探討虛擬實境設計因素對博物館績效的影響 - 政大學術集成

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(1)國立政治大學資訊管理學系. 碩士學位論文指導教授:張欣綠博士. 立. 政治大. ‧. ‧ 國. 學. 探討虛擬實境設計因素對博物館績效的影響 y. Nat. n. er. io. sit. Investigating the Impact of Virtual Reality Design Factors aon iv l CMuseum Performance n hengchi U. 研究生：蔡和容中華民國 108 年 6 月. DOI:10.6814/NCCU202000420.

(2) INVESTIGATING THE IMPACT OF VIRTUAL REALITY DESIGN FACTORS ON MUSEUM PERFORMANCE Abstract This study aims to find out how important design factors in Virtual Reality (VR) affect museum performance. More and more organizations tried to provide virtual tourisms. National Palace museum (NPM) also tried to appeal young generations’ sight by providing a VR exhibition. Relics are presented virtually with different themes and categories in VR system, with Huai Su’s Autobiography and Zhao Meng-fu’s” Autumn. 治政 Colors on the Que and Hua Mountains.” Many studies大 have deeply explored on the 立 impact of technical factors of VR experience; however, research targeted on storytelling ‧ 國. 學. is scarcely discussed. Our goal is to find supportive and comprehensive evidences in including storytelling to design VR.. ‧. We investigate how VR design factors influence visitors’ experience, which in turn improves NPM’s performance. Three empirical models are developed: Model 1 does. n. al. er. io. sit. y. Nat. not consider the relic types, Model 2 focuses on calligraphy, and Model 3 focuses on painting. The result provides us a statistic implication for adopting VR technologies in the museum. It shows a strong indication that design factors, especially storytelling, play an important role for enhancing VR experience-- absorption. We also learned that absorption could certainly help increasing NPM’s performance.. Ch. engchi. i Un. v. This study provides a new aspect of designing VR exhibition. The result might help measuring storytelling in museum context and motivate more researches in this area. It could also benefit other organizations who want to create a VR experience. We hope our research can help not only NPM but also other museums to improve the design method in VR exhibitions. Key words: Storytelling, Virtual Reality, Museum, Exhibition, Immersion, Absorption, User Experience. DOI:10.6814/NCCU202000420.

(3) Contents Page Chapter 1.. Introduction ............................................................................................ 1. Chapter 2.. Literature Review .................................................................................. 3. 2.1. Technical Factor......................................................................................... 4 2.1.1. Interactivity .................................................................................... 4. 2.1.2 2.1.3. Vividness........................................................................................ 7 Realism ........................................................................................ 10. 政治大. 2.2. Storytelling ............................................................................................... 13. 2.3. User Experience ....................................................................................... 16. 立. ‧ 國. Research Framework ........................................................................... 18. sit. y. Nat. Chapter 3.. Priming Effect .......................................................................................... 18. ‧. 2.4. Immersion .................................................................................... 17 Absorption.................................................................................... 17. 學. 2.3.1 2.3.2. 3.2. Effects of VR Experience ........................................................................ 21. 3.3. Priming Effects ........................................................................................ 22. n. al. er. Effects of VR Design Features ................................................................ 19. io. 3.1. Chapter 4.. Ch. engchi. i Un. v. Methodology ........................................................................................ 23. 4.1. Research Context ................................................................................... 23. 4.2. Data collection ....................................................................................... 24. 4.3. Measurement .......................................................................................... 26. Chapter 5. 5.1. Analysis and Results ............................................................................ 31 Measurement Model Analysis ................................................................. 31. DOI:10.6814/NCCU202000420.

(4) 5.2. Structural Model Analysis ....................................................................... 35. Chapter 6.. Discussion ............................................................................................ 40. 6.1. Design Factors and Immersion .............................................................. 41. 6.2. Design Factors and Absorption .............................................................. 42. 6.3. User Experience and NPM Performance ............................................... 43. 6.4. Moderating Effect .................................................................................. 44. 6.5. Findings.................................................................................................. 45. 立. 政治大. ‧ 國. Chapter 7.. Background story matters ............................................................ 45 Storytelling is more significant than other design factors ........... 45 Absorption certainly helped to increase NPM performance ........ 46 VR remains unfamiliar to the general population ........................ 46 Preparatory work matters ............................................................. 46. 學. 6.5.1 6.5.2 6.5.3 6.5.4 6.5.5. Conclusions .......................................................................................... 47. ‧. Summary ................................................................................................ 47. 7.2. Limitations ............................................................................................... 48. 7.3. Future Research ....................................................................................... 48. n. al. er. io. sit. y. Nat. 7.1. Ch. engchi. i Un. v. Acknowledgement 49 References. 50. Appendix A. 61. DOI:10.6814/NCCU202000420.

(5) Table of Contents Page Table 2.1.. Interactivity ................................................................................................ 5. Table 2.2. Vividness ................................................................................................. 7 Table 2.3. Realism .................................................................................................... 10 Table 2.4. Storytelling ............................................................................................. 14 Table 2.5. Type of UX ............................................................................................ 17 Table 4.1. Background Descriptive Statistics ........................................................... 27. 政治大. Table 4.2. Age Descriptive Statistics ...................................................................... 27. 立. Table 4.3. Experience Descriptive Statistics............................................................. 28. ‧ 國. 學. Table 4.4. Background Distribution.......................................................................... 28. ‧. Table 4.5. Research constructs and items ............................................................... 28 Table 4.6. Summary of Opening Answers .............................................................. 30. sit. y. Nat. Item Reliability Analysis (n=375) ......................................................... 33. io. al. er. Table 5.1.. Table 5.2. Matrix of Loadings and Cross-Loadings ............................................... 34. n. iv n C Correlations of Constructs 35 h e..................................................................... ngchi U. Table 5.3.. Table 5.4. Testing of Hypotheses ........................................................................... 36 Table 5.5. Statistical Values of Responses ............................................................... 38 Table 5.6. Differences between Models ................................................................. 39 Table 5.7. Hypothesis Inspection ............................................................................ 39. DOI:10.6814/NCCU202000420.

(6) List of Figures Page Figure 2.1. Telepresence by Steuer 1992 .................................................................. 4 Figure 2.2. VR Telepresence .................................................................................... 4 Figure 3. Research Framework based on NPM’s exhibition .................................. 19 Figure 4.1. The screenshot of the relics provided by NPM .................................... 23 (a) Huai Su’s Autobiography (b) Zhao Meng-fu’s” Autumn Colors on the Que and Hua Mountains”. 政治大. Figure 4.2. The exhibition hall of the program ....................................................... 24. 立. Figure 4.3 The screenshot of experiencing the VR themes ...................................... 26. ‧ 國. 學. (a) Theme A (b) Theme B. ‧. Figure 6.1. Path Analysis of Model 1 ..................................................................... 40. y. Nat. er. io. sit. Figure 6.2. Path Analysis of Model 2 ..................................................................... 40 Figure 6.3. Path Analysis of Model 3 ....................................................................... 41. n. al. Figure 6.4.. Ch. i Un. v. Comparison of Moderating Effect .............................................................. 45. engchi. DOI:10.6814/NCCU202000420.

