Extended Reality and Metaverse - Immersive Technology in Times of Crisis

["Integration of Smart Glasses for Knowledge Transfer 299 an AR application that is used as a remote service built with Unity and ARToolkit. The Schaef\ufb02er app is platform-independent and can be used on smart glasses but was not tested with smart devices like tablets and smartphones (Quint et al. 2017). Based on our research, despite a lot of scienti\ufb01c work in the domain, the penetration of AR based smart glass technology for manufacturing and maintenance processes in German SME industries is still at its nascent stage. 2.2 Overview of Existing AR Maintenance Applications The majority of applications with smart devices demand the use of at least one or both hands, whereas many use cases require both hands to be available in order to perform maintenance tasks. Furthermore, considering working during pandemic condi- tions, constant changing of devices amongst personnel may act as sources of infection (Syberfeldt et al. 2017). Consequently, several maintenance applications cannot be used conveniently with shared tablets or hand-held devices. Hence, workers often develop workaround behaviours (Klinker et al. 2018), particularly using hands-free alternatives. Studies point out that hands-free smart glasses are especially supportive in use cases where users need to ful\ufb01l information-intensive activities \u2013 such as following detailed instructions remotely \u2013 to show context-sensitive information in the user\u2019s \ufb01eld of view (Klinker et al. 2018). Hands-free devices that make necessary information available at eye level are exemplary Human-Computer Interfaces (HCI) for an operator in the manufacturing context (Syberfeldt et al. 2017). Additional studies have proven that such hands-free devices enhance performance, process, quality and employee satisfac- tion, as well as IT-enabled collaboration within the user department. Nevertheless, prior research has focused on HCI with device centred perspectives like smartphones and tablets (Klinker et al. 2018), rather than a process or user-centred perspective. For the reasons above there is an utmost urgency to adapt and develop smart glass applications for use in maintenance and service processes and teams. 2.3 Accessibility and Orientation Towards Medium-Sized Businesses The overall device availability and access of smart glasses is increasing: the sales of smart glasses are expected to increase drastically with a growth of 250% from 2019 to 2024 (Deloitte study 2020)2. Furthermore, the number of smart glass manufacturers is steadily increasing with an added revenue of 80 million euros in 2019 to 200 million euros in 2024 only in Germany. Other studies (such as by BCG3) show that the market size worldwide increases from 30.7 billion U.S dollars in 2021 to 296.9 million U.S. dollars. This shows an increase of 967%. Nevertheless, today\u2019s applications for AR devices are implemented as prototypes on a \ufb01eld level. A 2021 study showed that only 16% of German surveyed used AR 2 https:\/\/www2.deloitte.com\/de\/de\/pages\/technology-media-and-telecommunications\/articles\/ extended-reality-xr-studie-2020.html. 3 https:\/\/www.bcg.com\/de-at\/capabilities\/digital-technology-data\/emerging-technologies\/aug mented-virtual-reality.","300 A. Hariharan et al. technologies (Bitkom 20214). 18% of these companies can imagine using AR in the future and additional 19% de\ufb01nitely want to use AR in the future. Studies about AR and associated applications have traditionally been initiated by large enterprises with the focus to \ufb01nd new technologies and use cases. Only a small number of research papers have addressed the issue to adapt general AR applications to the needs of medium or small-sized businesses (Quint et al. 2017). Another problem of the current research on smart glasses is to identify suitable use cases (Klinker et al. 2018). Often it is used in logistics or healthcare, gaming, sports and tourism (Klinker et al. 2018; Syberfeldt et al. 2017). However many companies in manufacturing areas are familiar with virtual reality applications and can learn from know-how in this \ufb01eld (Rauschnabel et al. 2015). Smart glasses and AR applications have a lot of advantages for even small-sized companies. An example of this is saving travelling costs and enabling simple knowledge transfer (Masoni et al. 2017). With the knowledge and experience of one medium-sized company, this work will develop an application to suit a wide range of medium-sized manufacturers. To adjust to their needs, attention will be given to high data security and privacy policy standards throughout the development of the application. According to Christensen et al. (2013), high privacy policy and data security standards are important for small and medium- sized businesses to protect the companies and to ensure compliance with regulations and laws in each country of sale. In particular, companies should aggrandize themselves around efforts to promote secure data transmissions. This not only protects the companies themselves, but also makes them attractive to their customers (Christensen et al. 2013, pp. 42\u201343). However, a lot of standards are not reachable due to high costs. These consist of licenses, hardware, software and personnel, among other things (Christensen et al. 2013, p. 43). Open-source libraries that allow custom servers or data protection measures are a valid method to increase accessibility. 3 Methodology and Design The design science research methodology (Peffers et al. 2007) was adopted to de\ufb01ne the requirements, design and develop a solution artifact, as well as evaluate and disseminate information about the artifact. Speci\ufb01cally, requirements were gathered by analyzing the current maintenance process of the SME & proposing customer journeys for the targeted maintenance process. Touchpoints with existing CRM systems were identi\ufb01ed, and actions and interactions of the service expert and the customer with the intended remote application were prioritized. These requirements were veri\ufb01ed by means of in- depth interviews with service experts, and preliminary evaluations of mockup designs. A comparison of state-of-the-art smart glasses for remote maintenance revealed sev- eral advantages of the Realwear5 head-mounted tablets (HMT) for remote collaboration. 1) The availability of an open source API compatible for building Unity and Android applications, and 2) the availability of documentation and an online support community were two important factors in favor thereof. Moreover, 3) the Realwear enables adaption 4 https:\/\/www.bitkom.org\/sites\/default\/\ufb01les\/2021-09\/210817_ct_studie_2021.pdf. 5 https:\/\/realwear.com\/products\/hmt-1\/.","Integration of Smart Glasses for Knowledge Transfer 301 to the voice control system with its embedded API for WearML, the mark-up language of Realwear. The remote service application was built on Android, and components such as video calling and communication with CRM system were integrated over the Android base. A dedicated open source video call server was hosted, thus enabling manufacturers to have a data compliant way to communicate and store their sensitive data. The remote service application generated identi\ufb01cation numbers for each service request, which were sent to both the service personnel and the customer (as con\ufb01rma- tion and e-mail invitation). Video call invitations were automatically generated for the speci\ufb01c machine type and service problem and sent along with the e-mail invitation to the assigned personnel. On the application, the list of previous service sessions was fetched from the cloud-enabled CRM-system SmartWe6, from a dedicated tenant (database silo) using its REST API. Video calls were initiated by the service employee on the smart glasses using voice command, allowing multiple personnel to join at the same time, from different networks. Video sessions were recorded and cloud links were integrated on the CRM tenant. The CRM tenant thus stored and visualized the complete overview of the progress of the maintenance sessions and tickets, as well as information on video recordings, service-call history, images taken during the service processes, and the cor- responding contact details of the service personnel and customer. The information can be administered with the required rights and permissions, to ensure that only relevant service personnel have access to the service process. 4 Evaluation The evaluation was carried out in 3 phases, wherein the results of each phase were incorporated iteratively into the next phase. The \ufb01rst evaluation was a usability and feature comparison test to evaluate the feature layout, particularly due to the constraints of the screen in the form of design mockups. The second evaluation aimed to evaluate the \ufb01rst prototype with smart glasses. Here, employees of a German SME software provider performed a mock maintenance task by assembling wooden blocks with instructions from another colleague remotely (Fig. 3). They provided feedback on usability and speci\ufb01c features of the app, in addition to open feedback. The third evaluation was conducted with the employees of the manufacturer (Fig. 1 and Fig. 2). Participants had to perform a typically occurring maintenance task remotely, with help of an experienced service team at a German SME manufacturer. Aspects such as high noise levels, intermittent network, and environmental lighting issues were also present in this evaluation, thus mimicking conditions of real-life usage. The \ufb01rst phase included 18 participants that are employed at the German SME soft- ware provider. All of the interviewed participants work very close to software and have experience with the creation of software designs and usability design. The participants of the second phase consist of various employees of the German SME software provider. The average age of the 12 participants of this phase is 29.33 years and the median is 29.5. The participants rated their own IT skill and knowledge level by giving it between one (worst) and \ufb01ve (best) points. The average rating in this phase was 4.5 points out of 6 https:\/\/smartwe.de\/en\/.","302 A. Hariharan et al. 5 with a median of 5. The comparison of the knowledge and skill level of the contestants of the software provider and the manufacturer is visualized in Fig. 2. The third phase only included employees of the German SME manufacturer. The 22 contestants had an average age of 34.95 years with a median of 34 years. Each contes- tant stated their division or department. The most represented department of the nine are Production and Distribution employees with each \ufb01ve contestants of each division. The other divisions in descending order of the number of participants are IT (3), Development (3), Service (2), Supplier Management (1), Financial accounting\/controlling (1), Appli- cation engineering (1) and Precision Machining (1). Furthermore, the employees rated their IT knowledge and skills with one (worst) to \ufb01ve (best) points. The Manufacturer employees rated themselves an average of 3.71 points (median: 4). Age range of the participants of the German SME software provider in % 55 36 20-30 45 31-40 41-50 Fig. 1. Age distribution of the participants Fig. 2. Rating of the IT knowledge and skills of the German SME software provider and the German SME manufacturer. Feedback on AR suitability, usability, and feature design was gathered from 20 participants in each evaluation. Think-aloud protocols (Kussmaul und Tirkkonen-Condit 1995; J\u00e4\u00e4skel\u00e4inen 2010) were used during evaluations, where feedback from the users were directly recorded in a structured protocol. The System Usability Scale (SUS) was used to obtain a \u201cglobal view of subjective assessments of usability\u201d (Brooke 1996).","Integration of Smart Glasses for Knowledge Transfer 303 Fig. 3. Left: Participant of the prototype evaluation is building the requested construction out of bricks with the help of the instructions from the call. Right: Target image of the blocks to be built during the evaluation. The SUS is based on a Likert scale (Brooke 1996; Baumgartner et al. 2021) and has also been used in the analysis of wearable devices (Liang et al. 2018). Acceptance of smart glasses in the area of the usual tasks of an employee was investigated with the questionnaire of Berkemeier et al. (2017). Finally, the AR Suitability questionnaire was adapted from Palmarini et al. (2017) to gauge suitability of smart glasses for the given maintenance task, as well as to assess whether AR content & annotations are considered a necessity by the users (Fig. 4). Fig. 4. Screenshots of the used smart glass app in the evaluation studies (Left Top: Choosing a Ticket ID based on problem type, Right Top: Choosing a Session ID or viewing existing service recordings, Bottom Left: Sending problem information to request for a meeting, Bottom Right: Initiating remote service call with the chosen problem type & Session ID) The results of all 3 evaluations showed that majority of the participants were enthu- siastic about the concept of the prototype. The \ufb01ctitious as well as real-life maintenance","304 A. Hariharan et al. task was ful\ufb01lled during the call with the service employee by all participants. In the third evaluation, participants reported that the application allows manufacturers to save their average maintenance time by 46% (measured in days), in comparison to their exist- ing duration (Fig. 5, Right). The acceptance of the smart glass application (Realwear HMT-1) was dependent on the use case and requirement of the remote maintenance pro- cess. Usability scores of the application were however high for both non-maintenance and maintenance \ufb01rm\u2019s employees (Fig. 5, Left). This resulted from the use of the rec- ommended UX design guidelines by Real-Wear HMT7 and the improvements based on \ufb01ndings of previous evaluations. The reported acceptance scores in the second evalu- ation (by the software provider enterprise) was lower in comparison to those reported by the manufacturing enterprise employees in the third evaluation. Augmented reality content and annotations were not reported to be necessary for a successful application and adoption in this speci\ufb01c use case but was viewed upon as a helpful add-on. The prototype application was coded with open-source libraries and environments, and this information was communicated to the participants, before gathering feedback on privacy concerns. Open source and dedicated servers are expected to allow SME\u2019s to implement prototypes without lock-in problems, as well as achieve improved digital sovereignty and reduced privacy concerns surrounding the application. This was con\ufb01rmed by the low correlation between reported privacy concerns and acceptance scores in the two evaluations, as reported by the participants from the software provider as well as the manufacturing enterprise (Table 1). Fig. 5. Left: Comparison of average scores of usability, privacy concerns and acceptance between the two evaluation scenarios: IT Firm employees and engineering \ufb01rm employees (N = 20 in each evaluation). Right: Reported time savings between current process and future maintenance process with smart glasses. 