Design, User Experience, and Usability. User Experience in Advanced Technological Environments

This paper details the Human Computer Interaction (HCI) components of an Intelligent Digital Twin (IDT) system for a semiconductor manufacturing company using gamming visual effects, 3D Computer Aided Design (CAD) and sound effects. The designed digital twin (DT) system will allow users to detect any irregularities (such as equipment failures and defects) in the manufacturing processes, in a timely manner and test some changes without an actual touching of the physical components. The project aims to design an IDT system that enhances the user’s interaction by visualizing big data in such a way which can be easily understood and processed. Thus, allowing the user to intervene and control the entire production processes from the virtual console. The designed IDT system will enhance the UX of the system through the use of new interaction methodologies. The user will have full control of the data flow which is flowing from a data lake through for example, a gazing, a gesturing and a voice recognition interface which will provide contextual information based upon the user’s viewpoint. The current phase of the project investigates the use of Cave VR technology to improve the immersion and the interaction between the user and the virtual system. We seek to develop a virtual environment that makes the users feel they are naturally interacting in a visually-immersed environment irrespective of where they are located. By enhancing the interaction of the user with these new technologies, we will provide a better UX that would create an efficient system which reduces the overall costs of managing the plant and concretely realize the aspirations of Industry 4.0.

Consumers are accustomed to classifying garbage in front of recycling stations after finishing their meal at fast food restaurants. However, due to a lack of knowledge about the recyclability of the garbage items, and confusion caused by the weak design of the instruction system provided, many users are not able to complete the sorting task quickly or correctly. The low success rate of the customer’s garbage sorting subsequently results in employees having to spend more time and energy in the following rectifying work, which leads to extra and unnecessary costs for the corporation. Therefore, our researchers have attempted to explore the recycling process from a more cognitive perspective, and proposed a new concept for the sorting task, which is more intuitive and less confusing.Our research was designed into two stages. The first stage is to summarize the criteria of intuitive design with literature reviews, and make adjustments to the current recycling instruction system. The second stage is to conduct simulation experiments to verify the efficiency and correct rate of the new instruction system. Our research is anticipated to verify that an instruction system based on intuitive theory is more efficient, and less confusing to users. The research results will not only be a benefit to the fast food industry, but also to the other recycling instruction systems used in our daily lives.

With the development of new lighting technologies, automotive interior ambient light extends from basic Illumination function to comfort and personalization function. However, the application of ambient lamp light lacks theoretical support and scientific quantitative basis, and has great blindness and randomness. How to use the emotion and preference aroused by chromatic-light scientifically is the key to solve the above problems. In the experiment, 12 chromatic-light stimuli were output with chroma and hue as variables. The emotions aroused by light were quantitatively studied by experimental psychological methods. By factor analysis, we obtained three monochrome affective factors: activity, evaluation and adaptability. In the correlation analysis of the influence of chromatic-light attributes on emotion, it was found that the chroma had the greatest influence on chromatic-light emotion, followed by the hue of chromatic-light. By analyzing the preference of chromatic-light, we find that yellow light is preferred.

In order to evaluate the icon shape complexity from the aspects of human visual cognition, the present paper summarizes two factors of icon shape affecting visual cognition, and establishes a new formula which can quantify the complexity of two-dimensional icon shape. The outcome of test applying the formula indicates the method has ability to quantify the shape complexity of different icons. Meanwhile, the paper studies the influence of different levels of shape complexity of icon on visual search through eye tracking experiments. The results of the eye tracking experiment show that the level of icon shape complexity should be in a reasonable interval which measured by the formula provided in this paper. Because of the ability to quantify the complexity of the icon,the method can improve the design and the application of icon according to visual cognition.

Technology has been used to communicate complex information and brought opportunities for science development and science communication. Three-dimensional representation systems allow design to use image and video in innovative ways and enable organization of more suitable content for effective understanding. This paper addresses the use of three-dimensional representation systems to disseminate complex concepts related to science. We reviewed its course from scientific illustration of natural species, to the use of detailed infographics as direct communication in newspapers. We also undertook visual experiments to demonstrate the use of such three-dimensional representation systems in science communication, and proceeded with an evaluation from experts. This research allowed us to find connections between visual communication and complex concepts coming from science. Three-dimensional representation systems have features which generate benefits for science communication and understanding.