(7) Chapter 1. Introduction Virtual Reality (VR) is a popular multimedia technique that displays a virtual environment (VE) with 3-D models. Headsets and handlers allow users to inhabit and interact in a virtual world created by a computer program. The 3-D modeling techniques make potential creativity and flexibility of a virtual world extremely high. Statistics show that VR use has exponentially increased in the past few years. In 2010, there were only 200 thousand users, but this amount rapidly increased to nearly. 政治大. 200 million by 2017 (Garcia-Cardona et al., 2017). Furthermore, the worldwide VR. 立. market is set to be huge, including in education, tourism, exhibition, and other sectors.. ‧ 國. 學. With a market size of VR projected to reach $15.6 billion in 2020 (Armstrong, 2016), a thriving prospect and value are expected.. ‧. As an up-and-coming media tool, VR has been used by museums to keep up with. y. Nat. io. sit. the times. By 2003, 35% of museums in Europe had already started developments with. n. al. er. some form of 3-D presentation of objects (Erkin, 2018). Adding new technology is one. Ch. i Un. v. of the best ways for museums to improve old or outdated exhibits. According to. engchi. previous research, 68% of VR-integrated exhibits would increase the likelihood of someone visiting a museum. Using new and updated exhibits featuring VR could grow annual attendance by about 100 million visits (Stage 2 Research, 2018). Because of the advantages mentioned above, more and more museums and exhibitions have tried to provide services by VR. For example, the Kremer Museum developed a whole virtual gallery in 2014, even though VR was just emerging as an entertainment medium at that time. Two of the world's most revered museums, the New York Metropolitan Museum of Art and the British Museum in London also offer virtual tours to demonstrate their collections. Last year, Carne y Arena presented a critically 1. DOI:10.6814/NCCU202000420.

(8) acclaimed VR exhibition to experience the dilemma of immigrants and refugees (Iñárritu, 2017). These cases offer strong evidence that utilizing VR in well-known museums would be a success. And there are even more possibilities for the application of VR technology in museums. The National Palace Museum (NPM) of Taiwan, located in Taipei, also aims to appeal to younger generations. In recent years, NPM has developed several interactive exhibits using VR. Their objective was to find out whether and what kind of VR design would allow users to deeply absorb the artistic motivation and conception of the content. We collaborated with NPM on the study presented in this article to evaluate the. 政治大. performance of the two VR exhibits. The exhibitions are based on two different artifacts:. 立. Huai Su’s Autobiography and Zhao Meng-fu’s Autumn Colors on the Que and Hua. ‧ 國. 學. Mountains. Users can walk into a virtual world where the surroundings and atmosphere. ‧. are similar to those of the painting itself.. The potential of VR to enhance the learning experience has been discussed in. y. Nat. er. io. sit. various research contexts (Jung et al., 2016). According to previous research (Ling et al., 2013), VR interaction can lead to many kinds of user experience (UX), such as. n. al. Ch. i Un. v. engagement, involvement, immersion, and absorption. Researchers have noted that UX. engchi. is subjective, holistic, situated, and dynamic (Hassenzahl, 2010). It includes individual preferences, psychological responses, and behaviors that happen before, during, and after an interaction with a product (Kuliga et al., 2015). These UX factors share similar concepts but have slight differences in definition. The extent of being present may decide which are the proper fit for our study in explaining psychological responses, behaviors, and feelings of museum visitors. There are certainly some drivers for the user experiences mentioned above. VR design factors refer to how people design VR to control the quality, speed, atmosphere, and other aspects of the experience. In the past, technology-related design factors such 2. DOI:10.6814/NCCU202000420.

(9) as vividness and realism have been well discussed. Merely making 3-D models in VR look real is not sufficient to meet the needs of our study. More elements need to be included. Other VR design factors have received attention. The nascent technology of VR and AR (Artificial Intelligence) content may represent the next step in bringing a more immersive user experience to storytelling (Gewickey et al., 2015). The study findings suggest that the technique of digital storytelling can be used effectively in the classroom (Xu, 2011). Likewise, digital storytelling holds the potential for effective application in museums. Hence, how to design the VR structure of storytelling appears to be critical. However, little research has addressed the effect of storytelling in VR. 政治大. design, and specifically in the museum context.. 立. To address this research need, we consider storytelling to be one of the key design. ‧ 國. 學. factors in this study. Technical VR design factors such as interactivity, vividness, and. ‧. realism are also considered, but the goal is to examine and compare various design factors to see whether they enhance the museum VR experience.. sit. y. Nat. io. er. Our research questions are as follows. (1) What VR design factors can create a. al. satisfying user experience? What kind of UX do they create? (2) What kind of design. n. iv n C factor is relatively more important h in terms of creating e n g c h i U UX, technical or storytelling factors? (3) Can VR promote NPM’s performance through creating UX?. Chapter 2. Literature Review This study focused on the design features of technological and storytelling dimensions. We aim to explore how these features impact visitors’ VR experience and the corresponding response. In the following sections, we first review the literature related to the technological dimension of VR design. Then we discuss the storytelling 3. DOI:10.6814/NCCU202000420.

(10) dimension from different angles. Last, but not least, we examine the physical impacts of VR as described below.. 2.1. Technical Factor Telepresence refers to a set of technologies which allow a person to feel as if they. are present, to give the appearance of being present, or to have an effect, via telerobotics, at a place other than their true location. It is a key component contributing to realistic responses in VR. Two of the most important determinants of telepresence in VR are interactivity and vividness (Coyle & Thorson, 2001; Steuer, 1992). We can see the. 政治大 contributory factor to presence (Sanchez-Vives & Slater, 2005). New media clearly 立 relationship of telepresence by Steuer in Figure 2.1. Realism is also an important. ‧ 國. 學. differs from traditional media is the level of realism (Coyle & Thorson, 2001). Also, multisensory interactions can more easily create salient experiences that affect behavior. ‧. (Daugherty et al., 2008; Ebbesen & Ahsan, 2017). The value placed on the response of. sit. y. Nat. “feeling real and present” in VR experience could help us understand how visitors feel.. io. al. er. Consequently, we decided to adopt these three variables in our study—interactivity,. n. vividness, and realism (Figure 2.2).. Ch. engchi. Figure 2.1. Telepresence by Steuer 1992. i Un. v. Figure 2.2. VR Telepresence. 2.1.1 Interactivity There are extensive definitions of interactivity found in different fields 4. DOI:10.6814/NCCU202000420.