7 https:\/\/realwear.com\/blog\/designing-realwear-hands-free-wearhf\/.","Integration of Smart Glasses for Knowledge Transfer 305 5 Evaluation According to Fu et al. (2010), remote maintenance allows a time saving of 60%. In contrast, the results of the evaluation show that the timesaving is 46.54% for 3.5 days. The difference in the time saving between Fu et al. (2010) and this work results in the average time for a traditional process. While Fu et al. (2010) consider customers that are far more distant from a manufacturer (up to 20,000 km), the average distance between considered manufacturer and customers is smaller. Nonetheless, the time for a remote maintenance process stays the same whereas the time for a traditional process increases with distance proportionally. Therefore, the reason for the contrast between literature and this work is that the average traditional process takes 3.5 days as reported by the manufacturer. If the distance and time were higher, the difference would also be higher since the time for remote maintenance would stay the same. Furthermore, this solution allows for complete social distancing in times of the pandemic. In addition, the valuable time of the service employee is spent more on problem solving than travelling. The evaluation of the remote service application of Quint et al. (2017) show that participants reported that the application \u201cneeds to be worth the effort\u201d while the par- ticipants of the evaluation of this work show generally great interest in the application and liked the operating principle and theory behind the application. Furthermore, Quint et al. (2017) recognised that AR-based applications should be suitable for only speci\ufb01c use cases that have a certain level of dif\ufb01culty. This can be con\ufb01rmed with the results of the AR requirement evaluation as seen in Fig. 6, the maintenance use case has higher AR requirement scores. Regardless of this fact, Smart glasses are useful for this use case and are convenient for the service employees and customers. That can also be found in the literature as Quint et al. (2017) con\ufb01rmed that without remote guidance this is nearly impossible. This statement is also represented by the con\ufb01rmation and queries to service employees through the third evaluation. Last but not the least, Quint et al. (2017) noticed that the application was positively received by the employees. This also holds true for the evaluations and questionnaires of this work. Table 1. Pearson correlation scores between usability, privacy concerns and overall reported acceptance of smart glasses. Acceptance smart Usability Privacy concerns glasses 0.4840 0.2571 t 2.410 1.159 0.0252+ 0.2593 p There are only a few design guidelines for the Realwear HMT-1, the main source for this work in this aspect being Priebe (2018). The suggestions were appropriate and were con\ufb01rmed by the results of evaluation. However, Priebe (2018) did not discuss the disadvantages of speci\ufb01c features, such as Speak What You See-language or other characteristics of the Realwear. Nevertheless, the evaluation in this work showed that a","306 A. Hariharan et al. Fig. 6. Scale to classify the AR requirements of the IT Service provider and the manufacturer signi\ufb01cant majority of the third evaluation participants had problems with the Realwear HMT-1 glasses. The major problem includes the arm of the display being in the \ufb01eld of view of the camera. Privacy Concerns have an adapted rating of 2.88 out of 5 according to the evaluation. This result is consistent with previously mentioned studies (Syberfeldt et al. 2016; Syber- feldt et al. 2017) that showed that concerns are signi\ufb01cant towards unknown devices and technologies like AR. However, the same studies have shown that these concerns are shrinking due to increased research, product development and releases in this area. 6 Conclusion This work demonstrated the process of developing a remote smart-glass based main- tenance process for an SME. While usability of the remote service application was reported to be high, acceptance of technology was dependent on the need for remote processes & digital tools. Acceptance was improved further by integrating the remote tools with existing CRM & maintenance management systems, thus creating a seamless process for the service technician as well as the remote customer. Limitations in the current design & evaluation process mainly involved the exter- nal circumstances of the global COVID-19 pandemic, which led to assumptions during the development and evaluation phase, such as social distancing measures, as well as in the evaluation process \u2013 where a complete remote evaluation at the manufacturer was designed. These measures might have led to crucial information about the main- tenance process being overlooked during the evaluation. Further, the application was tested on one speci\ufb01c device, the Realwear HMT-1, which might have led to device- speci\ufb01c advantages as well as disadvantages in\ufb02uencing the acceptance scores. Another general limitation in the use of a remote maintenance application is the availability of a stable network connection and adapting video calls for low bandwidth requirements. As of today, there is a lack of ubiquitous high-speed internet connection, particularly in Germany (Rauschnabel et al. 2015). This resulted in dif\ufb01cult circumstances for the","Integration of Smart Glasses for Knowledge Transfer 307 video calls which partly re\ufb02ected in the usability ratings. As future work, the afore- mentioned points need to be revisited and improved upon in further evaluations with pilot customers. Second, the number of participants in each pilot evaluation study was taken to be 20 participants, the participant size was chosen to resemble the typical team size of a service team in an SME, hence the results are only indicative of the typical usage patterns. Future studies would have to be conducted to con\ufb01rm the reliability of the results on large scale use in an SME (such as amongst 300 employees). A detailed business analysis should be conducted and a revenue model for different companies would be necessary to facilitate further development and adoption of the technology. Moreover, the application should be developed for different smart glasses towards an accessible and generic remote maintenance application. Since most state-of-the-art smart glasses are Android-based devices, developing an Android application is a promising step in this direction. Integration with existing CRM systems should be expanded to allow for more possibilities \u2013 such as re-ordering of service machinery, or pre-shipping maintenance parts before scheduling the remote service procedure. Finally, long-term safety and health consequences on employees for wearing the Realwear HMT-1 have to be investigated, for successful adoption by employees & customers (Kim et al. 2016). This research provides learnings from practice to increase adoption of smart glasses, particularly in manufacturing industries, where remote maintenance has become the need of the hour. Future work in providing a seamless experience across existing (CRM) systems would not only improve the acceptance of the smart glasses in maintenance, but also extend it to areas of application in manufacturing \u2013 such as design, development, quality control and other scenarios necessitating remote collaboration. References Baumgartner, J., Ruettgers, N., Hasler, A., Sonderegger, A., Sauer, J.: Questionnaire experience and the hybrid System Usability Scale: using a novel concept to evaluate a new instrument. Int. J. Hum.-Comput. Stud. 147, 102575 (2021) Berkemeier, L., Werning, S., Zobel, B., Ickerott, I., Thomas, O.: Der kunde als dienstleister: akzeptanz und gebrauchstauglichkeit von smart glasses im self-service. HMD 54(5), 781\u2013794 (2017) Brooke, J.: SUS. A quick and dirty usability scale. In: Jordan, P.W., Thomas, B., McClelland, I.L., Weerdmeester, B. (Hgs.) Usability Evaluation in Industry, pp. 189\u2013194. 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In: IEEE Computer Society (Hg.) 2008 7th IEEE\/ACM International Symposium on Mixed and Augmented Reality. ISMAR, Cambridge, UK, 15\u201318 September 2008, pp. 193\u2013202 (2008) Zobel, B., Berkemeier, L., Werning, S., Thomas, O.: Augmented Reality am Arbeitsplatz der Zukunft: Ein Usability-Framework f\u00fcr Smart Glasses, pp. 1617\u20135468 (2016)","Development of Gami\ufb01ed Guide System for Art Exhibition Using Augmented Reality Technology Chun-I. Lee(B), Fu-Ren Xiao, and Tai-Wei Kuo Department of Multimedia and Animation Arts, National Taiwan University of Arts, New Taipei City, Taiwan [email protected] Abstract. In this project, we developed a gami\ufb01ed augmented reality (AR) guide system for an art exhibition. We combined GPS and AR technology to offer friendly information services and show visitors the shortest routes between exhibits. The proposed system has three primary functions: (1) to enable visitors to scan the labels of the exhibits using the camera lens of their smartphones to obtain a detailed text introduction on their screens and listen to an audio intro- duction; (2) to offer a gami\ufb01ed version of the guide, and (3) to collect data on the viewing behavior of visitors for research analysis. We veri\ufb01ed the advantages of the proposed system by examining the behavioral differences between visitors using the AR guide and those using a conventional system. Keywords: Augmented reality \u00b7 Gami\ufb01cation \u00b7 Guide system \u00b7 Exhibition-viewing behavior 1 Introduction In this paper, we consider a navigation augmented reality (navAR) system we developed in a previous study (Lee et al. 2019) and apply it to the novel context of an art exhibition. The proposed system facilitates the design of AR guide apps from the perspectives of viewer, content provider, and researcher. In addition to offering visitors AR content and function, the system records user visits and automatically uploads them to the cloud for research analysis. In our previous study, we applied the proposed system to book- searching within the context of a library. Our results revealed that with the aid of AR, the book-searching paths of users became more regular and less erratic (Lee et al. 2020). To determine whether the AR guide system could assist in diverting pedestrian traf\ufb01c \ufb02ow after further gami\ufb01cation, we took advantage of the Greater Taipei Biennial of Contemporary Art 2020 exhibition, \u201cAuthentic World\u201d (https:\/\/www.gtbca.com\/home), which was hosted by the Yo-Chang Art Museum. We developed an AR navigation app for the exhibition and observed the viewing behaviors of visitors under the in\ufb02uence of gami\ufb01ed AR navigation. \u201cAuthentic World\u201d featured 20 exhibits scattered throughout the NTUA Art Village and the 9 Art Space. This represents a large outdoor exhibition space comprising several independent spaces. \u00a9 The Author(s), under exclusive license to Springer Nature Switzerland AG 2023 T. Jung et al. (Eds.): XR 2022, SPBE, pp. 309\u2013315, 2023. https:\/\/doi.org\/10.1007\/978-3-031-25390-4_27","310 C.