Research has shown that the perceived credibility of mobile web design can be largely determined by the two dimensions of visual aesthetics: classical and expressive. However, there is limited research on how users’ education moderates the relationships between both dimensions of visual aesthetics and perceived credibility. To bridge this gap, we conducted an empirical study among 526 subjects to investigate how education moderates the influence of classical and expressive aesthetics on the perceived credibility of mobile website. Specifically, we focused on four visual designs of a mobile website homepage, in which products and/or services are laid out. Our results show that, irrespective of the level of education of users and the visual design of the mobile website, the perception of both dimensions of visual aesthetics has a significant impact on perceived credibility, with classical aesthetics having a stronger impact than expressive aesthetics overall. Moreover, we found that the effect of classical aesthetics on perceived credibility is stronger for higher education users than for lower education users, while the effect of expressive aesthetics on perceived credibility is stronger for lower education users than for higher education users. Our findings suggests that classical aesthetics(perceived visual clarity) is more likely to influence higher education users than lower education users to perceive a mobile website as credible, while expressive aesthetics(perceived visual enrichment) is more likely to influence lower education users than higher education users to perceive a mobile website as credible. Web designers of e-commerce mobile websites can leverage these findings to enhance the perceived credibility of their websites by the respective user groups.

The text presents cartography as methodological exercise and path writing, which operationalize infographic concepts and techniques in the production of narrative. It is about the environmental condition of the Tietê River, based on data from the SOS Mata Atlântica Foundation’s “Observando o Tietê” [Observing the Tietê River] project, which depends on the direct participation of the local community in the collection and monitoring processes. The description of the infograph articulates choices, organizes ideas, and materializes data, designing behaviors. It proposes the river as protagonist and lived place, understanding that visual representations mediate man and his social and political phenomena. Finally, we are interested in articulating the sense of smell as a differential operator of the proposed narrative, seeking to evoke a perceptual experience - an encounter with/between objects and spaces in the production of tacit knowledge. And, the use of Mário de Andrade’s poem is justified, as a sensitive dialogue between memory and time-space lived.

Users’ levels of satisfaction increase when their interactions are swift and they experience the interface as easy to use. Given that most interactions start with searching for the icon for the application you wish to use, characteristics affecting the efficacy of icon search are important. This study mimicked icon search on mobile devices in order to examine which characteristics were most important in determining speed of search and ease of interaction. Given what is known of visual search processing, it was not surprising that visual complexity was the primary determinant of search speed. The visual aesthetic appeal of the icons, often thought to be so important, had no significant effect on search time for icons. The reasons for this are discussed in the commentary on the role of visual complexity and aesthetic appeal when used in mobile application icon design.

Waiting is inevitable in many interaction scenarios. Prior research suggests that waiting experience is associated with factors at both individual and contextual levels. This paper reports an experiment study examining the influence of visual stimuli and personal characteristics on users’ waiting behavior. Our results show that higher delayed gratification (individual) is associated with longer waiting duration and shorter strategy formation time. As for features of visual stimuli (contextual), rotating-bright loading icons lengthen time perception and discourage people from waiting. These results provide design implications such as personalized waiting duration and ways to create better waiting experience.

The objective of this paper is to explore how users react to certain gestures (e.g., swipe, scroll, or tap) for certain use cases. More specifically, the goal is to explore and suggest guidelines to user experience (UX) designers when choosing gestures for specific use cases on a smartphone application. Building on the Task-technology fit theory, we are specifically interested in the degree of alignment between gestures and each mobile use case. We hypothesize that some gestures are better aligned with certain use cases because they require less cognitive effort than others. In other words, certain gestures are likely to become so natural for users that they do not have to consciously invest effort to accomplish these gestures. Likewise, we hypothesize that the emotional valence of gestures will be affected by the use case. To attain this objective, a lab-experiment was conducted with 20 participants, where cognitive load and emotional valence were measured. Results suggest that the combination of gestures and use cases have an impact on the user cognitive load and valence. These findings contribute to human-computer interaction (HCI) research by providing insights to help user experience (UX) designers select appropriate gestures.