(11) (Stephanidis et al.,. 2012). Different media have been used, such as the internet, VR,. AR, and so on. In addition, a variety of research contexts have been included, such as marketing, healthcare, entertainment, medical, and retail sales. VR studies of interactivity in different research contexts are summarized in Table 2.1. Table 2.1.. Interactivity. Research Source. Definition of Interactivity Context The extent to which users can modify the form and content of a mediated environment Mediated. Steuer, 1992. in real-time. Experience. Focus on three stimulus-driven variables: Speed, Mapping, Range. 治政大 Focus on two contributing aspects of VR: 立 1. the ability to capture and review physical behavior. Defining feedback and (expected) contingency are the features of interactivity. Bailenson et al.,. Learning. 2008. view.. As a Form of action that may include communication but is not restricted to it. Focus on. ‧. &Shoham, 2010. Retail. ‧ 國. Florenthal. 學. the ability to see one’s avatar rendered in real time from third person points of. 2.. perceived interactivity in four mode of channel: human, medium, message, and product.. y. Nat. Refers to human-computer interaction:. (2) gesture-based interaction. al. (3) haptic-based interaction. n. 2011. Medical. Ch. er. &Reid,. io. Wang. sit. (1) feedback-focused interaction. i Un. v. Focus on the types of interactivity afforded by different VR systems targeting on. engchi. benefiting children therapy. Stephanidis. et. al., 2012. The way users interact with artificial world, which creates the immersive experience of Nonspecific. being present. Focus on the evolution and trends of interactivity. Use Steuer’s definition, but regard vividness as sensory perceptions stimulus which. Cheng, Chieng, &Chieng, 2014. Consumption. improve interactivity Focus on the relationship between interactivity and other factors, including vividness, flow, skill, challenge, focused attention, telepresence.. Seibert, 2014. Game. Christopoulos, Conrad, &Shukla, 2014. Use Steuer’s definition Focus on the impact of interactivity toward game player’s presence. Interactions with the content of the world and other users be performed in virtual worlds.. Education. Focus on engaging learning experiences from mapping and taxonomising the various types of interactions that take place both in-reality and in-virtual in a hybrid approach. 5. DOI:10.6814/NCCU202000420.

(12) Use Steuer’s definition and emphasise it is where one modality alters the perception of. Human. Rosa, 2015. another.. Sensory. Focus on three types of stimulus: visual, audio, tactile. Ebbesen. Marketing,. Use Steuer’s definition. &Ahsan, 2017. Brand. Focus on how to produce presence in Experience Marketing. Park et al., 2018. Product. Use Steuer’s definition Focus on telepresence of different media type interactivity makes.. Ahmed, 2018. Consumption. Seibert &Shafer,. Focus on its effects on consumers’ psychological responses for advertisement. Use Steuer’s definition Focus on its relation with control mapping and naturalness.. This study adopts the concept of measuring interactivity by three stimulus-driven. 政治大 as the extent to which users can modify the form and content of a mediated environment 立. variables: range, mapping, and speed (Figure 2.1). Steuer (1992) defined interactivity. 學. in real-time (Coyle & Thorson, 2001; Jung et al., 2016; McMillan & Hwang, 2002;. ‧ 國. Sanchez-Vives & Slater, 2005; Steuer, 1992). The first factor, range, refers to the. ‧. number of changes that can be affected by the mediated environment (Steuer, 1992).. sit. y. Nat. Within this range, content can be manipulated (Coyle & Thorson, 2001). The second. io. variable, mapping, refers to the way in which human actions are connected to actions. n. al. er. 2018. Game. Use Steuer’s definition. i Un. v. within a mediated environment. Song and Zinkhan (2008) mentioned a similar concept. Ch. engchi. called reaction. Reactive communication requires that subsequent messages refer to earlier ones (Song & Zinkhan, 2008). The last one, speed, refers to the rate at which external stimulus/inputs can be absorbed into the mediated environment (Steuer, 1992). Within such speed parameters, content can be manipulated (Coyle & Thorson, 2001). In other words, the focus is on which messages can be delivered and directed at which persons to receive them (McMillan & Hwang, 2002). The objective of interactivity is often to enhance the salience of a brand post, characterized by two-way communication between companies and customers, as well as between customers themselves (de Vries et al., 2012). This approach is consistent 6. DOI:10.6814/NCCU202000420.

(13) with NPM’s goal to enhance their brand impression about the relics. Also, interactivity can be achieved through multiple sensory channels that allow people to explore VEs through sight, sound, touch, and sometimes even through smell (Wang & Reid, 2011). NPM made available a complete VR exhibition for our experiment to observe interactivity among visitors. In Table 2.1, emerging trends can be seen in how interactivity has been included in various VR studies. The various focus include marketing (Ebbesen & Ahsan, 2017), consumers and products (Ahmed, 2018; Cheng et al., 2014; Park et al., 2018), applications in games (Seibert, 2014; Seibert & Shafer, 2018), and in education and. 政治大. learning settings (Bailenson et al., 2008; Christopoulos et al., 2014). However, almost. 立. none of them apply to the museum context. Thus, we will apply Steuer’s (1992). ‧ 國. 學. definition of interactivity as a stimulus in this study based in a museum context.. ‧. 2.1.2 Vividness. y. Nat. io. sit. There are many definitions and terms for vividness as mentioned above. In. n. al. er. addition to vividness, fidelity (Witmer et al., 2005), imagery richness (Van Kerrebroeck. Ch. i Un. v. et al., 2017), and media capability (Hess et al., 2009) also refer to the same concept.. engchi. Studies of vividness within different research fields are summarized in Table 2.2.. Table 2.2.. Vividness. Research Source. Definition of Vividness Context. Steuer, 1992. n/a. Coyle &Thorson,. n/a. 2001. The ability of VR to produce a sensorial-rich mediated environment. Dimensions: Breadth & Depth Use Steuer’s definition. Only use breadth.. Cho, Wang,. Tourism. Use Steuer’s definition.. &Fesenmaier,. marketing. Dimensions: Breadth & Interactivity 7. DOI:10.6814/NCCU202000420.

(14) 2002 Jiang, 2004 Fortin &Dholakia, 2005. E-commerce. Use Steuer’s definition. Focus on the way in which an environment presents information to the senses.. Web. Use Steuer’s definition. It is also referred to as media richness. Advertising. Dimensions: Breadth & Depth Rename as sensory fidelity with two dimensions:. B. G.Witmer et al., 2005. (1) Visual: the fidelity of the visual sense in the VE. n/a. (2) Auditory: the audio aspects of the VR Dimensions: Visual & Audio Fidelity. Use Steuer’s definition and define five affordances of vividness.. S. R.Park, Nah, Brand. Realistic objects: Having an object that looks rea land for that object to act real. . Spatial 3D: the three-dimensional sense of immersion provided by virtual worlds. . Avatars: the roles interact with objects, allow the user to know exactly where he or she is. Eschenbrenner , &Jeon, 2008. 立. 政治大. Multimedia: media affords various means of conveying information. . Haptic feedback: the term used to convey a sense of touch to users.. 學. . ‧ 國. DeWester,. . Focus on five affordances that can contribute to vividness in the virtual worlds.. Vividness here is the determinant of telepresence and social presence.. y. Based on Steuer’s definition.. al. v. n. Focus on its impact on social presence rather than telepresence.. Petridis, Dunwell, deFreitas,. er. UI Design. sit. Media capability serves as a key determinant of social presence.. io. 2009. Dimensions: Breadth & Depth. Nat. Hess et al.,. community. ‧. Y.Jung, 2008. Use Steuer’s definition.. virtual. Ch. engchi. i Un. The similarity between real and virtual space.. Game. Dimensions: Audiovisual Fidelity & Functional Fidelity. &Panzoli, 2010. Base on Steuer’s definition: Huang, Xiao, Sun, &Xu,. Visual vividness is an important components of system vividness, it reflects the visual Museums. 2010. quality presented by the system information). Focus on visual impact of vividness. Similar to visual fidelity.. Wallet et al., 2011 Steinmann,. Learning from. task,. Navigation Product. Visual fidelity refers to the fact that the landmarks in the VE are either structural or ‘‘textured’’ photographs of objects. The representational quality of how product information is conveyed to users due to the 8. DOI:10.6814/NCCU202000420.