-I. Lee et al. To prevent AR from interfering with the exhibits and in accordance with the need for visitors to walk long distances outdoors, we created an AR guide avatar based on the theme and style of the exhibition. The guide avatar resembled a museum employee or knowledgeable friend who led users down the alleys between exhibits. The AR image positioning of the guide was achieved using ARCore and ARKit in conjunction with Mapbox SDK for outdoor GPS positioning. Location information on a 2D map and the corresponding coordinates of the guide avatar in the physical venue (Fig. 1) were employed to enhance the accuracy of navigation. The main design features of the system are detailed in the next section. Fig. 1. Schematic diagram of cyber-physical integration 2 Literature Review Evidence has shown that AR can generate interest in visitors through the support of virtual and physical learning environments (Damala et al. 2008). Despite its bene\ufb01ts, it has been pointed out that AR can absorb users to the point where they become oblivious of their physical environment (Billinghurs et al. 2009), distracting users from the goals of the exhibition (McCall et al. 2011). Gami\ufb01cation is the incorporation of game design elements and mechanisms into non-game \ufb01elds (Huotari and Hamari 2012). The gami\ufb01cation process can be used to solve problems (Deterding et al. 2011) and to improve user actions (Hamari 2013) and learning abilities (Hamari et al. 2016). The problem faced in general exhibitions is ensuring exhibits appeal to visitors, which in\ufb02uences their willingness to approach them and can affect the evenness of people \ufb02ows at an exhibition. It is thus hoped that gami\ufb01cation can motivate visitors to view exhibits. Gami\ufb01cation does not replace the gami\ufb01ed target. Hamari and Koivisto (2014) employed the Dispositional Flow Scale\u20132 (DFS-2) to determine the signi\ufb01cance of gami\ufb01cation to the \ufb02ow in autotelic personality","Development of Gami\ufb01ed Guide System for Art Exhibition 311 traits. The results indicated that it was signi\ufb01cant to autotelic experience, clear goals, immediate feedback, and control and the challenge-skill balance but less signi\ufb01cant to time transformation, merging action-awareness, and loss of self-consciousness. This shows that when gamifying navigation, we must remember that the purpose is not to immerse the users in the gami\ufb01ed content but to give users clear goals and actions, intuition, and feedback so that it promotes the goal rather than steals the spotlight. AR technology can expand the imagination of users, and adding gami\ufb01cation can stimulate them to complete more tasks (Roccetti et al. 2013). Ioannis Paliokas et al. (2020) used AR application to enhance the viewing experience at the Silversmithing Museum by adding gaming and educational elements, and the evaluation found that this approach helped improve museum viewing experience satisfaction and learning outcomes. Philipp (Breuss-Schneeweis 2016) used three 3D virtual guides to guide visitors through the Museum of Celtic Heritage\u2019s collection. AR technology is not only used for indoor exhibition halls in museums, but also for outdoor tours. For example, Gabriel et al. (2019) used mobile augmented reality to design a MAR application in three different outdoor locations in Europe, using 3D models to presenting information on the life and history of the Roman poet Ovid. In addition to combining AR images and gami\ufb01cation, the Blast Theory (2011) team in the UK created \u201cGhostwriter\u201d, a gami\ufb01ed navigation work with voice narrations as the augmenting element. This work involves a pre-recorded voice telling a story set in the museum. When visitors call a certain number, a woman\u2019s voice coming from the other end of the line directs visitors to various exhibits, explains her relationship with the exhibit, and connects the exhibits together. This is a good example of incorporating the navigation process into the gami\ufb01ed AR content. However, investigating the effectiveness of the navigation and improving it as necessary requires systematic recording and analysis of user behavior. 3 Design Features of AR Guide System 3.1 Exhibit Label Scanning As the art pieces were displayed at different exhibition buildings (Fig. 2a), visitors could use the camera lens on their smartphones to scan the label on any art piece to obtain a detailed text introduction on their screens and listen to an audio introduction (Fig. 2b). Each time they scanned a piece of art, it was marked in a different color on the 2D map on their screens to indicate that they had visited this piece of art. The labels were also printed on paper handouts, thereby enabling visitors to collect them as souvenirs so that even after the exhibition ended, they could still scan the labels and learn about the art on display.","312 C.-I. Lee et al. Fig. 2. (a) Exterior of exhibition space; (b) AR scanning of exhibit label 3.2 Guide Modes The proposed system has two types of guide modes: a game mode and a free mode. In game mode, users can switch between the AR mode (Fig. 3a) and the 2D map mode (Fig. 3b) at any time and follow the guide avatar through the alleys of the exhibition venues (Fig. 3c). At each exhibit, they could scan the exhibit label using their smartphones to in essence \u201ccollect\u201d all 20 art pieces by taking a photo with the virtual guide. Once they had taken photos at all 20 exhibits, these could be used to obtain an AR souvenir sticker. In free mode, a general GPS navigation function was provided. Visitors could decide which exhibit they wanted to visit (Fig. 4a), and the system would show them the shortest route to it (Fig. 4b). Scanning the exhibit labels in this mode resulted in text and audio introductions to the works but did not involve rewards. Fig. 3. (a) AR mode; (b) 2D map mode; (c) AR guide avatar walking through an alley","Development of Gami\ufb01ed Guide System for Art Exhibition 313 Fig. 4. (a) List of exhibits; (b) Shortest route 3.3 User Behavioral Data To collect data on exhibition-viewing behavior, the app \ufb01rst gained users\u2019 consent to col- lect relevant information during their visits. Without interfering with the users\u2019 viewing experience, data related to their paths, distances covered, and time spent viewing and walking were uploaded to the cloud for subsequent analysis. We sought to determine whether the behaviors of the visitors differed depending on the mode they selected. This analysis enabled us to adjust viewing methods in real time and identify means of improving future exhibition-viewing experiences. 4 Discussion and Conclusion We employed AR technology to develop a gami\ufb01ed guide system within the context of an art exhibition. The user paths uploaded to the cloud indicated that the paths of the visitors who used the game mode (Fig. 5a) were more regular and consistent than those of the visitors who used the free mode (Fig. 5b). This shows that AR gami\ufb01cation has a guiding effect on visitors. The limitations of existing AR and GPS technologies meant that not all users experienced optimal AR guide quality and effects due to varying smart- phone hardware speci\ufb01cations and external environmental factors such as weather and obstacles. This may also affect the persistence and promotion of AR guide system use. However, it is evident that once technologies integrating AR and GPS mature and hard- ware development improves to the point that AR glasses are popular, the incorporation of AR into gami\ufb01ed guide systems will likely provide more immersive exhibition-viewing experiences and assist substantially in diverting pedestrian traf\ufb01c \ufb02ow.","314 C.-I. Lee et al. Fig. 5. (a) Path distributions of visitors using game mode; (b) Path distributions of visitors using free mode Acknowledgements. This research was supported in part by the Ministry of Science and Tech- nology of Taiwan, National Taiwan University of Arts, Yo-Chang Art Museum, Innovation Center for Art and Technology, and NTUA Experimental Game Lab. References Billinghurs, M., Belcher, D., Gupta, A., Kiyokawa, K.: Communication behaviors in colocated collaborative AR interfaces. Int. J. Hum.\u2013Comput. Interact. 16(3), 395\u2013423 (2009) Boboc, R.G., Duguleana, M., Voinea, G.-D., Postelnicu, C.-C., Popovici, D.-M., Carrozzino, M.: Mobile augmented reality for cultural heritage: following the footsteps of Ovid among different locations in Europe. Sustainability 11(4), 1167 (2019). https:\/\/doi.org\/10.3390\/su11041167 Breuss-Schneeweis, P.: \u201cThe speaking celt\u201d: augmented reality avatars guide through a museum \u2013 case study. In: Paper Presented at the 2016 ACM International Joint Conference, Heidelberg, Germany (2016) Damala, A., Cubaud, P., Bationo, A., Houlier, P., Marchal, I.: Bridging the gap between the digital and the physical: design and evaluation of a mobile augmented reality guide for the museum visit. In: DIMEA 2008 Proceedings of the 3rd International Conference on Digital Interactive Media in Entertainment and Arts, pp. 120\u2013127 (2008) Deterding, S., Dixon, D., Khaled, R., Nacke, L.: From game design elements to gamefulness: de\ufb01n- ing \u201cgami\ufb01cation\u201d. In: Paper Presented at the Proceedings of the 15th International Academic MindTrek Conference (2011) Hamari, J.: Transforming homo economicus into homo ludens: a \ufb01eld experiment on gami\ufb01cation in a utilitarian peer-to-peer trading service. Electron. Commer. Res. Appl. 12(4), 236\u2013245 (2013) Hamari, J., Koivisto, J.: Measuring \ufb02ow in gami\ufb01cation: dispositional Flow Scale-2. Comput. Hum. Behav. 40, 133\u2013134 (2014) Hamari, J., Shernoff, D.J., Rowe, E., Coller, B., Asbell-Clarke, J., Edwards, T.: Challenging games help students learn: an empirical study on engagement, \ufb02ow and immersion in game-based learning. Comput. Hum. Behav. 54, 170\u2013179 (2016)","Development of Gami\ufb01ed Guide System for Art Exhibition 315 Huotari, K., Hamari, J.: De\ufb01ning gami\ufb01cation \u2013 a service marketing perspective. In: Paper Pre- sented at the Proceedings of the 16th International Academic MindTrek Conference, Tampere, Finland (2012) Lee, C.-I., Xiao, F.-R., Hsu, Y.-W.: Using augmented reality technology to construct a venue navigation and spatial behavior analysis system. In: Paper Presented at the 5th International Augmented and Virtual Reality Conference, Munich, Germany (2019) Lee, C.-I., Xiao, F.-R., Hsu, Y.-W.: AR book-\ufb01nding behavior of users in library venue. Appl. Sci. 10, 7349 (2020). (Extended Reality: From Theory to Applications). https:\/\/doi.org\/10.3390\/ app10207349 McCall, R., Wetzel, R., L\u00f6schner, J., Braun, A.-K.: Using presence to evaluate an augmented reality location aware game. Pers. Ubiquit. Comput. 15(1), 25\u201335 (2011) Paliokas, I., et al.: A gami\ufb01ed augmented reality application for digital heritage and tourism. Appl. Sci. 10(21), 7868 (2020). https:\/\/doi.org\/10.3390\/app10217868 Roccetti, M., Mar\ufb01a, G., Varni, A., Zanichelli, M.: How to outreach the external world from a museum: the case of the Marsili\u2019s spirit app. In: De Michelis, G., Tisato, F., Bene, A., Bernini, D. (eds.) ArtsIT 2013. LNICSSITE, vol. 116, pp. 25\u201332. Springer, Heidelberg (2013). https:\/\/ doi.org\/10.1007\/978-3-642-37982-6_4 Blast Theory: Ghostwriter (2011). Accessed https:\/\/www.blasttheory.co.uk\/projects\/ghostwriter\/","XR and Human Behaviour","Arousing Real or Real Threat? How Realism in Avatars Affects the Perception of Virtual Reality Pornography and Relationships for Heterosexual Women Eunice Cijntje(B) and Marnix S. van Gisbergen Academy for AI, Games and Media, Breda University of Applied Sciences, Breda, The Netherlands [email protected] Abstract. New immersive technologies and COVID lockdowns increase the attention for Virtual Reality Pornography (VRP). In this study, heterosexual women were interviewed about the effect of realism in VRP, using a new VRP Role-framework based on six dimensions. Results showed that VRP evokes strong negative and positive emotions. Different types of realism evoked confusion around \ufb01delity and pornography and triggered different relationship boundaries, roles, and rules. Feelings of betrayal and \ufb01delity seemed less when the part- ner experiences 360\u00b0 recorded VRP (VR-type-dimension) alone (companion- dimension). Acceptance and confusion appear high around shared computer- generated experiences with control over avatars (interactive-dimension) that look like the self (resemblance-dimension). Feelings of doubt and betrayal seem high when the partner experiences VRP with strangers using realistic-looking avatars (realism-dimension) that resemble (well)known persons or the partner. This study helps companies explore ways to improve VRP content while considering ethical questions society raises concerning VRP\u2019s impact on relationships. Keywords: Virtual Reality \u00b7 Realism \u00b7 Pornography \u00b7 Fidelity \u00b7 Relationship \u00b7 Sexuality 1 Introduction The pornography industry is often viewed as one of the leading innovators and investors in developing digital technologies (Wood et al. 2017). One of the more recent areas explored by the industry is pornography, leading to many new ways individuals and couples can access, experience, and participate in Virtual Reality Pornography (VRP). While some companies, for example, are expanding their stereoscopic 360-degrees (360\u00b0) cameras to capture sexual content, other companies are switching to computer- generated VRP (Simon and Greitemeyer 2019). Both forms have their advantages and disadvantages. For instance, 360\u00b0 pornography seems more accessible (less expensive) and complex to produce. At the same time, computer-generated pornography provides \u00a9 The Author(s), under exclusive license to Springer Nature Switzerland AG 2023 T. Jung et al. (Eds.): XR 2022, SPBE, pp. 319\u2013331, 2023. https:\/\/doi.org\/10.1007\/978-3-031-25390-4_28","320 E. Cijntje and M. S. van Gisbergen more means of interaction and a more comprehensive range of possibilities to alter the Virtual Worlds and the people acting in them, including how the user is portrayed. Accordingly, the industry experiments with these new technologies available to create Virtual Reality (VR) representations of the porn actors and representations of the user and their (ex)partner. On the one hand, the industry is focused on helping consumers to create lookalikes of real people (including celebrities and ex-partners) to be used in VRP, using new technologies to capture real persons with accurate movements, such as Photogrammetry based Volumetric Capturing studios (VRman 2020a) as well as new means provided in game engines such as Sickos and Virt-a-Mate (Moran 2019). How- ever, this might also mean that the industry is unconsciously helping people to make VRP without the consent or knowledge of the (ex)partner, even using new game engine technologies like Epic meta-humans