Emotion is a salient property of the sense of touch. From a design perspective, the present study explores the affective haptics and human affective response, device analysis and interaction design. Firstly, the affective evaluation method - the Valence-Arousal Space - is analyzed in terms of haptic physiology, and the subjective and objective affective detection methods are illustrated, as well as the connection of human haptic valence and haptic stimulus by physiology research. Secondly, a series of affective haptic devices are analyzed according to human affective responses. Lastly, some affective haptics design guidelines and principles are introduced from a design perspective with the help of affective haptics research results.

TV, as an important entertainment appliance in family, its interaction is typical of other screen-equipped devices. Far-field speech and mid-air gesture are the new trends in smart TV interaction. Previous studies have explored the characteristics of far-field speech and mid-air gesture interactions in TV used scenes, but rarely studied the user experience in the interaction process for the two interactive modes and directly compared them. What is the ideal interactive mode for TV in the future when these two can be realized? We know very little about this. Therefore, in Study 1, we quantitatively compared the user experience of far-field speech and mid-air gesture through experiment. The results showed that there were no significant differences between the two interactive modes, and implicated their advantages and disadvantages for different operations. And then, in study 2, we explored the user preference for interaction in different operations. The results showed that there were certain regularities about the participants’ preference for the two interaction channel in different situations. Based on the results mentioned above, we finally proposed the design principles of multichannel interaction fusion for different operations.

In VR, the analog cinema experience is a common design method for video-watching function. However, will this approach increase user experience? We conducted 2 phases of experiments. First, from user interview, we found that the users’ evaluation of the viewing experience in VR is polarization. Second, studies were carried out with 24 users to find what caused the big difference. Through experiments, we found that different cognitive styles affect the immersive experience of users in VR cinema video-watching, and the Spatial Presence has a more significant impact on the Sense of Being There than the other factors, thus, affecting immersion. Our findings suggest that the design of virtual scenes should consider the different cognitive styles of users, and our research provide insights into future research on user experience of video-watching in VR.

Solutions for enhancing user experience in engaging multiple devices for a task largely imply a tight coupling between device combinations and their supporting user interface (UI) and interaction, thus usability issues may arise when end-users create own combinations of devices not foreseen by designers or developers. We propose the three design principles that foster spontaneous shifts in device engagement: partnership discoverability, role election and UI-interaction election. These principles are examined and realized through shifting cues existed in pre-transition, transition and post-transition phases of the transition pathway. Designed as independent user interfaces, shifting cues give hints to users about available nearby devices and guide the shifts in device engagement. Revisiting the design principles and know-how–so far accumulated based on the single device interaction–will be an important step towards realizing a usable interaction design that considers the increasingly common situations of using and shifting around among multiple devices while conducting a task.

This paper presents empirical results about user-defined gestures for head and shoulders by analyzing 308 gestures elicited from 22 participants for 14 referents materializing 14 different types of tasks in IoT context of use. We report an overall medium consensus but with medium variance (mean: .263, min: .138, max: .390 on the unit scale) between participants gesture proposals, while their thinking time were less similar (min: 2.45 s, max: 22.50 s), which suggests that head and shoulders gestures are not all equally easy to imagine and to produce. We point to the challenges of deciding which head and shoulders gestures will become the consensus set based on four criteria: the agreement rate, their individual frequency, their associative frequency, and their unicity.

We normally sleep for 8 h, but after wearing brain–machine interaction equipment, our perception of time in our dreams is over a week, even a month, or even more. It was only eight hours after waking up. In this way, we can do more things in our dreams. For example, we can play a game with historical themes and put it in our dreams. People only need to sleep normally for one night and then can “experience” a period of history.