(15) Kilian,. pictorial product representation.. &Brylla, 2014. Focus on mental imagery.. Chua &Banerjee,. Marketing. 2015 North &North, 2016. Aerospace. Vividness refers to the way a medium appeal to individuals’ senses. Dimensions: Breadth & Depth Use Steuer’s definition. Focus on the difference of presence between an IVE 1and TVRE2. Imagery richness is of importance in product presentations and marketing communications. VanKerrebroe ck et al., 2017. Marketing. as it enables more realistic representations of products or environments Focus on the three-dimensional model of vividness (message type, content interactivity, message representation).. Deb, Carruth, Sween, Strawderman,. Safety Issue. &Garrison,. 政治大. Ability of the simulator with respect to visual clarity and depth perception. Focus on depth perception and visual fidelity.. 立. 2017. &Chujfi, 2017. Working Environment. (1) Realism factors: It offers a sensorial-rich. mediated environment to provide confidence to effectively perform activities. ‧. Meinel. ‧ 國. Virtual. 學. Use Steuer’s definition and discuss extended dimensions which has similar concept:. (2) Sensory factors: The richness and modus of the information shared and consistency. y. Nat. across the environment.. sit. Focus on the cognitive adaptability in personalizing digital VR workspaces.. &Pérez, 2018. 3D scanning. er. al. v. its origin, which captured through a 3D scanner, rendered in a personal computer and. n. Pardo, Suero,. io. The quality of reproduction. Extent of how much visual appearance of real objects remains. Ch. i Un. displayed in a virtual reality device. Focus on the visual fidelity of transforming real object into virtual world.. engchi. Vividness refers to the ability of VR to produce a sensorially rich mediated environment (Steuer, 1992). It is one of the important determinants of telepresence, relating to the breadth and depth of the message (Figure 2.1). Breadth is the number of sensory dimensions, cues, and senses presented, while depth is the quality and resolution of the presentation (Fortin & Dholakia, 2005). Another closely related concept, fidelity, divides vividness into audio fidelity and visual fidelity (Witmer et al.,. 1 2. Immersive Visualization Environment Traditional Virtual Reality Environment 9. DOI:10.6814/NCCU202000420.

(16) 2005). Fidelity refers to certain external factors that might effectively improve the transfer of spatial knowledge from virtual to real situations (Wallet et al., 2011). There is a need to transfer process knowledge acquired within VE to real-world situations, since increasing audio/visual fidelity often implies increased functional fidelity (Petridis et al., 2010). We concur with Petridis (2010) that high-fidelity can achieve adequate immersion to engage the learner. We can test this assumption using NPM’s case. This study follows Witmer’s (2005) definition because the dimensions of breadth and depth are not clear enough to measure its effectiveness (e.g. nowadays VR equipment has already evolved to a peak with certain sensory dimensions). In contrast,. 政治大. the dimension of fidelity (audio and visual) is more amenable as a measurement in a. 立. VR museum experience.. ‧. ‧ 國. 學. 2.1.3 Realism. sit. y. Nat. Related studies of realism and their findings in VR research are summarized in. io. er. Table 2.3. Realism is also an important factor of presence—a sense of “being there” in. al. a mediated environment (Oh & Sundar, 2016). Compared to vividness, realism focuses. n. iv n C more on the level of “feeling real.” h It often refers to the e n g c h i Udegree to which a person can. be fooled into believing that the experienced situation is real if his mind cannot detect any discrepancies (Herbelin et al., 2015; Sanchez-Vives & Slater, 2005). Lombard and Ditton (2006) also emphasize the characteristic of plausible or “true to life” reflections in VR. This study combines the definitions of Lombard and Ditton (2006) and Herbelin (2015) to define realism as “the extent to which a media appears like the real-world, which can fully fool a person into believing that the experienced situation was real.” Table 2.3. Source. Realism Research. Definition of Realism 10. DOI:10.6814/NCCU202000420.

(17) Context (1) Social realism refers to the extent to which a media portrayal is plausible or ‘true to life’ as it reflects events that do or could occur in the non-mediated world. Lombard &Ditton, 2006. (2) Perceptual realism refers to the extent to which mediated artifacts appear like. n/a. their real-world counterparts. Focus on two forms of realism that may contribute to the experience of presence, when perceived in isolation or in concert. Scene realism refers to the connectedness and continuity of the stimuli being experienced, including consistency the information conveyed by a VE,. B. G.Witmer &Singer, 1998. meaningfulness of experience, disorientation or anxiety when returning from the. Teleoperation3. VE to the real world. Focus on four major categories of factors: Control Factors, Sensory Factors, Distraction Factors, and Realism Factors.. 治政大respond to the display in the same way that it mimics, the more the observer will 立 he/she would respond to the environment itself.. Behavioral realism refers to the more similar a display becomes to the environment Freeman, Avons, Video Media. Definition is not mentioned clearly. Realism is regard as part of interactivity and vividness.. Focus on investigating how varying levels of realism may affect attitudes,. y. Nat. 2001. n/a. there’ and ‘not at all there’.. ‧. Coyle &Thorson,. Focus on measuring the feeling ‘really there’ for a float value between ‘complete. 學. &IJsselsteijn, 2000. ‧ 國. Meddis, Pearson,. &Slater, 2005. Media. er. al. v. Realism refers to the perceived correspondence between a technology-mediated. n. Sanchez-Vives. io. Use Lombard &Ditton’s (2006) Definition.. sit. behavioral intentions, and the level of consistency.. Ch. i Un. experience and a similar experience not mediated by technology (often confusingly. engchi. termed “real” or “real life”). Sylaiou, Mania, Karoulis, &White,. Museum. Behavioral realism: Definition is not mentioned.. 2010 Perceived realism: refers to the subjective realism that users feel. (1) factual realism is related to judging whether human and events are fictional (artificially Bae et al., 2012. Game. made) or not. (2) psychological realism is referring to judging the plausibility, accuracy, and similarity between the world embodied in the media compare to real world. Dimensions: Egocentric & Allocentric representation. Wong, Nguyen,. Military. Realism is one of the six subsections of immersion; the feeling of being there is the. &Ogren, 2012. Training. best describe the essence. Focus on training assessment and effectiveness.. 3. Teleoperation: A remote operation, which indicates operation of a system or machine at a distance. 11. DOI:10.6814/NCCU202000420.