without permission (Cole and Maiberg 2019). These developments have also been coined the term digisexuality (McArthur and Twist 2017). It refers to technologies that mediate a connection (communication) with a human partner (e.g., sexting, dating applications, and online pornography). It also refers to new forms of sexual experience using a digital partner through VR, Augmented Real- ity, and Arti\ufb01cial Intelligence (McArthur and Twist 2017). It is believed that immersive technologies (digisexuality) will generate a billion-dollar adult industry market, posi- tioning it to potentially become the third-biggest VR entertainment sector in the U.S. by 2025 (Booton 2015). The lockdowns and social distancing due to the COVID pandemic might further increase the impact and usage of VRP. Furthermore, the pornography web- site Pornhub reported a drastic increase in viewers and subscribers during the COVID pandemic (Pornhub 2020). However, it is unclear how these new digisexuality-technologies in\ufb02uence people\u2019s experience with Virtual Reality pornography, notably how this, in turn, affects their arousal level and image and beliefs concerning their relationships and feelings of \ufb01delity and sexual aversion. Especially the idea that these new technologies provide a much more realistic experience with more possibilities to create digital characters that highly resemble real-world persons might cause severe concerns about the effect this has on relationships. In addition, this will raise social and ethical concerns. Previous studies often dealt with differences and similarities in experience and attitude between VRP and pornography through traditional media, often revealing that VR increases the sexual presence and arousal (Milani et al. 2021). However, these studies do not incorporate all new technologies and different means for high realism and (self-) representation within the research design, mainly because many technologies did not yet exist or were too complicated and expensive to incorporate in VR. In addition, due to the speed at which high-level realism VRP has developed, there is a lack of research on the effects of relationships on topics such as intimacy and feelings of \ufb01delity (Bloxsome et al. 2007; Attwood and Smith 2014). On the other hand, an overview of research is missing as a framework for describing these possibilities. These overviews have yet to have been created. Consequently, the material used in previous studies has been lacking on information on where it would \ufb01t in this framework. Therefore, this study is focused on creating such a framework by inves- tigating the effect of realism in VRP among women in a relationship. It is mainly focused on self-reported behaviour, imagination, and attitude concerning the use of different roles","Arousing Real or Real Threat? 321 the partner could choose within VRP and the effect that has on the perception of \ufb01delity (betrayal), emotions (negative and positive feelings), the relationship itself (roles, rules, and boundaries) as well as the de\ufb01nition and understanding of pornography itself. 2 Theory The increase in VR pornography usage also opened new \ufb01elds of scienti\ufb01c research on, among others, the impact of VRP (Elsey et al. 2019; Simon and Greitemeyer 2019). It raised new questions on the impact VRP has on relationships, as the effect may differ from traditional pornography. Due to speci\ufb01c technologies used in VR that relate to presence, proximity, perspective, point-of-view, place (van Gisbergen 2019), and the ability to create very realistic looking avatars and embodied agents, VRP gives the impression of being physically present, which might increase the feeling of participation in the sexual activity (Elsey et al. 2019). These new technological VR developments raise questions on whether watching pornography in VR also affects the perception of \ufb01delity. Positive and negative feelings towards using new technologies in pornography make couples establish new roles, rules, and boundaries in the relationship, leading to a possible change of interaction (Hertlein 2012). Several studies have been conducted on sexuality and advanced technology, such as sexbot usage and the male\u2019s and female\u2019s level of arousal while using VR headsets. Moreover, most of these studies show an increase in sexual arousal when comparing VR with traditional media for men (e.g., Dekker et al. 2020; Simon and Greitemeyer 2019) and women (Milani et al. 2021), but not always for women (Elsey et al. 2019). However, research on the effect of realism in VRP on intimate relationships and \ufb01delity risk (perception) among women is scarce. On the one hand, adverse effects can be expected. New VR technologies allow a person to connect with a wide array of available partners, permit secret relationships, and mimic the breach of an agreement of relationship rules identical to of\ufb02ine in\ufb01delity (Baker 2007; Whitty and Quigley 2008; Hertlein 2012). According to researchers, cyber- sex has become one of the main factors in couple\u2019s separations and divorces because, according to researchers, the rules of online interaction with individuals other than the actual partner hinder the behaviour within an of\ufb02ine relationship and increase potential sexual or Internet addiction (Barak and Fisher 2002; Schneider 2003; Underwood and Findlay 2004; Hertlein 2012). Couples who are insecurely attached and are not satis- \ufb01ed in their relationships may use VR technology to check up on one another, confront each other, or even avoid each other (Dijkstra et al. 2010; Schnurr et al. 2013; Coyne et al. 2011). On the other hand, VRP activities might enhance intimacy and closeness experienced between partners (McKenna et al. 2002). Couples may use different forms of technology to engage with and deepen the connection with their partners (Hertlein 2012; Hertlein and Blumer 2013; Coyne et al. 2011). 2.1 The Virtual Reality Pornography Role Framework However, this means that these technologies likely make it possible to create new roles and forms of self-representation with different levels of (perceived) realism within VRP.","322 E. Cijntje and M. S. van Gisbergen Equally important, these different roles and forms may differ in effect VRP has on experience, \ufb01delity, relationships, and even on the perception of what is considered pornography and \u2018online sexual activity\u2019. To understand and examine the effect of realism in VR, we created a framework (see Fig. 1) of VRP based on the following six dimensions: (1) companion, (2) resemblance, (3) familiarity, (4) realism, (5) type of VR and (6) interaction. The \ufb01rst dimension, companion, deals with the question of whether VRP is experienced together (real-time) with a real person (either being the partner or someone else) or solitary computer- mediated with a recorded actor or an avatar not controlled by a real person. The second dimension, resemblance, deals with whether the user and companion embody the self, the partner, or a stranger. The third dimension deals with the level of familiarity of the \u2018performing\u2019 actors\/characters; whether they look like someone known in private (such as a friend), are known in public (such as a porn star or famous persona) or represent strangers. The fourth dimension deals with the level of realism (appearance, behaviour, and resemblance) of the actors and characters. Related to realism is the \ufb01fth dimension, the type of VR that can either be computer-generated or 360\u00b0 recorded. Lastly, the sixth dimension represents the level of interactivity that ranges from entirely static (like in traditional pornography observed via television or online) to interactive (as in game- based pornography). Although 360\u00b0 recorded VRP can have interaction elements, such as special effects and menu-based click-through 360\u00b0 scenarios, it is generally not possible to interact with the actors. Fig. 1. The Virtual Reality pornography role framework The VR pornography framework is used in this study as a guiding principle and representation of possible VR pornography situations for women to re\ufb02ect on how they would feel if their partner used VR pornography. In addition, we have investigated the materials used in existing VR pornography studies without claiming completeness to see where they could be mapped within the framework. The results show that none of the studies addressed in this paper dealt with consuming pornography with a stranger or with the partner represented and interacting as themselves or someone else inside the VRP environments. In addition, almost all studies dealt with 360\u00b0 recorded pornogra- phy or static Computer-Generated pornography that did not allow for self-embodiment. In addition, many studies did not describe the materials according to this framework, making it hard to compare effects.","Arousing Real or Real Threat? 323 3 Method Being able to form mental representations of VRP that have not been created yet due to the newness of the technologies involved and to understand what emotions are evoked by females and the impact VR pornography has on the rules, roles, and boundaries of their relationship, this study explored the heterosexual female\u2019s emotions if their partner would use VR pornography. This study conducted in-depth interviews (from September to November 2019) with thirteen heterosexual females living in the Netherlands because of its high ranking in the technology readiness on a global scale and high-quality digital connectivity (WIPO 2021), making it more accessible and safer to include female\u2019s participation in the research. Thus, this exploratory approach, a qualitative research methodology, is designed to research the phenomenon and its invariant structure, which is suitable for this research as this approach deals with people\u2019s perceptions and meanings, attitudes and beliefs, and feelings and emotions of common phenomena (Creswell and Poth 2016; Denscombe 2010). 3.1 Participants This research is based on purposive sampling (Dudovskiy 2016), designed to provide in-depth and detailed information about all phenomena under investigation. Purposive sampling was chosen to deal with the sensitive topic at hand. To participate, the females had to be comfortable talking about and viewing pornographic content and engaging in conversations about sexual activities within the relationship. According to Renzetti and Lee (1993), any topic related to sex is sensitive because they deal with intimate, discreditable, or incriminating behaviour. During the execution of this research, ethi- cal issues, such as anonymity, con\ufb01dentiality, and researchers\u2019 potential impact on the participants and vice versa, were taken into consideration on behalf of the participants\u2019 well-being due to the nature of the topic (Renzetti and Lee 1993). The type of purposive sampling that was used for this speci\ufb01c research is heterogeneous sampling, also known as maximum variation sampling (Dudovskiy 2016). Through purposive sampling, it was possible to capture this broad range of criteria that are otherwise dif\ufb01cult to acquire upfront (Purposive Sampling n.d.), making sure a broad range of perspectives could be acquired around complex topics concerning \ufb01delity and arousal of the self and partner. Combined with the heterogeneous sampling, focussing only on females made it possible to classify similarities in themes that are noticeable across the sample. Four selection criteria were used in this study (1) participants must be female; (2) they must be heterosexuals; (3) single or in a relationship; and (4) they must be over 20 years old to ensure no minors were involved. Research by Hald (2006) showed a signi\ufb01cant gender difference in popularity rates of pornography consumption and usage patterns. Overall, it was believed that females consume less pornography measured by frequency and time and would use pornography less often on their own than men. Furthermore, they claim that men have more varied preferences for pornographic content, preferring a more comprehensive range of hardcore pornography but less interested in softcore pornography than women (Hald 2006). In addition, studies found positive effects of pornography on relationships that have commonalities and differences between males and females. Research showed, for instance, that both men and women can perceive","324 E. Cijntje and M. S. van Gisbergen online pornography usage as treachery; however, many women also doubt whether their partner still loves them and is committed to the relationship when he uses pornography (Poulsen et al. 2013). For this reason, the focus of this study is on women only. This gender choice also reduced the risk of non-participation or restriction in open dialogue, as women often prefer not to talk about sex with their intimate partner to avoid the partner\u2019s feelings, fear of rejection, or being misunderstood (Herbenick et al. 2019). The age of the participants ranged from 20\u201343 years old, and seven of the thirteen participants were involved in a relationship. We asked for relationship duration, which can affect pornography use and sexual quality (Poulsen et al. 2013). The participants (and partners) all have experience with pornography through traditional media but did not have experience with VRP (see Table 1). Additionally, the decision to recruit single heterosexual females was to explore whether being in a relationship or single would evoke similar or different emotional expressions. Table 1. Participants age, relationship status and type of interview (n = 13) Names Age Relationship Duration Tinder Interview R01 Aria 31 Single \u2013 No Face-to-face R02 Maya 32 Single \u2013 No Face-to-face R03 Nadiya 34 Single \u2013 No Face-to-face R04 Nelli 41 Single \u2013 No Face-to-face R05 Melody 43 Single \u2013 No Face-to-face R06 Joy 31 Relationship 8 months Yes Video Call R07 Natalie 28 Married 1 year No Video Call R08 Leia 32 Relationship 2 years Yes Video Call R09 Jessica 24 Relationship 3 years No Face-to-face R10 Carly 25 Relationship 4 years No Face-to-face R11 Megan 31 Relationship 5 years No Video Call R12 Karla 30 Relationship 8 years No Face-to-face R13 Vada 29 Relationship 9 years No Face-to-face 3.2 Measures Each interview was conducted live face-to-face or through a video call (camera on) to make the participants feel comfortable. The interviews started with a series of questions based on the VRP Role Framework and the Couple and Family Technology framework. Topics concerned emotions and feelings around VRP, digisexuality, realism, and resem- blance in VRP and the emotions this can trigger. After the initial questions, participants were asked to think aloud while being confronted with three short videos showcas- ing visual examples of the usage of VRP (among others taken from the Net\ufb02ix series","Arousing Real or Real Threat? 