Objective Starting from the social scene under the background of mobile Internet, this paper explores a new information input and output scheme by connecting the human-computer interaction accompanied by the development of science and technology with the emotional needs of users. Methods Firstly, qualitative analysis and quantitative verification were conducted on the problems encountered by users using existing chat tools through user interviews and questionnaires. Then the interface design and interaction design were carried out based on ViP product design principles. Finally, interview, questionnaire and eye movement test were used to further improve the design scheme. Conclusion With the further development and improvement of science and technology, more diversified, efficient and interesting ways of information interaction will become possible.

This paper takes the children’s companion robot as the research object, uses the basic principles of Kansei Engineering and the quantitative I class, explores the correspondence between the consumer’s emotional image and the child’s companion robot’s morphological design elements, in order to facilitate the design process of children’s companion robot. This paper constructs the image space of children’s companion robot based on user’s perceptual appeal and establishes a relationship model between design perceptual image and children’s companion robot morphological design elements. A model test of the correspondence between imagery and morphological design elements.

With the smart speakers agent of Home Service Robot represented by voice interaction, tangible user interface interaction and somatosensory interaction are widely present in family environment and serve multiple family members, the trustworthy AI stimulates the transition of the interaction form from passive interaction to proactive interaction, finally into active interaction. However, with the personalization of family members’ needs, the improvement of emotional needs lead to user low patience and high expectations toward the home service robots, the traditional passive interaction has met the above changes of users. This paper proposes the active interaction design method to enhance the initiate of the intelligent agents to solve the user’s needs, improve Interaction performance and user experience. This paper uses questionnaire analysis, user interview, expert cognitive walkthrough, field survey, and comparative research to conduct research. Through the comparative study of passive interaction, proactive interaction and active interaction, the computational analysis, context awareness, consciousness awareness and emotion analysis, combined with the actual case of Baidu smart speakers project, the author put forward active interaction model and the active interaction design form of the family agent. Apply it to the family situation and gradually improve the active interaction research of the home service robot in the family environment.

With the increasing complexity and variety of robotic agents in VR/AR/MR IoT and artificial intelligence and other intelligent environments, traditional interaction grammar and interaction design principles are facing more and more challenges. Based on the theory of embodied interaction and disembodied interaction in cognitive science, this paper combines field research and user in-depth interviews, usability testing, SWOT analysis, SPSS questionnaire analysis, high-fidelity prototype construction, usability testing and other research data to study the interaction grammar of embodied interaction and disembodied interaction. By designing the prototype of the robot, three typical Chinese families are selected to conduct prototype tests of embodied interaction and disembodied interaction. Then on this basis, affordance, Interactive Behavior, Interactive Feedforward of embodied interaction and Mapping Relations of Symbols, Semantics and Interactive Feedback of disembodied interaction and understanding of the construction of interactive grammar are established. This study has a certain effect on embodied interaction and disembodied interaction between human and computer interaction.

Current telecommunication systems such as Skype cannot allow remote users to interact physically. Thus, we propose installing a robot arm and teleoperating it can realize social physical interaction. Some autonomy may be necessary to realize easy teleoperation because teleoperation requires mental workload. However, too much autonomy can decrease sense of agency, which may cause lack of connection because remote users do not feel they caused actions. Thus, in this study, we investigate the relationship between autonomy level and sense of connection of a remote person with local area and people. We focus on pushing tasks because pushing is one of the major functions in hand and arm use. Sense of agency can be categorized into the Feeling of agency (FOA) which is not conceptual and the Judgement of agency (JOA) which is conceptual. Therefore, we conducted user studies to investigate whether FOA associated with control of trajectories and joint angles affects the sense of connection. The results suggested that higher autonomy could decrease telepresence, and remote users preferred controlling joint angles for fun, but they did not need FOA for performance.

With the increasing number of line-follower robot championships, the problem of arenas production time arises. This study is based on a recurring problem detected by the Organization of the Brazilian Robotics Olympiad (OBR) regarding the necessity of producing arenas in a short time. Therefore, a solution was elaborated, called ARena, that uses the concept of Projection Mapping to aid in the standardized production of tracks. The result obtained from user tests was favorable to the proposal, however, improvements in the tool interface are required.