(18) C.Lee, Rincon, Meyer, Hollerer, &Bowman, 2013. Visual realism: the degree to which the images of the simulated world are perceived Task. to be real by the user.. performance. Focus on the real-world location and measured by factors: geometry, textures, and lighting. (1) social realism: likelihood that the events heard/ seen in the medium would occur. Houliez &Gamble, 2013. ‘‘in the real world’ Game. (2) perceptual realism: how much the heat or coolness of the technology-mediated environment felt like it would have, if the user had experienced it directly. Focus on eight measurements of presence (include realism).. Patton, 2014 Kaczmarek. Use Witmer and Singer’s (1998) ‘Presence’ Questionnaire. Greater realism. Military. produces a greater sense of presence.. Herbelin et al.,. Self-. Realism refers to an extent that a person can be fooled into believing that the. 2015. consciousness. 政治大 experienced situation is real if his mind cannot detect any discrepancy. 立 Use Lombard &Ditton’s (2006) Definition.. n/a. Realism consists of not only the degree to which the virtual environment adheres to. Use Lombard &Ditton’s (2006) Definition.. Focus on the six different, yet interrelated, conceptualizations of presence. . Nat. Visual realism: visual experiences which relate strongly to real visual. y. Auditory. experiences.. io. . Behavioral realism: represent perceptual and bodily experiences that relate. a lto real-world user performance. i v nlevels of realism Experiential C h realism: higher U i e n g ctohproduce. systems are believed. n. Kuliga et al., 2015. architecture. ‧. R Nordahl, 2014. real-world features, but also the meaningfulness of the experience.. sit. &Vang, 2014. er. Fox, Christy,. ‧ 國. Realism refers to the extent to which they viewed the environment as realistic.. 學. Game. &Drążkowski, 2014. . . which more immersive. Experiential realism was approached via visual realism, and active movement was enabled for an approximation of behavioral realism.. Use Witmer and Singer’s (1998) ‘Presence’ Questionnaire. Visual realism is regarded as the degree to which a simulated, artificial world Toczek, 2017. n/a. resembles a corresponding real world. The results showed that increasing visual realism led to an increase in presence; visual realism may indeed positively affect presence.. Baus &Bouchard, 2017. Odours. Meinel &Chujfi,. Digital. 2017. Workspace. Realism refers to the degree to which the elements of the VE resemble their counterparts in the physical world. Pictorial and social realism may offer a sensorial-rich mediated environment to provide users the confidence to effectively perform activities. 12. DOI:10.6814/NCCU202000420.

(19) Use Witmer and Singer’s (1998) ‘Presence’ Questionnaire. Definition is not mentioned clearly. Pardo et al., 2018. 3D scanning. The results show a high correlation of the realism sensation with the fidelity of color reproduction, material texture, and definition of the artwork replicas. Moreover,. Iachini et al., 2018. Schnack, Wright, &Holdershaw, 2018 K.Kim, 2018. Realism regards the degree of realism attributed to the virtual scenario.. psychology. Use Witmer and Singer’s (1998) ‘Presence’ Questionnaire. Use Witmer and Singer’s (1998) ‘Presence’ Questionnaire. Participants who had not. Game. experienced in the past six months considered the products as more realistic than those who had experienced.. Virtual Human. The perceived sense of a ability to sense the virtual object real.. Some studies have found that realism positively influences presence (Bae et al.,. 政治大 presence could impact user experience and affect user behavior (van Herpen et al., 立 2012; Freeman et al., 2000; Patton, 2014; Toczek, 2017). Several outcomes of feeling. ‧ 國. 學. 2016). Sylaiou’s (2010) research in a museum context mentioned realism, but statements and findings are not definitive. Thus, we aim to find evidence related to the. ‧. museum context to support this argument. We want to know, besides presence, whether. sit. al. n. Storytelling. er. io. 2.2. y. Nat. realism improves user experience in NPM’s case as well.. Ch. engchi. i Un. v. Related studies of storytelling and VR storytelling are summarized in Table 2.4. The first mention in the literature was a case from Disney (Pausch et al., 1996), which represented the first time VR studies paid attention to storytelling. Different studies define storytelling with multiple meanings: one implies recounting experiences in a coherent narrative format from the audience’s perspective (Delgadillo & Escalas, 2004); one connotes a certain transformation of the story episodes (Delgadillo & Escalas, 2004); one refers to communication techniques shared between directors and the audience (Pausch et al., 1996); and one defines it as the production of a narrative that. 13. DOI:10.6814/NCCU202000420.

(20) communicates experiences in an oral form (Pujol et al., 2012). They all focus on how to construct a story well to interact better with people. During the 1990s, the use of computers opened a new field called digital storytelling, which has been defined as the combination of narrative with digital content such as images, sound, and video (Pujol et al., 2012). Since then, the form of storytelling is no longer just narrative. This study adopts the concept of digital storytelling from Ioannidis (2013) and defines storytelling as communication techniques to create an interesting plot in VR by integrating digital elements.. Table 2.4.. 立. Research. Definition of Storytelling. Context. Findings. 學. ‧ 國. Source. 政治大. Storytelling. Pausch et al.,. Amusement. Storytelling is communication techniques. The team produced a compelling illusion system. 1996. Park. shared between directors and the audience.. to show people they can tell stories in VR.. ‧. This project provides evidence of how the. Storytelling is the process of taking things. y. represents a living heritage that can be translated. another.. n. al. Pujol et al., 2012. Ch. forms of creativity and museum construction.. engchi. The i v project introduces several novelties that will n U positively contribute to enhance the. Storytelling is defined as the production of a Museum. into actual cultural objects and give rise to new. er. io. Focus on the concept of collective storytelling.. sit. Museum. Nat. Giaccardi, 2006. collective memory of a local community. related in one context and “attaching” them to. narrative that communicates experiences in an oral form.. dissemination of archaeology in museums: . adoption of a user-centred approach. . personalization through the use of personas. . real time adaptivity through the use of localization systems. . use of trajectories in the design phase. . extension of the visit in space and time). They discussed the design constraints, Keil et al., 2013. Museum. Not mentioned clearly.. implementation and initial lessons learnt from incorporating AR into a transmedia landscape.. Botía, Charitos,. Museum. Storytelling had been an implicit aspect of a. n/a. 14. DOI:10.6814/NCCU202000420.

(21) &IOS Press.,. museum visit expressed through human guides. 2013. or more recently through audio guides. . Traditional storytelling: the main. Museum digital storytelling would be important. objective is to create an interesting plot. to consider, among others, the following aspects:. with attractive characters that create. . emotional engagement through Ioannidis et al.,. rich information about an object and. dramaturgy, empathy, and plot climax in a. Museum. 2013. Seeking the balance between providing. fluent manner. . telling the story in an effective way. . Digital storytelling: allows many of the. Creating engagement and motivation of the visitors.. elements of traditional storytelling to be. . integrated and to address different. Answering the question “Satisfy all visitors or deeply satisfy some?”.. learning styles.. They presented different digital-experience. authoring workshops, held at a high-profile 治政大archaeological museum in Greece, a UNESCO combinations of meaningfully arranged 立 mediators to make objects accessible to visitors. archaeological site in Turkey, and a Storytelling is to provide interpretations through. &Vavoula, 2017. Learning. y. The trial presented here is the first on a series of trials that aim to examine the value of Digital. Not mentioned clearly.. al. Storytelling for framing learning inquiries during. n. Museum. storytelling scenarios.. io. Tsiviltidou. Ch. engchi. digital storytelling as “an old art featuring Wu, Hu, Wu, &Fan, 2017. Education. chair to nudge users’ orientation in 360 degree. Nat. &Rukzio, 2016. Use Pausch’s (1996) definition.. ‧. Engineering. Krebs,. They present SwiVRChair, a motorized swivel. sit. Wolf, Haas,. 學. Gugenheimer,. contemporary art museum in the Netherlands.. er. Museum. 2015. ‧ 國. Roussou et al.,. iv school museum visits. n U. verbal storytelling where images, pictures, music, sound effects and the stories of authors. n/a. are combined to form a movie” Defining serious storytelling as a subset of storytelling with a purpose beyond Lugmayr et al., 2017. n/a. entertainment. Focus on four essential components of storytelling: perspective, narrative, interactivity,. Introduce serious storytelling as a new concept in the world of narratives.. medium.. The increasing use of storytelling and other tools in marketing communications underpins the significance of storytelling (Kadembo, 2010). Also, storytelling has been 15. DOI:10.6814/NCCU202000420.