325 Black Mirror Striking Viper). The interviews ended with questions regarding allowing their (potential) partner to use VRP and the expected outcomes of their relationship. Throughout the data analysis, the following themes were identi\ufb01ed: Technology Readi- ness, human interaction, the need for VRP, solutions for intimate problems, freedom, unfaithfulness, communication, embodiment, and denial. Every theme was analysed separately to link the emotions expressed in the outcome and the VR realism role frame- work. The interviews ended with questions regarding allowing their (potential) partner to use VRP and the expected outcomes of their relationship. 4 Results This study showed that if the partner of the female participants were to use VR pornog- raphy, they would experience both positive and negative emotions while having mixed attitudes towards the partner based on the level of realism (role and form) and type of VRP. It also showed that emotion is an imperative factor in how rules, roles, and boundaries would be implemented in the relationship if VRP was used. 4.1 Effects within the Couple and Family Technology Framework According to the researchers, based on the relevance of VRP and after going through the literature review, this study also showed that the Couple and Family Technology frame- work theory (Hertlein and Blumer 2013) had two gaps. The \ufb01rst gap in the framework found by the researchers was that the ecological in\ufb02uences presented in Hertlein and Blumer\u2019s (2013) study in\ufb02uence the change in structure and process in the relationship are oriented toward online usage (e.g., Internet addiction, online dating, online in\ufb01delity) instead of advanced technology usage. There is also the perspective that underscores eco- logical in\ufb02uences, shifting focus to the internet properties and interactive technologies that inspire changes in relationships (Hertlein 2012). Because of this, the researchers searched through the collected data to \ufb01nd out what other ecological in\ufb02uences applied to advanced technology\u2014in this case, VR (in particular VRP). Therefore, new ecologi- cal in\ufb02uences (Representation, Interaction, Communication) were added to the existing framework that is more suitable for advanced technology (in connection to sex and sex- uality) in the Couple and Family Technology framework (Hertlein and Blumer 2013). The add-ons to the framework make it possible for this model to be used for online and advanced technology research purposes (see Fig. 2). The second gap in the framework found by this study\u2019s researchers was that the framework does not focus on the factor (emotions) that triggers the in\ufb02uence of changes to structure and process in a relationship. Adding emotion to the framework as a medi- ating variable explains the relationship between the independent (ecological in\ufb02uences, change to the structure, and change to process) and the dependent (emotions) variables (see Fig. 2).","326 E. Cijntje and M. S. van Gisbergen Fig. 2. Extended couple and family advanced technology framework 4.2 Effects Within the VR Realism Role Framework All participants stated that VRP is more dangerous than conventional 2D pornography and online pornography, as it feels more intimate and personal and might have a high risk of cheating. The results indicated that VRP evokes stronger positive and negative emotions than pornography through traditional media due to a higher level of perceived realism. However, the results also showed that these effects depend on the representa- tion and role taken within the VRP Role Framework. The \ufb01rst dimension within the framework, \u2018companion,\u2019 is already an important one as VR allows for new roles which immediately confuse participants in the extent of the boundaries between what can be considered pornography and what can be seen as cheating having sex with another per- son. Especially interacting in VRP with a stranger was considered \ufb01delity and no longer pornography, especially when it repeatedly happens with the same person and if their relationship is (sexual) not good, regardless of other dimensions such as the level of familiarity and realism. On the contrary, that same dimension also seems to evoke a neu- tral or positive attitude towards the partner experiencing VRP if she (herself) controls the character. R03: \u201cIf I am the avatar and I am playing me as the avatar, then it is not cheating because it is me. But if I am the avatar but you are playing me with my partner, then, yes, there is an issue right there, and that is cheating. Unless I am aware of it and have given my consent and then again it is not cheating. But it is just a complicated mess\u2026\u201d. R13: even if it [the avatar] is me, it is porn, as it is still an image that re\ufb02ects sexual activities. R09: I would also want to be part of it (laughing). I would even want like to be a man\u201d. The second dimension, resemblance, especially the possibility of creating charac- ters and embodied agents in VRP, evoked negative and positive emotions depending on the object of representation (third dimension \u2018familiarity\u2019). If the character re\ufb02ects an unknown person, it is more accepted as porn where the partner enjoys fantasies (espe- cially for solitary experiences) or role-play (in case of a collective experience). If the","Arousing Real or Real Threat? 327 character looks like an actual porn star, it evokes anger, disgust, and fear. If the char- acter looks like a famous movie star or singer, a sexier or naked person, participants have mixed feelings but consider it a way the partner could live out his fantasy. These participants do not consider their partner cheating but would still feel anger, sadness, and disgust. R07: \u201c\u2026I would be very jealous of the avatar he would make. Because nobody is perfect, and life is about accepting each other\u2019s imperfections\u2026he can make a perfect body or character\u2026 It would make me feel I compete with something better and prettier than me and that I will lose \u2026\u201d If it represented an anime character, it causes confusion (ranging from no competition as it is unreal to feelings of paedophilia). If it resembles a person the woman knows in person, it evokes anger, sadness, disgust, and fear. If the character is a computer-generated replica of herself (digital twin), it provides a sense of happiness (con\ufb01dence booster) as well as surprise and sadness (weirdness). When the partner uses a digital twin of her, it elicits feelings related to relief and trust. Relief is related to the fact that their partner used them as the main character instead of someone else. However, the women differed in their opinion on whether this would be considered a form of cheating. Nevertheless, it also raised emotions like anger and aversion, as it would be unclear why their partner would use VR rather than engage in \u2018reality\u2019. Rx: \u201cI would feel relieved that my partner uses me as the main character instead of someone else, but I am not sure if it would also feel like cheating, and I would want to know why he uses me in porn and not in real life\u201d. R13: \u201cI would be \ufb02attered (laughing)\u2026I am hot\u2026\u201d If the digital twin would also be controlled by herself, it would not be regarded as unfaithfulness but instead as quality time with their partner (social VRP). If the character looked like herself but were controlled by a third person, it would give the female a feeling of anger, sadness, disgust, and fear. R03: The avatar looking like me does not mean it is OK because I am not doin\u2019 it with you\u2026my resemblance doesn\u2019t make it OK. Because if I would have a twin sister and he sleep with her\u2026it would be cheating because it is not me!\u201d The research shows that level of realism and type of resemblance strongly in\ufb02uence the partner\u2019s approval of using VRP, although some only allow it when they are together as a couple in the VRP environment and stress the possible bene\ufb01ts for long-distance relationships. Other reasons mentioned for using VRP were to improve their sex life (more creativity and possibilities) and please their partner and decrease the chances of the partner \ufb02irting with someone else in real life and the probability of him developing intimate emotions for another person or an embodied agent in the VR environment. These reasons seem to be more connected with females who have been with their part- ners longer. Most participants also stressed the importance of communication: the more openly it is discussed, the more likely it is to accept VR pornography.","328 E. Cijntje and M. S. van Gisbergen R02: \u201cI am me and you cannot create me in VR\u2026none of this stuff is something that I would forbid [but] I\u2019d like to have a conversation about it\u2026to understand where it\u2019s coming from\u201d. R13: I think it would kind of count as cheating if you don\u2019t talk about it. 5 Conclusions This study reveals various human emotions and gives insight into the prevalence of VR pornography (consumption), the level of realistic content and behavioural characteristics toward the male being active with VR pornography, and the expected effects on the (structure, rules, and boundaries) within the relationship. Although further follow-up studies are needed to study the effect of high realism VR pornography using quantitative methods in which participants can experience it themselves, this study shows that VR pornography seems to differ from pornography through traditional media in terms of experience, expectations, and perception, provid- ing new opportunities as well as risks for (sustaining) intimate relationships. Of course, to better understand the effect of VRP on relationships, the research would bene\ufb01t from follow-up studies using a quantitative design and including the male perspective and other (non-heterosexual) relationship types. In addition, to avoid the newness effect (demonstrating unrealistic VRP experiences, behaviours, and expectations), repeated exposures and including VRP experienced participants is recommended. Moreover, this study demanded much imaginary power from participants as they could not experience VRP, which likely has moderated the \ufb01ndings making them either too extreme (vivid imagination) or too mild (regarding it as the same as 2D mediated experiences). Regard- less of these important recommendations to be incorporated in future studies, this study already highlighted some important steppingstones toward a better understanding of the differences (and similarities) between VRP and porn through traditional media. Now VR has entered the domain, starting with a better notion of what pornography means, adding to the body of knowledge of what pornography means with the rise of new digital and immersive technologies (see also Ashton et al. 2019). More research is needed to gain a better conceptual understanding of what VRP means or how VR affects our understanding of what is considered pornography. In many studies, pornography is considered an experience with or without a partner in which sexually interactive online behaviour, such as viewing a live webcam show or participating in live sex chat, is excluded from the de\ufb01nition of pornography for the participants (e.g., Kohut et al. 2016). However, this study shows that VRP allows for more and different interactive roles, which stretches the de\ufb01nition of interactive behaviour and, as such, needs further examination on how this affects relationships and perception of pornography. Second, this research provides a means to compare results with research yet to be conducted with more experienced VRP users. The medium, and as such, the understanding of it is still shifting, raising doubts on how to interpret the VR experiences as one of the women (R02) expresses it: \u201cSo confusing, you know that it\u2019s not real, but it is real\u2026maybe in ten years this is what we will be doing\u201d. This study provides an initial baseline to explore changes over time and go from perceived feelings and expected behaviour to experienced behaviour based on what females feel when their partner uses","Arousing Real or Real Threat? 329 VR pornography in real life. Moreover, it makes comparisons between the different forms of VRP with pornography through traditional (digital) media more equal. In addition, it would also help the females understand why their partners would engage in all these types of VRP. Understanding the male partner\u2019s behaviour, will also help understand how VR in\ufb02uences the conceptual understanding of VR, or as one participant clari\ufb01es: \u201cwhat would be the difference between watching porn and doing this in VR?