Initiating interaction is one of the most basic functions of service robots, and it has a vital impact on the subsequent interaction process. In the present study, we proposed a brand-new approach to initiate interaction—the progressive interaction approach. Specifically, robots actively send social cues to potential users in a progressively enhancing manner. Based on the concept of this approach, we modeled the behavior of a robot named Xiaodu, and further validated the practical benefits of this approach in an experimental study, in which participants were asked to rate their experience after interacting with Xiaodu with different initiating strategies. The findings suggested that compared to the reactive approach, the progressive interaction approach led to stronger positive emotions (self-reported) and was perceived to be more natural and friendly. Participants also reported higher affection and higher interaction intention towards the progressive interaction approach. The study has some implications for designing robots’ behavior in the interaction initiating process.

On the field of Evolutionary Computational Art, artists frequently adopt a top-down process of creation, employing the algorithms only as a mean to express a previously conceived composition. In this sense, the present paper aims to discuss the use of Genetic Algorithms for the development of systems with greater level of emergence, running towards the increase of its effective complexity, understood as suggested by Gell-Mann. In this context it is presented the system Morphogenesis. It was developed as a Multi-Agent Adaptive System, built with Genetic Algorithms to generate movement, feeding, fighting and reproductive behaviors. All these behaviors are programed at the individual level, from which emerge the macro patterns of the groups, simulating the evolutionary process. The system analysis suggests that the fitness function should not be focused at the arrangements of the agents’ genotype, but at the adaptation of the phenotype itself. It is expected that the use of algorithms that allow expressions closer to the evolutionary process has a greater affinity with the aesthetic notion proposed for the field of Evolutionary Computational Art. Hereupon, a qualitative exploratory study was conducted to compare the perception of the high effective complexity arrangements against random arrangements. Preliminary results show that the evolutionary process could be associated with a greater evaluation of intentionality of the compositions and could be also related with a deeper aesthetic evaluation.

This paper reports, in a professional approach, the design and development process of a standard interface component, which highlights the information provided by two artificial intelligence engines of the Conta Azul software. This software is a cloud platform for small businesses management, developed and marketed in Brazil, in the SaaS (Software as a Service) modality, which connects to banks, the government and fintechs. As a design problem, it was necessary to stipulate, as a part of the company’s Design System and as a response to the managerial challenges brought about by the accelerated growth of the R&D team, a standard interface component for the aforementioned cases, providing context to the user and scalability to team practices. These engines are used for (1) tax recommendation and (2) the categorization of bank statements. As methods stipulated, there were the analysis of support tickets, analysis of the current interfaces, benchmarking, generation of alternatives, design review, bitmap prototyping, usability tests and JavaScript coding. The result was a standard interface component. The compatibility with the schedule of the company and its objectives was considered. The project occurred in parallel with other demands, from January 2018 to December 2018. The first author of this paper is one of the design coordinators of the company, being the other authors collaborators of the Design Ops team.

Software development stages can represent a challenge due to the increase of final user demands since it must comply with standards and metrics that assure the quality of the final product, especially when related to the interface structure, considering that this could lead to the software failure or success. In the case of software oriented to project management, it is important to present them as a simple and practical tool to avoid generating a lack of interest in the final user. Therefore, in this study, we focus on the usability application process for a project management software reinforced with machine learning by analyzing requirements and integrating Nielsen usability guidelines in the design stage of the traditional methodology applied in the software development. The results show that the elements of the graphical interface were easily endorsed enabling a close up to a user-friendly software in the management of PM4r projects.

Artificial Intelligent (AI) system development is the current challenge for all areas related to software development practice and research, including Human-Computer Interaction (HCI). Most AI systems’ research has been focused on the performance and accuracy of Machine Learning (ML) algorithms. Recently, new research questions concerning people in the loop of AI systems development and behavior have been emerging such as bias, reasoning, and explainability. In this new people and AI systems scenario, humans and computers collaborate, using their unique and powerful capabilities in a kind of symbiosis. In this new setting, AI systems are now real social actors as they are active players in the interaction with people. Defining and understanding the behavior of an AI system and its motivation for suggestions and reasoning are definitely a complex endeavor. HCI and Software Engineering communities, with their designers and developers, use models to represent, discuss and explore different domain scenarios in different stages of the software development process. In this paper, we present and discuss a scenario represented in an interaction modeling representation and how it can enable the representation and discussion of the people-AI symbiosis.