(22) widely used in different fields and contexts, such as education (Duveskog et al., n.d.; Roussou, 2001; Van Gils & Gils, 2005; Wu et al., 2017), cultural heritage (Perrin & Nickpour, 2002; Rizvic et al., 2017), and entertainment (Dena, 2008; Doyle, 2010). We found a few studies conducted within a museum context, but some of them apparently do not put storytelling in a leading role (Giaccardi, 2006; Hirose, 2005; Katifori et al., 2016; Pagano et al., 2017; Wyman et al., 2011). Some of them do discuss storytelling to some extent, but instead of VR they use real museum artifacts (Botía et al., 2013; Pujol et al., 2012), augmented reality (Keil et al., 2013), and mobile applications (Ioannidis et al., 2013; Tsiviltidou & Vavoula, 2017) as their media. Available literature. 政治大. on VR storytelling in museums remains insufficient. Our study will help to fill this gap.. 立. Storytelling is playful and a proper pleasure for consumers, allowing people to re-. ‧ 國. 學. experience meaningful episodes of their relationships with the brand (Kessous et al.,. ‧. 2015; Woodside et al., 2008). Understanding how consumers perceive, connect with, and form relationships with a brand in human-like ways is still limited and immature,. y. Nat. io. sit. so in NPM’s case we tried to identify possible factors related to storytelling that are. n. al. er. measurable. For our study, Delgadillo and Escalas’ (2004) emphasis on storytelling. Ch. i Un. v. from the audience’s perspective was adopted. This could illustrate how much insight. engchi. into artistic statements that VR artifacts might provide.. 2.3. User Experience User experience (UX) can be divided into three sections. The drivers, which refer. to what drives UX, including storytelling and technical factors mentioned above; the UX itself, immersion and absorption, which are specifically discussed later; and lastly the outcomes, which refer to the performance of UX for the purpose of exploring NPM. As we can see, dimensions of experience vary (Table 2.5). These UX share the same concept within slightly different situations. 16. DOI:10.6814/NCCU202000420.

(23) Table 2.5.. Type of UX. UX Type. Definition. Related Literature. Involvement. A psychological state that a person is “initiatively” Ling et al., 2013; B. involved with or participating in environment. G.Witmer &Singer, 1998. Engagement. A psychological state that a person perceives individual’s Christopoulos et al., 2014; subjective enjoyment in a holistic experience. S.Kim &Baek, 2018. Immersion. A psychological state that a person is ‘passively’ immersed, characterized by perceiving oneself to be enveloped by, included in, and interacting with a virtual environment.. Absorption. A psychological state that a person fully concentrated and happily engrossed in experiencing as a consequence of Agarwal &Karahanna, focusing one’s mental energy and attention on a coherent 2000; Dwivedi, 2015 set of stimuli or meaningfully related activities or events.. 立. Doyle, 2010; Skarbez, Brooks, &Whitton, 2018; B. G.Witmer et al., 2005; B. G.Witmer &Singer, 1994. 政治大. Engagement and involvement in UX were widely discussed in the past, but we. ‧ 國. 學. found that immersion and absorption could roughly be subsumed under the issues of. y. sit. io. n. al. er. 2.3.1 Immersion. Nat. absorption and use them to represent the overall VR experience.. ‧. involvement and engagement. Therefore, this study will only discuss immersion and. v. Immersion is a psychological state characterized by perceiving oneself to be. Ch. engchi. i Un. enveloped by, included in, and interacting with a virtual environment (Witmer et al., 2005). It is considered as the degree to which one feels engrossed or enveloped within the VE (Wang & Reid, 2011). In determining the degree of feeling “there” in the VE, immersion plays an important role, meaning the more the feeling permeates a person, the stronger the perception of being in VR. Consequently, the person should be passively and unconsciously immersed in the VR system to experience immersion fully. 2.3.2 Absorption Absorption is another concept of immersion, that is, a psychological state experienced as a consequence of focusing one’s mental energy and attention on a 17. DOI:10.6814/NCCU202000420.

(24) coherent set of stimuli or meaningfully related activities or events (Witmer et al., 2005). This implies that consumers not only feel enveloped but remain fully concentrated on the experience and happily engrossed in brand interactions such that time passes quickly (Dwivedi, 2015) and the person digests stimulation as their own thoughts. In our study, the difference between immersion and absorption is the degree to which users perceive and internalize the stimuli they are exposed to.. 2.4. Priming Effect Priming is a non-conscious form of human memory, concerned with perceptual. 治政大been recognized as separate identification of words and objects which has only recently 立. from other forms of memory (Tulving & Schacter, 1990). It is a technique whereby. ‧ 國. 學. exposure to one stimulus influences a response to a subsequent stimulus, without. ‧. conscious guidance or intention. For example, the word “gift” is recognized more. sit. y. Nat. quickly following the word “Christmas” than following the word “noodles.” This. io. of an affect-loaded stimulus (Hermans et al., 1994).. al. er. priming effect may be activated automatically from memory on the mere observation. n. iv n C Apart from memory, content also h ematters. h i Uis used in marketing (Franklin n g cPriming. & Richardson, 2002) and advertising (Harris et al., 2009). For example, when we see Michael Jordan, Nike always comes to mind. Because of the advertising effect, priming might help people have more feelings toward a story. Our study also focused on understanding the priming effect in NPM’s VR exhibition.. Chapter 3. Research Framework Following the discussions above, our research framework is presented in Figure 3. We wanted to help NPM evaluate the success of their VR exhibition, so the overall 18. DOI:10.6814/NCCU202000420.