\u2026 it is a dif\ufb01cult question\u2026it is a close call\u2026if it is used as a substitute for pornography, I would say yes [it is pornography]\u201d. Although VR has made the understanding of pornography and its effect on arousal levels and relationships more complex, this study provides a framework to gradually categorize VRP into more comprehensive parts, making it possible to guide research and ethical discussions around the societal and industry impact of VRP today, while taking into account immersive XR-technologies of tomorrow. Acknowledgements. The authors would like to thank Silke Hassreiter for her valuable comments during the research. References Ashton, S., McDonald, K., Kirkman, M.: What does \u2018pornography\u2019 mean in the digital age? Revisiting a de\ufb01nition for social science researchers. Porn Stud. 6(2), 144\u2013168 (2019). https:\/\/ doi.org\/10.1080\/23268743.2018.1544096 Attwood, F., Smith, C.: Porn studies: an introduction. Porn Stud. 1(1\u20132), 1\u20136 (2014). https:\/\/doi. org\/10.1080\/23268743.2014.887308 Bloxsome, E., Kuhn, K.: The pornography and erotica industries: lack of research and a need for a research agenda. In: Wymer, W (ed.) Proceedings of the 2007 International Nonpro\ufb01t and Social Marketing Conference, pp. 196\u2013205 (2007). https:\/\/eprints.qut.edu.au\/27718\/ Booton, J.: Porn industry\u2019s billion-dollar new frontier. MarketWatch (2015). https:\/\/www.market watch.com\/story\/how-the-future-of-virtual-reality-depends-on-porn-2015-07-15 Cole, S., Maiberg, E.: \u201cThey Can\u2019t Stop Us:\u201d People Are Having Sex With 3D Avatars of Their Exes and Celebrities. VICE (2019). https:\/\/www.vice.com\/en\/article\/j5yzpk\/they-cant-stop-us- people-are-having-sex-with-3d-avatars-of-their-exes-and-celebrities Coyne, S.M., Stockdale, L., Busby, D., Iverson, B., Grant, D.M.: \u201cI luv u:)!\u201d: a descriptive study of the media use of individuals in romantic relationships. 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Research Methodology (2016). http:\/\/www.research- methodology.net","330 E. Cijntje and M. S. van Gisbergen Elsey, J.W., van Andel, K., Kater, R.B., Reints, I.M., Spiering, M.: The impact of virtual reality versus 2D pornography on sexual arousal and presence. Comput. Hum. Behav. 97, 35\u201343 (2019). https:\/\/doi.org\/10.1016\/j.chb.2019.02.031 Hald, G.M.: Gender differences in pornography consumption among young heterosexual Danish adults. Arch. Sex. Behav. 35(5), 577\u2013585 (2006). https:\/\/doi.org\/10.1007\/s10508-006-9064-0 Herbenick, D., Eastman-Mueller, H., Fu, T.-C., Dodge, B., Ponander, K., Sanders, S.A.: Women\u2019s sexual satisfaction, communication, and reasons for (no longer) faking orgasm: \ufb01ndings from a U.S. probability sample. Arch. Sex. Behav. 48(8), 2461\u20132472 (2019). https:\/\/doi.org\/10.1007\/ s10508-019-01493-0 Hertlein, K.M.: Digital dwelling: technology in couple and family relationships. Fam. Relat. 61(3), 374\u2013387 (2012). https:\/\/doi.org\/10.1111\/j.1741-3729.2012.00702.x Hertlein, K.M., Blumer, M.L.C.: The Couple and Family Technology Framework, 1st edn. Routledge, Abingdon (2013). https:\/\/doi.org\/10.4324\/9780203081815 Kohut, T., Fisher, W.A., Campbell, L.: Perceived effects of pornography on the couple relationship: initial \ufb01ndings of open-ended, participant-informed, \u201cbottom-up\u201d research. Arch. Sex. Behav. 46(2), 585\u2013602 (2016). https:\/\/doi.org\/10.1007\/s10508-016-0783-6 McArthur, N., Twist, M.L.C.: The rise of digisexuality: therapeutic challenges and possibili- ties. Sex. Relat. Therapy 32(3\u20134), 334\u2013344 (2017). https:\/\/doi.org\/10.1080\/14681994.2017. 1397950 McKenna, K.Y.A., Green, A.S., Gleason, M.E.J.: Relationship formation on the Internet: what\u2019s the big attraction? J. Soc. Issues 58(1), 9\u201331 (2002). https:\/\/doi.org\/10.1111\/1540-4560.00246 Milani, S., Jabs, F., Brown, N.B., Zdaniuk, B., Kingstone, A., Brotto, L.A.: Virtual reality erotica: exploring general presence, sexual presence, sexual arousal, and sexual desire in women. Arch. Sex. Behav. 51(1), 565\u2013576 (2021). https:\/\/doi.org\/10.1007\/s10508-021-02111-8 Moran, M.: Sickos share Virtual Reality porn models of celebs and ex-girlfriends for sex. Dai- lystar (2019). https:\/\/www.dailystar.co.uk\/news\/latest-news\/sickos-share-virtual-reality-porn- 20928512 Pornhub: Coronavirus Insights. Pornhub Insights (2020). https:\/\/www.pornhub.com\/insights\/cor ona-virus Poulsen, F.O., Busby, D.M., Galovan, A.M.: Pornography use: who uses it and how it is associated with couple outcomes. J. Sex Res. 50(1), 72\u201383 (2013). https:\/\/doi.org\/10.1080\/00224499.2011. 648027 Purposive sampling: L\u00e6rd Dissertation (n.d.). https:\/\/dissertation.laerd.com\/purposive-sampling. php#explained. Accessed https:\/\/dissertation.laerd.com\/ Renzetti, C.M., Lee, R.M.: Researching Sensitive Topics. SAGE Publications, Thousand Oaks (1993) Schneider, J.: The impact of compulsive cybersex behaviours on the family. Sex. Relat. Therapy 18(3), 329\u2013354 (2003). https:\/\/doi.org\/10.1080\/146819903100153946 Schnurr, M.P., Mahatmya, D., Basche, R.A.: The role of dominance, cyber aggression perpetration, and gender on emerging adults\u2019 perpetration of intimate partner violence. Psychol. Violence 3(1), 70\u201383 (2013). https:\/\/doi.org\/10.1037\/a0030601 Simon, S.C., Greitemeyer, T.: The impact of immersion on the perception of pornography: a virtual reality study. Comput. Hum. Behav. 93, 141\u2013148 (2019). https:\/\/doi.org\/10.1016\/j.chb.2018. 12.018 Underwood, H., Findlay, B.: Internet relationships and their impact on primary relationships. Behav. Change 21(2), 127\u2013140 (2004). https:\/\/doi.org\/10.1375\/bech.21.2.127.55422 Van Gisbergen, M.S.: Digital deja vu known as Virtual Reality. In: Ketelaar, P., Demir, S., Aarts, J. (eds.) 23 Innovations in Digital Communication: Move Beyond Speculations and Master Mediated Communication, 1st edn., pp. 319\u2013323. BIS Publishers (2019) VRman: BadoinkAR - VR Porn Site Launches Augmented Reality Porn. Immersive Porn (2020). https:\/\/immersiveporn.com\/badoinkar-vr-porn-site-augmented-reality-porn\/","Arousing Real or Real Threat? 331 Whitty, M.T., Quigley, L.L.: Emotional and sexual in\ufb01delity of\ufb02ine and in cyberspace. J. Marital Fam. Ther. 34(4), 461\u2013468 (2008). https:\/\/doi.org\/10.1111\/j.1752-0606.2008.00088.x WIPO: Global Innovation Index 2021: Tracking Innovation through the COVID-19 Crisis (No. 14). World Intellectual Property Organization, Geneva (2021). https:\/\/doi.org\/10.34667\/tind. 44315 Wood, M., Wood, G., Balaam, M.: They\u2019re just Tixel pits, man. In: Proceedings of the 2017 CHI Conference on Human Factors in Computing Systems, pp. 5439\u20135451 (2017). https:\/\/doi.org\/ 10.1145\/3025453.3025762","Being There Creating Home for Migrant and Refugee Women Using Participatory Design Approaches Through Virtual Reality S. Rezaei Rashnoodi and M. S. van Gisbergen(B) Academy for AI, Games and Media, Breda University of Applied Sciences, Breda, The Netherlands {rezaeirashnoo.s,gisbergen.m}@buas.nl Abstract. The growth of migrants and refugees puts pressure on the building of temporary settlements. Most are designed based on functional aspects, espe- cially during Covid crisis. Emotional well-being connected to the notion of home is missing, impeding an inclusive community. Being There is a VR-experience of migration spaces developed through participatory-design approaches centred around needs connected to home. Thematic analysis based on 28 interviews with Latin-American migrant\/refugee women and volunteers, revealed the meaning of home, based on: culture, temporary transition, togetherness, and journey. The insights were used to create the VR animations (of the journey), the ideal temporary space, the interactions (with migrant voice-overs) and Volumetric-Captured char- acter scenarios. It revealed the importance and possibilities to translate notions of home into VR-experiences to raise empathy and awareness for the importance of designing settlements regarding sense of home and shows how VR helps architects to understand, design and communicate temporary spaces. Keywords: Virtual Reality \u00b7 Participatory design \u00b7 Refugees & migrants \u00b7 Women \u00b7 Architecture \u00b7 Home \u00b7 Temporary settlement 1 Introduction Although migration has been present in society for a long time, the large number of migrants and refugees around the world provide persistent challenges concerning organ- isation, acceptance, and inclusion. In 2015 the number of migrants surpassed 244 million (UN General Assembly 2016). And while most of them move without incident, there are approximately 82.4 million forcibly displaced persons, including over 26,4 million refugees, 4.1 million asylum seekers and over 48 million internally displaced people. Approximately 50% of all people displaced across borders are women and girls. More- over, 42% (35 million) of the forcibly displaced people are children below 18 years of age (Refugee data \ufb01nder 2021). During 2020 more than 11.2 million people had to \ufb02ee, compared to 11.0 million in 2019, due to several crises (UNHCR 2021). Many countries, aspire to be a safe inclusive country for all citizens to live and work in. However, the \u00a9 The Author(s), under exclusive license to Springer Nature Switzerland AG 2023 T. Jung et al. (Eds.): XR 2022, SPBE, pp. 332\u2013345, 2023. https:\/\/doi.org\/10.1007\/978-3-031-25390-4_29","Being There Creating Home for Migrant and Refugee Women 333 large and increasing number of migrants and refugees poses challenges, especially when it comes to providing safe living conditions. A key challenge concerns the pressure on providing and designing temporary set- tlements which, due to the crisis and temporary context, are predominantly focused on functional aspects; see also the Guidelines on Temporary Protection or Stay Arrange- ments (UNHCR 2014a; UNCHR 2018). The functional design is for instance mainly based on (lack of) space, the number of people that can \ufb01t in one settlement, facilities, and logistics. Although the urge to respond to basic needs in crisis is understandable, covering basic needs, the importance of emotional wellbeing linked to the notion of feeling at home is often neglected (UNHCR 2014a, b; UNHCR 2016). It is important to also include emotional well-being into the design, linked to the notion of feeling at home. This means creating a temporary settlement design based on values connected to home such as identity, safety, social interaction, sense of belonging, security, perception of space as well as engaging with the host community. Not only because a temporary stay often has a much longer duration as planned for, around 76% of refugees are displaced for more than \ufb01ve years (Worldbank 2022a, b), but also as this may affect inclusion within society. Including notions of home within the temporary design, may facilitate the transition process from being (seen as) a migrant or refugee to an active member of the host community. However, this poses two new challenges. First, how to understand and incorpo- rate notions of home into the design of temporary spaces? what makes a temporary refugee\/migrant settlement feel more like home and how concepts of home can be trans- lated into effective designs for temporary refugee settlements within a Latin American refugee\/migrant context remains unclear (Brun and F\u00e1bos 2015; Cristoforetti et al. 2011; Fadlalla 2011; Taylor 2013). To achieve this, a profound understanding of space and expectations of home is needed for migrant as well as refugee women. This challenge is very complex due to the context of a temporary stay where many people must live together in one settlement. In addition, it concerns a temporary stay that includes peo- ple from diverse cultural backgrounds, with various reasons for forced displacement and with different circumstances and experiences during the displacement journey. It is unclear how this context affects the needs and wants when it comes to the integration of notions of home in the design of a temporary stay. And second, the challenge of how to \ufb01nance interior and architectural designs of existing and new temporary settlements that incorporate notions of home. One possible solution could be through donations by the public and surrounding community. However, this poses again a challenge, as how can the community experience the importance of a refugee or migrant-space that includes notions of home, if these settlements are being avoided by the public and community? For these challenges, Virtual Reality (VR) may provide a solution. As VR incorporates technologies that can create presence, a feeling of \u201cbeing there\u201d in the real world. As such, it has the potential to bring the experience of being in migrant or refugee centre to the people (designers, community, and potential donors). This VR strategy might be more effective than trying to convince the community to visit these centres. In addition, VR uses technologies that provide the possibility to reveal and let people experience spaces (spatial presence) that do not yet exist (Krizinski et al. 2021), often even better compared to traditional media (e.g., Paes, et al. 2017). In this case it","334 S. Rezaei Rashnoodi and M. S. van Gisbergen has the potential to show visitors how a refugee centre based on functional aspects looks like (current space) and how it could look like based on design that incorporates home (ideal space). However, to be able to create such a VR experience, research needs to be conducted that not only helps to understand what home means for refugee and migrants, but also helps to translate these insights into the design of the temporary space and the VR experience. In this study we interviewed migrant and refugee women from Latin America, volunteers, and staff at refugee\/migrant settlements. Based on a participatory design methodology, we translated the research insights into the building stones that made it possible to create an interactive virtual experience of a migrant settlement. Creating a VR experience that reveals how refugee settlements can change from a place to be avoided, into a temporary home, where the community can engage with refugees, may stimulate donations to achieve the design changes. By creating an engaging VR experience that includes the notion of home, we hope that migration centres become places that bring the community together in such a way it provides more opportunities for migrant women. This should lead towards a more inclusive community that actively participates in creating an equal society for its new members. 