This paper presents the use of our multimodal mixed reality telecommunication system to support remote acting rehearsal. The rehearsals involved two actors, located in London and Barcelona, and a director in another location in London. This triadic audiovisual telecommunication was performed in a spatial and multimodal collaborative mixed reality environment based on the “destination-visitor” paradigm, which we define and put into use. We detail our heterogeneous system architecture, which spans the three distributed and technologically asymmetric sites, and features a range of capture, display, and transmission technologies. The actors' and director's experience of rehearsing a scene via the system are then discussed, exploring successes and failures of this heterogeneous form of telecollaboration. Overall, the common spatial frame of reference presented by the system to all parties was highly conducive to theatrical acting and directing, allowing blocking, gross gesture, and unambiguous instruction to be issued. The relative inexpressivity of the actors' embodiments was identified as the central limitation of the telecommunication, meaning that moments relying on performing and reacting to consequential facial expression and subtle gesture were less successful.

This paper focuses on the development and evaluation of a haptic enhanced virtual reality system which allows a human user to make physical handshakes with a virtual partner through a haptic interface. Multimodal feedback signals are designed to generate the illusion that a handshake with a robotic arm is a handshake with another human. Advanced controllers of the haptic interface are developed to respond to user behaviors online. Techniques to achieve online behavior generation are presented, such as a hidden-Markov-model approach to human interaction strategy estimation. Human-robot handshake experiments were carried out to evaluate the performance of the system. Two different approaches to haptic rendering were compared in experiments: a controller in basic mode with an embedded curve in the robot that disregards the human partner, and an interactive robot controller for online behavior generation. The two approaches were compared with the ground truth of another human driving the robot via teleoperation instead of the controller implementing a virtual partner. In the evaluation results, the human approach is rated to be most human-like, with the interactive controller following closely behind, followed by the controller in basic mode. This paper mainly concentrates on discussing the development of the haptic rendering algorithm for the handshaking system, its integration with visual and haptic cues, and reports about the results of subjective evaluation experiments that were carried out.

This paper introduces the concept and discusses the implications of immersive journalism, which is the production of news in a form in which people can gain first-person experiences of the events or situation described in news stories. The fundamental idea of immersive journalism is to allow the participant, typically represented as a digital avatar, to actually enter a virtually recreated scenario representing the news story. The sense of presence obtained through an immersive system (whether a Cave or head-tracked head-mounted displays [HMD] and online virtual worlds, such as video games and online virtual worlds) affords the participant unprecedented access to the sights and sounds, and possibly feelings and emotions, that accompany the news. This paper surveys current approaches to immersive journalism and the theoretical background supporting claims regarding avatar experience in immersive systems. We also provide a specific demonstration: giving participants the experience of being in an interrogation room in an offshore prison. By both describing current approaches and demonstrating an immersive journalism experience, we open a new avenue for research into how presence can be utilized in the field of news and nonfiction.