(25) performance of the museum is highly relevant. According to the technique of Johnson and colleagues (2006), we measured NPM performance by the degrees of referrals and other influence. Referral states to the extent to which people would refer others and raise their interest. Influence denotes the extent to which people share and discuss their NPM experience.. 立. 政治大. ‧. ‧ 國. 學. Research Framework based on NPM’s exhibition.. a Features Effects of VR Design. iv l C n factors, h numerous e n g cstudies h i Uhave shown. n. 3.1. For technical design. er. io. sit. y. Nat. Figure 3.. that interactivity. (Mütterlein, 2018), vividness (Yim et al., 2017), and realism (McGloin et al., 2015) all could facilitate immersion. We decided that interacting without delay, multi-sensory fidelity, and authentic scenes would bring users higher quality of VR experience and make people much more involved in the atmosphere created by NPM’s artifacts. Thus, the following hypotheses were posed. H1a. The degree of interactivity is positively related to the extent of immersion in VR experience. H2a. The degree of vividness is positively related to the extent of immersion in VR 19. DOI:10.6814/NCCU202000420.

(26) experience. H3a. The degree of realism is positively related to the extent of immersion in VR experience. Also, interactivity (Lowry, 2017), vividness (Wild et al., 1995), and realism (Tseng, 2018) have a beneficial impact on perceived absorption. Based on good quality at the technical level, it may be easier to remember the details of experience which then become part of our own knowledge. In other words, we might memorize the experience unconsciously. Thus, the following hypotheses are presented. H1b. The degree of interactivity is positively related to the extent of absorption in VR experience.. 立. 政治大. H2b. The degree of vividness is positively related to the extent of absorption in VR. ‧ 國. 學. experience.. experience.. ‧. H3b. The degree of realism is positively related to the extent of absorption in VR. y. Nat. io. sit. Regarding story design factors, the goal of VR storytelling is to tell a story that. n. al. er. will stimulate emotions that influence asction (Shin et al., 2017). In NPM’s case, we. Ch. i Un. v. wanted to know whether storytelling would stimulate emotions and enhance users’. engchi. intentions. Since a good story causes receivers’ intention (“Narrative Persuasion 3: Transport and Immersion in Meta,” n.d.), and also story line benefits absorption (Cooper et al., 2018), thus our hypotheses are highly possible to hold. According to the Transportation Theory, when people lose themselves in a story, their attitudes and intentions change to reflect that story. Narrative transportation is a form of experiential response to narratives and thus is similar to other constructs, such as absorption, optimal experience or flow, and immersion. An appealing story line and dramatic sequencing enrich transportation (Larkey & Hecht, 2010). Lee (2017) also found that storytelling can have a positive relationship with transportation, that is, with 20. DOI:10.6814/NCCU202000420.

(27) the experiential response of immersion and absorption (Lee et al.,. 2017). Thus, the. final hypotheses are stated below. H4a. The degree of storytelling content is positively related to the extent of immersion in VR experience. H4b. The degree of storytelling content is positively related to the extent of absorption in VR experience. We hypothesized that storytelling with a favorable technical base would positively drive and stimulate a feeling of immersion and absorption, which would then enhance the experience of NPM.. Effects of VR Experience. ‧ 國. 學. 3.2. 立. 政治大. For the UX, immersion and absorption both represent the psychological state of. ‧. perceiving oneself to be enveloped by, included in, and interacting with VR.. sit. y. Nat. Emphasizing the state of full concentration, absorption represents greater immersion in. io. er. VR. A visitor would experience a deep impression on the mind when they reach. al. absorption (Parker & Smith, 2014). In Janinasaarnio’s physical mind map of the cycle. n. iv n C U absorption (Janinasaarnio, h e n ghelps of immersion, we might find that immersion c htoi foster 2017). Thus, we hypothesize that: H5. A higher level of immersion is positively associated with the extent of absorption in VR experience. Past research indicates that immersion (Mütterlein & Hess, 2017) and absorption (Magni et al., 2010) both create users’ intention. This means that the more immersive NPM’s VR is, the more people will feel engaged in the exhibition. This would then enhance the idea that VR is cool and fantastic and stimulate users’ intention to talk about the experience enthusiastically. We believe absorption will arouse people’s 21. DOI:10.6814/NCCU202000420.

(28) emotions, thoughts, and desire to know more and will motivate them to make good comments and recommend others to try NPM’s VR exhibit. Thus, we hypothesize the following. H6. A higher level of immersion will be positively associated with NPM performance. H7. A higher level of absorption will be positively associated with NPM performance.. 3.3. Priming Effects Experience can be improved by telling a pre-immersion “background story” and. by giving the guest a concrete goal to perform in the VR session (Pausch et al., 1996).. 政治大. Pausch made the point that “Guests need a background story.” Also, Johnson (1982). 立. states that building background knowledge can help reading comprehension. In. ‧ 國. 學. Rühlemann’s book, he mentions the priming effect of storytelling (Rühlemann, 2013).. ‧. When we consider that a better understanding of the exhibition would allow a participant to gain a more favorable impression of our story and help them get into the. y. Nat. er. io. sit. story, this is how storytelling causes more immersion. Yi (1991) has discussed how the priming effect has been useful in advertising, which proved that priming is an. n. al. Ch. i Un. v. advertising asset. It would benefit storytelling to create the desire of absorbing more. engchi. knowledge. Thus, we added priming as our moderator and propose these hypotheses. H8a. The greater the degree of priming effects, the larger the impact of storytelling on immersion. H8b. The greater the degree of priming effects, the larger the impact of storytelling on absorption.. 22. DOI:10.6814/NCCU202000420.

(29) Chapter 4. Methodology 4.1. Research Context This study has gained significant assistance from the National Palace Museum,. which curates nearly 700 thousand of pieces of Chinese imperial objects, all of which represent great artifacts and artworks. With the goal of attracting more young people to appreciate these cultural treasures, NPM sponsors a special exhibition program. They cooperate with us for research findings and improvements, as well as for public relations. We take credit for recruiting a large number of visitors to experience the new. 政治大. VR artifacts and collecting feedback from users. We then systematically processed and. 立. analyzed these data to look for new findings.. ‧ 國. 學. In this program, two of the artifacts are presented virtually with different themes and categories: Huai Su’s Autobiography (Figure 4.1a) and Autumn Colors on the Que. ‧. and Hua Mountains (Figure 4.1b) by Zhao Meng-fu. The former is often considered to. y. Nat. sit. be one of the best-written cursive script works of Chinese calligraphy, written by the. n. al. er. io. renowned Tang Dynasty Chinese calligrapher. The second work is a painting done by. i Un. v. Zhao for his close friend Zhou Mi, who lived his entire life far from his hometown of. Ch. engchi. Ji-nan. This work sketched the unique scenery and beauty of the mountains of Ji-nan.. (a) Huai Su’s Autobiography (b) Zhao Meng-fu’s” Autumn Colors on the Que and Hua Mountains” Figure 4.1 The screenshot of the relics provide by NPM NPM not only provided the software and hardware equipment of VR but also managed the comprehensive exhibition at the innovative center on the campus of 23. DOI:10.6814/NCCU202000420.