2 Theory In essence this project is based on creating a sense of home in temporary settlements through participatory design to raise awareness, to increase visibility and to create empa- thy. A community can only become resilient with active engagement of all its members (Petcou and Petrescu 2018). Participatory research and design provide a platform that makes this engagement possible both throughout the process and in the outcome (Jones et al. 2013). Through participatory processes research and design are combined by involving the community in a way that social networks of connection are built that results in mutual empowering of its members, especially those who have be \u2018othered\u2019 (Awan et al. 2013). Home as a concept, its emotional weigh and how it is experienced has been the focus of number of studies mostly investigating speci\ufb01c notions such as memory, sensory expe- rience of home, identity and so on (Cieraad 1999, 2002; Mallet 2004; Despres 1991; Grosz 1995; Harris and Berke 1997; Pink 2004; Olesen 2010; Karimi 2013). There is also a vast body literature dedicated to studying home in migration or diaspora regarding different aspects such as identity, religion, gender, and culture (Brun and F\u00e1bos 2015; Taylor 2013; Ahmed 1999; Aidani 2007; Brun and F\u00e1bos 2015; Pahl 2004; Tabassom 2006; Taylor 2013). What was needed for this project was a framework that not only helps to understand the meaning of home but also makes the translation of participatory data into home-based design solutions possible. A framework that incorporates both physical and emotional aspects of home but also elements that are beyond these duality (Rezaei Rashnoodi 2018). The framework includes categories of tangible (objects\/decoration, furniture, physical architectural), intangible (cultural\/daily habits and sensory experi- ence of home) and in-between elements (spatial quality and spatial\/cultural elements). Covering different aspects of home, this framework provides the \ufb02exibility needed for the study of Latin American migrant women and their transitory home. To improve refugee and migrant spaces (and acquire funding to do so), it is important that the community visits these places to experience the space and get in contact with","Being There Creating Home for Migrant and Refugee Women 335 the refugee and migrant women stories. These visits can help raise awareness and create empathy. Visiting these centres for temporary stay, might increase the understanding of the current reality as well as understanding the impact of the change a participatory based design can have in creating homely spaces that are relevant and responsive to the emotional well-being of migrant or refugee women. However, these places are avoided by the community due to reasons as lack of awareness and cultural resentment. This is where VR can provide a solution. Instead of asking people to visit a place, VR brings the place to the people such and the designers and community. Moreover, VR is expected to have much impact when people have no or limited \u2018real\u2019 contact with a speci\ufb01c social group (Gehlbach et al. 2015). The choice for VR, instead of traditional (2D) media, is based on ability of VR to create a feeling of \u201cBeing There\u201d. This sense of presence, of being in a mediated environment that feels real and natural, is grounded on \ufb01ve dimensions (Perspective, Proximity, Point of View, Participation and Place) created through a unique combination of four types of technologies: sensory, interaction, control, and location (Van Gisbergen 2016; Van Gisbergen 2019). Several of these dimensions, like participation (interaction) and space (visceral engagement), have been shown to increase presence (Kors et al. 2016; Steuer 1992) and as such empathy (Herrera et al. 2018). However, a meta-analysis on 43 VR empathy studies revealed it mainly concerns emotional empathy related to feelings of care and concern (Martingano et al. 2021). Creating empathy in return seems to stimulate prosocial behaviour (Eisenberg and Miller 1987), and more helping behaviour (Pavey et al. 2012) such as giving donations to charity (Herrera et al. 2018; G\u00fcrerk and Kasulke 2021). Even more, previous studies indicated that VR experiences result in more engagement and a higher level of empathy for homeless and refugees (conditions) compared to traditional (2D) media (Herrera et al. 2018; Schutte and Stilinovic\u00b4 2017), as well as donation intention (Yoo and Drumwright 2018). This prioritizes VR over other media when it comes to transferring realistic experiences and concepts of space and self. VR can function to improve communicating the concept of (designing) space within a women migrant context. A key advantage of VR is that it incorporates interaction and manipulation technologies. Based upon these technologies it is possible to visualize the change, letting people experience the current situation as well as the ideal situation. In doing so increase the awareness of the bene\ufb01t as well \ufb01nding intentions. In short, new technologies like VR provide a tool to reveal how a refugee settlement can change from a place to be avoided, into a temporary home, where the community can engage with refugees, therefore stimulate donations to achieve these design changes (Krinizki et al. 2021; Van Gisbergen et al. 2019). Especially as the VR experience shows how the donation money will be spent (before and after experiences), which stimulates donation behaviour (Sargeant and Woodliffe 2007). Credibility and authenticity seem to increase, when created based on participatory design, collecting true stories and experiences of migrant\/refugee women to understand the notions of home (Suzuki 2022). This research is aimed at acquiring a better understanding of what home means for migrant\/refugee women to create the \ufb01rst VR migrant settlement experience.","336 S. Rezaei Rashnoodi and M. S. van Gisbergen 3 Method The \ufb01rst step in designing spaces that not only are functional but also feel like home requires deep insights about the meaning of home, the notion of ideal home and the everyday experience of home that could vary for individuals and in different cultures. Given the complexity of the circumstances of migrant women this became even more challenging which was tackled by implementing participatory design approaches. In this study the focus of the VR experience is related to a temporary stay in Mexico for migrant and refugee women from Latin American countries. Mexico is a destination for a growing number of refugees who have been forced to leave their country and seek refuge due to lack of security, con\ufb02icts, and violence (O\ufb01cial Acnur en Mexico n.d.). About 70% of the refugees are women and children. Between January to March (2020), Mexico received over 80.000 registered refugee applications by foreigners. A growth of 34% compared to the last quarter of 2019. Despite the growth in refugee applications, the refugees have remained rather invisible to the public (Cobo and Fuerte 2012; Monroy 2020). The VR experience concentrates around Lamentos Escuchados, which is the only migration centre in Nuevo Leon that provides support and accommodates only migrant women and their children during their stay in Monterrey, with a \ufb02exible policy on duration (up till few months). The centre provides a safe shelter for women and children, but more funding would help realize a more comfortable accommodation. The state of Nuevo Leon is the last stop for many migrant women before crossing the border to the U.S. It hosts more than 100.000 migrants each year with more than 40% being women and children. Despite being in the city centre, the migration centre seems invisible to the community and struggles to acquire funds to sustain. The VR experience, created for the Oculus Quest 2, includes two 360-VR animations that needs to provide context and empathy by telling the story of a refugee journey towards the settlement (intro) and when leaving the temporary settlement (outro). After the intro animation, the centre can, at any location, be visited in two ways (see Fig. 1): (a) experiencing the current space, a digital twin of the centre Lamentos Escuchados, and (b) experiencing the ideal space, how the centre can be improved based on a design that includes notions of home (see Fig. 2). Fig. 1. Being There VR experience journey The user can interact with different objects in each room. Each interaction triggers a voice-over of (the interviewed) migrant women sharing their stories related to home and migration journey and spatial needs. Some interactions are also accompanied by a visual animation (e.g., the TV starts playing or plants receive water and grow). Moreover, some","Being There Creating Home for Migrant and Refugee Women 337 trigger scenes in which the visitor can see migrant women and children use the space, based on Volumetric Captured characters (see Fig. 3). Fig. 2. Example of the current and ideal space of the living room (green halo\u2019s mean interaction objects and blue halo\u2019s represent transportation possibilities) The design of the animations, the ideal space, the voice-overs, the interactions, and the volumetric captured characters, are based on interviews conducted with the women, the staff and the volunteers of migrant and refugee centres. 3.1 Design and Participants The participatory design process was carried out through qualitative in-depth interviews, with an average duration of 1.5 h. The interviews were conducted by interior design stu- dents from the University of Monterrey, under supervision of the responsible researcher (author). A total of 20 migrant and refugee women (aged between 19\u201340) and 8 vol- unteers and staff members (aged between 28\u201362) were interviewed. The participants were the inhabitants of \u201cLamentos Escuchados\u201d and \u201cCasa del Migrante de Saltillo\u201d both located in the Northern state of Nuevo Leon in Mexico. Although temporary space requirements may have a lot of commonalities between refugee and migrant women, they also may differ in challenges, necessities, and perception of home, and may be perceived differently by the host community (UNHCR 2021). Although refugees as migrants often \ufb02ee their country to seek safety, they might receive less empathy as they look for a perma- nent home in Mexico instead of passing through towards the USA like migrants do. As such we conducted a study with both groups to understand the speci\ufb01c similarities and differences between refugees and migrants on the concept and notion of home. During displacement, families are often separated, assets and livelihoods are lost or disrupted, and language barriers, legal constraints and discrimination may arise. The nature of these impacts, and barriers and opportunities, may differ between women and men. However, gender factors are often not considered in development policies and placement programs, and effects are often not monitored on how they may differ between men and women (Worldbank 2022a, b). This is one of the reasons why this study is focused on female refugees and migrants. The participants were recruited through centre of\ufb01cials and with help of UNHCR, ensuring a wide range of migrant and refugee women, using the fol- lowing criteria: (a) different Latin America countries (mostly Honduras, Guatemala, El Salvador, Venezuela, and Mexico) and (b) different relationship and family status (single women, single mothers and married women traveling alone or with family).","338 S. Rezaei Rashnoodi and M. S. van Gisbergen 3.2 Measures and Analysis The topic list was designed using the tangible, intangible and in-between model (Rezaei Rashnoodi 2018), following four categories: (1) memory of home (in country they left) that included topics such as the everyday experience of home, home routines, mem- ory of home and atmosphere at home to create the necessary insights on the notion of home, the cultural element in home practices and the emotional meaning of home for displaced women. (2) The migrant journey to the centre, including topics such as reasons to leave, the route and emotions and the journey challenges and highlights. (3) Perception of the migration centre (current space), discussing topics such usage of the space (individual, social as well as community experiences and expectations concerning the host environment), spatial needs and requirements and improvement ideas. And (4) the ideal home (imagined home in the destination country), which included topics as the upcoming journey, future plans and descriptions and expectations of home and life in the destination country. With the volunteers and staff members a more generic overview of the (history of the) space and inhabitants was discussed (routines, special needs, home and space ideals and restrictions) as well as the impact of COVID on home and space needs. Additional topics included design reasons and possibilities, re\ufb02ections on design changes (ideas), space usage and experiences. 