AI Systems are becoming ubiquitous and assuming different roles in our lives: they can act as recommendation systems in multiple contexts, they can work as personal assistants, they can tag images, etc. Whilst their contributions are clear, the reasoning behind them are not so transparent and may need explanations. This need for interpretability created new challenges for developers and designers from different communities. Visualizing multidimensional data and exploring the objects’ similarities can help with the explainability of an AI system. In this work, we discuss the visual inspection of high-dimensional objects being complementary to machine learning techniques. We present RAVA (Reservoir Analogues Visual Analytics), a system that employs machine learning and visual analytics techniques to empower geoscientists in the task of finding similar reservoirs.

This paper attempts to explore a way to augment design creativity with artificial intelligence through a typeface family design experiment. At the beginning, the article briefly reviews the theory of creative generation, and based on the commonality of these theories, the design creative model of “Inspiration - Creation - Reflection - Re-Creation - Re-Reflection” is summarized. Then, the hypothesis of artificial intelligence augment design creativity based on this model was proposed. In order to prove the feasibility of this hypothesis, we have carried out an experiment of typeface design for Chinese characters. The problem to be solved in this experiment is the contradiction between traditional Chinese character design method and large-scale diversification of information needs. We propose to design a Chinese character typeface family instead of designing a typeface which provides diverse character experience based on the concept of “one character with thousands of forms”. In order to obtain the typeface family, we adopt Generative Adversarial Networks and select different typical Chinese typefaces as data for model training, finally generate the diverse typefaces. This design method is completely different from the traditional typeface design method and it has produced a new typeface design form. In general, the designer initiated the button of design creativity according to the design problem. The artificial intelligence continuously gives the result of the learning while the designer continuously responds to that. The interaction between designers and the artificial intelligence brings out a new type of Human-machine collaborative relationship, that is: artificial intelligence augments design creativity.

A research team engaged in a user experience and usability evaluation of a large wall screen display for multimedia exhibitions. This process included two concept tests and two task-based usability tests to understand how storytelling, usability and user experience intersect on a large wall screen presentation. This approach illuminated key requirements for designing for large wall screens that supports multimedia storytelling.

There have been many smart people throughout history who have misidentified the potential, or lack thereof, of new technologies. Thomas Edison, for all his genius, failed to anticipate the market for cinematic entertainment. His company’s early films lacked storytelling, and its film display technology, the Kinetoscope, permitted only one person to watch at a time. Perhaps there are lessons here for Virtual Reality (V.R.). Some have assumed that as entertainment becomes increasingly immersive, movies will somehow be absorbed into V.R. Even as many of the technical preconditions for this vision have fallen into place, there remain logistical and practical problems. Translating conventional forms of story authorship into the immersive, interactive context may not be sought-after. What is an interactive movie, after all? Even if strategies can be found to write and produce interactive V.R. movies, the results may be different from what people have been expecting.

As smart speakers with voice interaction capability permeate continuously in the world, more and more people will gradually get used to the new interaction medium–voice. Although speech recognition, natural language processing (NLP) have been greatly improved over the past few years, users still may encounter errors from time to time like “cannot understand”, “no requested audio resource (such as music)”, which can frustrate users. Therefore, when an error message is reported, it is vital that the smart speaker gives an effective and proper response. However, currently the response strategies adopted by leading smart speaker brands in China differed mainly on two dimensions: “apology or not” and “humor or neutral”. We explored user’s preference of response strategies under two error scenarios——“cannot understand” and “no requested audio resource”. A 2 (apology: yes vs. no) × 2 (error message expression tone: humor vs. neutral) within-subjects experiment was conducted. Two dependent variables (satisfaction and perceived sincerity of response) were measured. The results showed that participants were more satisfied and perceived higher sincerity when smart speaker apologized in both error scenarios. In the “no requested audio resource” scenario, humor had no significant impact on the perception of satisfaction and sincerity. But in the “cannot understand” scenario, humorous expression decreased perceived sincerity.

