and empirical data, the study points out the importance of the users’ perspective on the assistant. In sum, this paper argues for further analyses of trustworthiness in voice-based systems and its effects on the usage behavior as well as the impact on responsible design of future technology.
Conversational agents and smart speakers have grown in popularity offering a variety of options for use, which are available through intuitive speech operation. In contrast to the standard dyad of a single user and a device, voice-controlled operations can be observed by further attendees resulting in new, more social usage scenarios. Referring to the concept of ‘media equation’ and to research on the idea of ‘computers as social actors,’ which describes the potential of technology to trigger emotional reactions in users, this paper asks for the capacity of smart speakers to elicit empathy in observers of interactions. In a 2 × 2 online experiment, 140 participants watched a video of a man talking to an Amazon Echo either rudely or neutrally (factor 1), addressing it as ‘Alexa’ or ‘Computer’ (factor 2). Controlling for participants’ trait empathy, the rude treatment results in participants’ significantly higher ratings of empathy with the device, compared to the neutral treatment. The form of address had no significant effect. Results were independent of the participants’ gender and usage experience indicating a rather universal effect, which confirms the basic idea of the media equation. Implications for users, developers and researchers were discussed in the light of (future) omnipresent voice-based technology interaction scenarios.