{"@context":{"aiiso":"http:\/\/purl.org\/vocab\/aiiso\/schema#","arm":"https:\/\/ld4p.github.io\/arm\/core\/ontology\/0.1\/","bf":"http:\/\/id.loc.gov\/ontologies\/bibframe\/","bib":"https:\/\/bibliotek-o.org\/","bibo":"http:\/\/purl.org\/ontology\/bibo\/","cito":"http:\/\/purl.org\/spar\/cito\/","classSchemes":"http:\/\/id.loc.gov\/vocabulary\/classSchemes","dbo":"http:\/\/dbpedia.org\/ontology\/","dce":"http:\/\/purl.org\/dc\/elements\/1.1\/","dcmitype":"http:\/\/dublincore.org\/documents\/2000\/07\/11\/dcmi-type-vocabulary\/#","dcterms":"http:\/\/purl.org\/dc\/terms\/","ebucore":"http:\/\/www.ebu.ch\/metadata\/ontologies\/ebucore\/ebucore","edm":"http:\/\/www.europeana.eu\/schemas\/edm\/","foaf":"http:\/\/xmlns.com\/foaf\/spec\/#","frap":"http:\/\/purl.org\/cerif\/frapo","identifiers":"http:\/\/id.loc.gov\/vocabulary\/identifiers","ids":"http:\/\/id.loc.gov\/vocabulary\/identifiers\/","opaque":"http:\/\/opaquenamespace.org\/","pcdm":"http:\/\/pcdm.org\/models#","phaidra":"https:\/\/phaidra.org\/ontology\/","rdam":"http:\/\/rdaregistry.info\/Elements\/m\/","rdau":"http:\/\/rdaregistry.info\/Elements\/u\/","rdax":"http:\/\/rdaregistry.info\/Elements\/x\/","rdf":"http:\/\/www.w3.org\/1999\/02\/22-rdf-syntax-ns#","rdfs":"https:\/\/www.w3.org\/TR\/rdf-schema\/","relators":"http:\/\/id.loc.gov\/vocabulary\/relators","role":{"@context":{"aut":{"@container":"@list","@id":"http:\/\/id.loc.gov\/vocabulary\/relators\/aut"}}},"schema":"http:\/\/schema.org\/","skos":"http:\/\/www.w3.org\/2004\/02\/skos\/core#","skosxl":"http:\/\/www.w3.org\/2008\/05\/skos-xl"},"@id":"https:\/\/phaidra.ustp.at\/o:7218","bf:note":[{"@type":"bf:Note","skos:prefLabel":[{"@language":"eng","@value":"The research project Immersive Video Interaction (IVI), part of the Immersive Media Lab of the St. Pölten\nUniversity of Applied Sciences, examines fictional cinematic VR pertaining to narration models, interaction\nconcepts, and immersion. The evaluation starts out with good practice examples of cinematic VR with narration-based interaction. In the first sample, 74 projects were included in the catalog. The catalog classifies the given\nprojects by categories such as title, year of publication, producing studio, length, platform, provider, origin,\nnarrative interaction concept, technical interaction concept, and technical platform. Additional criteria for\ninclusion in the study were narrative-based interaction, fictional story, and role of the user. The research question\nis whether the type of technical interaction method, the different number of interaction points, and the user’s role\nin the story influence the sense of \"presence\" in that specific Interactive Fiction in cinematic Virtual Reality. We\nused a mixed-methods approach to answer our research question. In the first phase of the study structure, three\nworks of IFcVR were selected from the sample that were suitable as subjects of investigation. The interactive\nstory structure and technical interaction methods of these IFcVR were analyzed.\nTo better understand the user’s impact on the story, we visualized the story branches with their interaction\npoints. The interplay between interaction, presence, and digital storytelling was reviewed based on user tests.\nDuring user tests, GSR and heart rate were measured to gain insights about involvement at the interaction points\nand a screen capture from the HMD and video recordings from a respondent camera. After the experience, a\ndetection for GSR peaks was carried out, and the results were discussed with the test persons. In addition to\nthe questionnaires and the collection of biometric data, qualitative, semi-structured guided interviews were\nconducted as part of the user test. The research focused mainly on the factors of presence: Spatial Presence,\nEngagement, Naturalness, Interaction, and open questions to encourage discussion. Regarding the biofeedback\ndata, the user tests show that in the three IFcVR, the user’s active role and conscious decision about the story’s\nprogress have an emotional impact on the test users. The evaluation of the user tests through interviews and\nquestionnaires for the presence survey also shows that the users feel present in all films, although the results\nshow significant differences in the different factors of presence.\nThe different amount of interaction points and the role of the user have only a minor impact on presence.\nThis suggests that in the selected IFcVR, neither the role of the users nor the number of interaction points has a\nsignificant effect on the presence. The research shows that the technical interaction method is relevant because\ninteraction points with visual cues reduce presence"}]}],"bf:provisionActivity":[{"@type":"bf:Publication","bf:agent":[{"@type":"schema:Organization","schema:name":[{"@value":"St. Pölten University of Applied Sciences"}]}],"bf:date":["2024-11-27"],"bf:place":[{"@type":"schema:Place","skos:prefLabel":[{"@value":"St. Pölten"}]}]}],"dce:subject":[{"@type":"skos:Concept","skos:prefLabel":[{"@language":"eng","@value":"Cinematic Virtual Reality"}]},{"@type":"skos:Concept","skos:prefLabel":[{"@language":"eng","@value":"Interactive Fiction"}]},{"@type":"skos:Concept","skos:prefLabel":[{"@language":"eng","@value":"Narrative-Base Interaction"}]},{"@type":"skos:Concept","skos:prefLabel":[{"@language":"eng","@value":"Creative Industries"}]},{"@type":"skos:Concept","skos:prefLabel":[{"@language":"eng","@value":"Presence Measurement"}]}],"dce:title":[{"@type":"bf:Title","bf:mainTitle":[{"@language":"eng","@value":"An 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