The VR image not only has the watching characteristic of movie, the immersion of drama and the interaction of game, but also its unique conception. At present, a new type of narrative mode adapted to VR image features has not yet reached a consensus. The purpose of this paper is to analyze the importance of research on the user experience to VR image creation, so as to point out the urgency of using iterative thinking in creating works, at the same time, to explore the possibility of collaborative creation by utilizing the creators and users of intelligent tool. The key to construct a narrative systematic frame which accords with the VR image’s characteristics of visual, audition, touch, taste and touch is put forward. This paper adopts the methods of qualitative research, which includes desktop research and network user research as well as the quantitative researches, so as to conduct the validation studies about the habit, feeling, expectation and participation of users when they experience VR image. Finally, the conception of narrative systematic framework that is suitable for VR image and the suggestions for future research direction are put forward.

Even though there is no final conclusion about if images collide “interactive” can be regarded as a film at present, designers could not stop digging the radically innovative features, modes, and structures of interactive virtual reality media. It is necessary to explore the essential innovation of digital media creation brought by the Virtual Reality since the VR tech accepted by the digital media area. The author believes there are three new directions can guide designers to develop the VR interactive digital artworks more efficiently such as non-linear story-telling based on the circular narrative structure of the interactive image, the new mode of sensory guidance in VR interactive image, the new interactive image operation and selection behavior optimization of VR interactive image.

The absence of narration language is a vital problem in immersive video creation. This paper tries to find out a way to satisfy audiences’ aesthetic and visual requirement, and then realizes visual guidance of immersive video which based on scene art design, and guide them to follow the narration of immersive video and realize the effective visual narration of immersive video. The case analysis and experimental analysis method are applied as the main study method in this article. And we came to the conclusion that in the scene art design of immersive video, scenery form, position distribution, spatial relationship, color, light and shadow can help to tell the story of the video and catch the attention of the audience solely or cooperatively. With they successfully catch audiences’ attention, immersive video can enhance the way to tell their idea of the story thus makes the narration more easily to convey the meaning of the work.

New media technologies bring to light new techniques in representation and storytelling. Particularly, in theatre performance that is delivered live to the audience, new techniques have the capacity to create more immersive experiences to audiences. In recent years, Chinese audience are witnessing an increasing number of new representation and storytelling techniques being applied on stage productions. These technological innovations on stage are rapidly developing and inherit tremendous creative potentials. This paper focuses on the application of game engine-powered technologies such as real-time rendering used in 3D mapping, interactive, Virtual Reality, Mixed Reality etc. On the frontstage that is visible to the audience, the way of storytelling and the visual narration of the creative concept appears to be the result of these technological innovations on stage. This paper focuses on the application of technologies such as real-time rendering, virtual reality, and mixed reality on stage performances powered by game engine to realize intermixing of storytelling. Throughout the paper, we provide examples of various stage productions, such as theatre, music performances, and dance productions. These examples demonstrate the wide range of applications that are possible in enriching ways of storytelling and engaging audience. Yet, despite all of the above benefits, we also call for is a reflection upon the relationship between technology and arts. We argue that in spite of the availabilities of these technologies, it is imperative to also slow down and reassess the content we are going to create and begin a series of creative conversations between artistic expressions and technological excursions.

The purpose of this paper is to explore the interactive narratives and applications of VR animations. Comparative study, literature survey, case study and other methods are adopted. It is demonstrated in the research that, in addition to the improved immersion, VR technology will surely cultivate an artistic experience of animation arts totally different from traditional ones. The paper thus concludes that the strong interactive capability of game engines provides unlimited possibilities for the future interactive design of VR animations while the technical innovation will promote the reform of interactive narration, which will embrace a great many approaches in forms, pushing itself to a deeper level. For example, the control of perspectives, the adjustment of story volume, the manipulation of narrative rhythms and the selection of endings will all help form a vigorous and personalized interactive narration and really hand over the story to the audience.