4 Results For most of the women it was very natural to talk about home and the concept as home, due to the emotional context of being a migrant or refugee, creating a strong awareness of the importance as well as missing being at home. On the other hand, it was dif\ufb01cult to talk about home in the sense of what could be improved within the temporary settlements. Not because of being dif\ufb01cult to talk about notions of home, but because the women were already so grateful for the help offered in the centres, they did not feel at place to ask for more (for design improvements related to home). R7: \u201cWell, I don\u2019t ask for anything, I simply thank God and the people who help. I mean [before this centre] me and my son were sleeping in the street\u201d. R19: \u201cThe word home for me means being with my children in a home, in harmony, in peace\u201d. However, analysing the dialogues with the women (and volunteers), thematic analysis showed four important themes connected to home within the refugee and migrant context, that consist of tangible, intangible and in-between elements (Rezaei Rashnoodi 2018). The \ufb01rst theme deals with (1) Culture or the context of Latin America (the memory of home). On the one hand considering cultural, political and spatial modalities within Latin American context, on the other hand, the need to consider that the women come from different countries with their own spatial cultures, routines, and background. This increased the complexity of the process and to construct a common concept of home in the design. Second, (2) the notion of Transitory and temporary homes (perception of the settlement and ideal home) as essential characteristic of migration and refugee centres. This also meant that the design should not be too much personalized into home, to not make the continuation of the journey to dif\ufb01cult. Third, the concept of home","Being There Creating Home for Migrant and Refugee Women 339 was related to (3) Togetherness (the users of the space), being (a) the inhabitants of the migration centre, the Latin American migrant women often with their children, and (b) the staff and volunteers. Another important theme that in\ufb02uenced the concept and needs and wants related to home, was the signi\ufb01cance experience of (4) the migratory Journey. This journey affected the migrant women emotionally and consequently had a strong impact on their perception re-evaluation of their current home and expectations of the temporary and future ideal home. Each theme was divided into subcategories and later coded to be comprehended into four main directions: the design of the animations, the ideal space, the interactions, and the design of volumetric capturing characters and scenarios. 4.1 Home Through Socializing (in the Kitchen) As was anticipated one the most important elements associated with home was sensory experience of home and most signi\ufb01cantly food. The process of preparing, cooking and eating\/sharing food of homeland was immediately connected to the memory of home and hence, creating a homely feeling. This was closely connected to the culture of their homeland (Culture theme) as well as the option to transform something challenging (living with strangers) into something good (Togetherness theme), where space could function to establish connections between people and as such creating a home feeling. The kitchen was mentioned as a place that represents home and embodies and a place of sharing memories and sense family. R4: \u201cMy mom\u2019s food is [reminding of home], because after she moved in with me, I didn\u2019t have to cook, but I cooked the food. All these things are a clich\u00e9 but it\u2019s true. There is Venezuelan food here, but never ever, better than my mum\u2019s food, for sure.\u201d This importance of how the notion of home being represented in the kitchen is used in three different ways within the VR experience: (a) \ufb01rst in the design itself (increasing the kitchen space, organizing, and updating the kitchen space and circulation and furniture and connecting the space openly with the living room). These design changes were based on the stories the women told, triggered by the question about their favourite space in their previous home and description of their ideal home. R9: \u201cIt\u2019s the kitchen [most important space]. It\u2019s the east room, because there you can receive visitors; you can talk and help yourself to a little coffee and share it with the visitors\u2026Oh, I can imagine this [the ideal space] is a large kitchen, eh\u2026 with a large oven to cook\u2026 I can see it\u2026having everything that is needed in a kitchen\u2026\u201d As such, the wall between the kitchen and living room in the ideal space was removed to create more connection and reinforce home (family) feeling, providing the possibility of socialization between kitchen and living room. Second (b), interactions with voice- overs (the quotes) were placed in the kitchen, triggered by clicking on kitchen food or products. These interactions explain the importance of preparing food and socializing in the kitchen on home awareness (and as such the importance of the redesign).","340 S. Rezaei Rashnoodi and M. S. van Gisbergen R4: \u201cHome is\u2026 sitting to eat, although not with everyone at the table, because\u2026 we are such a big family that sometimes we don\u2019t sit at the same time. But asking \u2018how was your day?\u2019\u2026 knowing that everyone is doing well\u201d. Home is embodied through the making and sharing of food and the social interactions around it. More emphasis was put on this in the VolCap scenarios (third usage). It was used in the current space where the visitor can experience two women that do not interact, being disconnected by the wall and as such occupied in their own world (one woman preparing a sandwich, not seeing the other woman who is emptying her drink in the living room and deciding not to enter the kitchen). The redesign provides a better spatial quality and circulation, stimulating social interactions and sharing memories of home through food which can be experienced in the VolCap scenario in the ideal space. Fig. 3. Screenshots of the Volumetric Captured scenes in the current (left) and ideal (right) kitchen space of the VR experience. 4.2 Home Through Safety and Privacy Another important concept of home was related to safety, privacy, and individuality within group context. When talking about home, many women addressed the importance of home as being a safe place as well as a place where you can be yourself in private as well as with others. This was even reinforced by the extremely dangerous journey (migration journey theme). To design (and communicate the importance of) a place that settles between the thresholds of public (including regulations and safety restrictions) and private was one of the main challenges to overcome for this project. R7: \u201cI have a place to rest for me and my son. So that we do not stay on the streets. That\u2019s what is important\u201d. R5: \u201cHome is where you develop your own intimate life, where you can be and do what you really are. It is a place where it is easy to \ufb01nd your way and where there is room for belongings that are important to you. The concept of home through safety and privacy, was translated in three elements in the VR experience: in the refugee journey intro animation, showing dangers and help received stressing the importance of safety (shelter). Second, in the design of the","Being There Creating Home for Migrant and Refugee Women 341 ideal space, for instance creating lockers where the women and children can leave their belongings and for instance in the bedroom giving more protection and privacy in the design of the bunker beds. And third, in the VolCap scenarios, for instance experiencing the arrival of the woman and her son that do not know where to leave private possessions (due to the absence of private storage places) and how the boy can play hide and seek in the ideal bedroom space (Fig. 4). Fig. 4. Screenshots of current (left) and ideal (right) bedroom space 4.3 Home Through Journey Experiences Understanding the concept of home for Latin American women is not complete without considering the journey. These women travel, often alone or only with their children, across different countries to cross the border in Mexico to arrive to the states. For this journey they travel for days, weeks or even months using different forms of transportation (foot, bus, train), bearing harsh climate, going through life threatening situations, and often suffer from abuse or witness others do. Therefore, the spaces provided by these migration centres are truly a refuge until they can plan the rest of their journey and carry on. Like every other notion, in life, being through trauma, alters the notion of home and strengthens (the need for) speci\ufb01c ideals, expectations and values connected to home. As one participant shared: R21: \u201cHome means eh\u2026 the family nucleus where you are, where you feel good, where you are treated well, and where love is.\u201d An important part are the children (partner\/ family) that on the one hand re\ufb02ect home and on the other hand are an important drive for the women to provide a (safe) home. R21: at midnight we went [on a raft with almost 50 people] through a swamp. That was horrible, my daughters were traumatized, we saw crocodiles raising their heads. Many of the stories of the women that relate to the concept of home, spin around family, children, or partners. Ranging from longing for those whom they have left behind, being there at home, to the ones they travel with (to provide a home). For migrant women this has translated home into care. The meaning of home to be perceived as to be able","342 S. Rezaei Rashnoodi and M. S. van Gisbergen to care for loved ones, or a space that gives you the possibility to look after your family. Therefore, in the designs of the space as well as in the VR experience, the combination of safety and children (togetherness theme) and beliefs (cultural theme) is represented. R9: \u201cA home, a home means that you must have this communication with your partner. Well, I believe that a home is when you are with your partner, that is, you have a husband, your children and, well, this is your home. I think that\u2019s a home.\u201d R8: \u201cTo take care of my children, my children\u2019s clothes, food, well\u2026 that. That makes me feel like home.\u201d Examples of how the journey theme was translated in the VR experience, can be seen in the overall theme of the intro and outro animations, in the interactions (e.g., showing interactive maps with the route), in the religious artifacts in the spaces, and by considering children needs in the design of the space, as is re\ufb02ected in one of the VolCap scenarios where a child is playing in the child corner, while his mom is watching TV, something that was dif\ufb01cult in the current space. 5 Conclusions This study showed the bene\ufb01ts of participatory design in creating VR experiences. To include the stories of the people that the experience is about, creates not only more authenticity but also understanding that is crucial for creating VR experiences. This ranges from 360 story animations to the design of the space itself, and from the charac- ter design to the design of the interactions. Including the refugee and migrant women and volunteers in the design, revealed a better understanding of the concept of home based on four dominant themes: culture, temporary transition, togetherness, and jour- ney. This made it possible to create a temporary space with a sense of home, as well as to communicate the importance (empathy) and effect of it through VR experiences. The next step is to evaluate the experience with the community and measure whether the VR experience can raise empathy, and spatial understanding, as well as how this could be enriched through participatory design. Of course, this study could bene\ufb01t from extending the interviews with different groups (reasons and types of displacement, cul- tures, and contexts) and based on different types of settlements and design possibilities. 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E., 59 Be\u00dfler, Daniel, 115 Kim, Boram, 206 Borobar, Adina, 141 Kong, Anthony, 106 Kuo, Tai-Wei, 309 C Campana, Salvatore, 157 L Campos, Fabio, 27 Lacko, J\u00e1n, 231 Cho, Justin, 3, 99 Lee, Bohee, 253 Cijntje, Eunice, 319 Lee, Chun-I., 309 Lee, Jongwook, 206 D Lee, Tae-Heon, 253 Dias, Miguel Sales, 265 Lee, Yonghwa, 243 Loureiro, Sandra Maria Correia, 52, 148, 265 E Elarif, Taha, 87 M Macleod, Kryss, 99 F Mihaescu, Vlad, 168 Felic, Artur, 297 Morren, E. J., 59 G N Gras, Ricard A., 122 Nascimento, Jorge, 148 Guerreiro, Jo\u00e3o, 52 O H Orhei, Ciprian, 141 Hammady, Ramy, 87 Ostertag, Tobias, 297 Hariharan, Anuja, 297 \u00a9 The Editor(s) (if applicable) and The Author(s), under exclusive license to Springer Nature Switzerland AG 2023 T. Jung et al. (Eds.): XR 2022, SPBE, pp. 347\u2013348, 2023. https:\/\/doi.org\/10.1007\/978-3-031-25390-4","348 Author Index P T Park, Jin Ho, 217 Taha, Zaki, 87 Parker, Christopher J., 39 Tang, Jeff Kai-Tai, 106 Pomarlan, Mihai, 115 Tataru, Marius, 168 Porzel, Robert, 115 Tolba, Rahma M., 87 tom Dieck, Mandy Claudia, 3 R Trun\ufb01o, Mariapina, 157 Rezaei Rashnoodi, S., 332 Rihani, Nemeh, 178 V Risling, Monika, 297 van Berlo, Zeph M. C., 72 Rodrigues, Mariana Berga, 265 van Gisbergen, Marnix, 27 Rotaru, Oana, 141 van Gisbergen, Marnix S., 319, 332 Ru\u017eick\u00fd, Eugen, 231 Vert, Silviu, 141, 168 Villar, Joana, 52 S Simpson, James, 282 W Smink, A. R., 59 Woo, Woontack, 134 Smith, Stephen, 27 Wu, Ying, 271 Ssin, Seungyoub, 134 Stikos, Dimitrios, 72 X Suh, Minjeong, 243 Xiao, Fu-Ren, 309 Swenson, Alasdair, 99 Xue, Liangchao, 39"]