(30) National Cheng-Chi University (NCCU) in Taipei. Most of the visitors are college students of NCCU. Upon entering the exhibition hall, large posters come into view (Figure 4.2). When we conducted the experiment, half of the participants were arranged to read the introduction poster first, to ensure they understood basic concepts about the artifacts. The other half of visitors directly started the experiment without the introduction. The experiment was performed without the guiding step. The assumption was if visitors read the background information before the VR experience, they might learn more from the exhibition. We recorded the situation as a binary type, denoting 1 as the lead process has been done to measure the priming effect. Also, the order of. 政治大. experiencing the two themes was randomly arranged, that is, approximately half of. 立. participants visited Zhao Meng-fu’s work first, and for the rest, the order was reversed.. ‧. ‧ 國. 學. n. er. io. sit. y. Nat. al. Figure 4.2.. 4.2. Ch. engchi. i Un. v. The exhibition hall of the program. Data collection Information about the exhibition was posted on social media: Twitter, aimed at. foreigners; Plurk, for certain subcultures; Instagram, for younger folks; Facebook, for different colleges, our fan pages, for local residents and students; PTT, the largest terminal-based in, for off-campus residents; and Line groups, for the elderly. Volunteers filled out an intake sheet to reserve a preferred time from Monday to Friday. 24. DOI:10.6814/NCCU202000420.

(31) to complete the experience. Once the time was reserved, participants were brought to the innovative center to participate in the following experimental process. 1). Before the experiment, we showed participants a rule sheet (Appendix A) to make sure they completely understood and accepted our data collecting process. If they opted to participate in a prize contest, they had to provide their personal information.. 2). To enable participants to explore the 360-degree virtual world freely, we gave a brief introduction to VR and how to interact with it using the controller.. 3). Participants first walked into Zhao Meng-fu’s painting Autumn Colors on the. 政治大. Que and Hua Mountains (Figure 4.3b). The exhibit then performed an audio. 立. tour as the background music swelled. Users experienced a 360-degree vision. ‧ 國. 學. of VE, that is, built to simulate an actual view of the Que and Hua Mountains. Following the conclusion of the first stimulus, the second theme, Huai Su’s. y. Nat. io. sit. Autobiography, started immediately. In contrast to the previous theme, only. er. 4). ‧. in ancient times.. background music could be heard without an audio tour guide. By. n. al. Ch. i Un. v. constructing and visualizing scene images, NPM tries to express Huai Su’s. engchi. artistic vision when he was creating his masterpiece. Participants equipped with handlers can then draw a 3-D calligraphy word (Figure 4.3a) and see the word transformed into a dynamic object with its literal meaning—the dragon. The order of the themes was switched randomly so that visitors were equally tested on both scenarios.. 25. DOI:10.6814/NCCU202000420.

(32) (a) Theme A Figure 4.3. 5). (b) Theme B. The screenshot of experiencing the VR themes.. 政治大. After the VR experience, visitors were asked to complete a questionnaire that. 立. measured reactions to the experimental situation.. ‧ 國. 學. Visitors were compensated with a $100NTD voucher for full participation in the. ‧. two VR experiences and completion of the questionnaire. All participants also qualified to take part in the lucky draw, with prizes valued at close to $10,000NTD in total.. sit. n. al. er. io. Measurement. y. Nat. 4.3. Ch. i Un. v. We collected 188 questionnaires in total. Each data collection instrument. engchi. included two sets of responses according to the stimulus type. Of these responses, 375 were valid: 188 for Huai Su’s Autobiography and 187 for Zhao Meng-fu’s Autumn Colors on the Que and Hua Mountains. The items related to the exhibition are listed in Table 4.1. Questionnaires with incomplete data were excluded. All items used a seven-point Likert scale, with scores of one to seven, representing totally disagree to totally agree. The measurement items, adapted from prior studies, are listed in Table 4.1. Regarding the characteristics of participants, most were students (84.0%) between the ages of 18 to 25 years (78.2%). Female participants (n = 116) outnumbered males 26. DOI:10.6814/NCCU202000420.

(33) (n = 72) by nearly twice as many. Background characteristics of participants are shown in Table 4.2. Close to 15% of participants had not visited NPM before, and nearly half of participants had no experience with VR. Participants provided feedback with open-ended answers to questions about the experience (Table 4.3). Equipment problems were the most commonly reported issue (68.6%). Devices should be improved and updated to provide a better visual and audio quality of VR experience. We also found that story lines and instructions for interacting with our product were not clear enough for people who had no VR experience. Some participants (18.1%) reported they expected a more interactive and sensory-rich experience. Table 4.1.. 政治大. 立. Background Descriptive Statistics Student 101 57. Sum 116 72. Sum. 30. 158. 188. ‧. ‧ 國. Others 15 15. 學. Occupation Female Male. Female. Sample. 18-25 26-40 above 40 under 18. Ch. 91 14 5 6. engchi. sit. Percentage. er. n. al. y. Nat. Age Descriptive Statistics. io. Table 4.2.. 48.40% iv n 7.45% U 2.66% 3.19%. Male. Sample. Percentage. 18-25 26-40. 56 11. 29.79% 5.85%. above 40 under 18. 3 2. 1.60% 1.06%. Sum. 188. 100.00%. 27. DOI:10.6814/NCCU202000420.

(34) Table 4.3.. Experience Descriptive Statistics. Female. VR Experience. NPM Experience. 2-4 times None Once Over 5 times. 37 (19.68%) 50 (26.6%) 24 (12.77%) 5 (2.66%). 64 (34.04%) 13 (6.91%) 17 (9.04%) 22 (11.70%). Male. VR Experience. NPM Experience. 2-4 times None Once. 21 (11.17%) 28 (14.89%) 17 (9.04%). 36 (19.15%) 15 (7.98%) 12 (6.38%). Over 5 times. 6 (3.19%). 9 (4.79%). Table 4.4.. Background Distribution. 治 25-40 政 18-25 大 8 (4.26%) 147 (78.19%) 25 (13.30%) 立None Once 2-5 times Under 18. NPM Experience VR Experience. 8 (4.26%) Over 5 times. 學. 28 (14.89%) 29 (15.43%) 101 (53.72%) 30 (15.96%) 79 (42.02%) 40 (21.28%) 58 (30.85%). 11 (5.85%). ‧. ‧ 國. Age. Over 40. Table 4.5. Research constructs and items. y. Nat. IR. I could admire the objects in the VR environment at will.. IM1 IM2. al. iv n C I could appreciate the objects naturally in virtual h eenvironment. ngchi U I thought the operating design of the objects in the virtual environment was reasonable. n. . er. Range: The amount of changes that can be affected on VR.. io. . sit. Interactivity: the extent to which users can modify the form and content of VR environment in real-time (Steuer 1992).. Mapping: The way in which human actions are connected to actions within VR.. . Speed: The rate at which external stimulus/inputs can be absorbed into VR.. IS. I did not experience delay between my actions and expected outcome.. Vividness: the sensory fidelity of the visually & auditory in the VR (Witmer et al. 2005). . Visual: The fidelity of the visual sense in VR.. V1. I were able to closely examine objects in the VR environment.. V2. I could observe objects in the VR environment from multiple viewpoints.. Realism: the extent to which a media appears like in real-world, which can make a person fully fooled into believing that the experienced situation (Sanchez-Vives and Slater 2004; Herbelin et al., 2016). R1. I would forget the objects was virtual sometimes when I was experiencing the objects in the VR environment. During the experience, I almost forgot the “real world” of the laboratory in which the whole experience was really. R2 taking place.. 28. DOI:10.6814/NCCU202000420.

(35) When I think back about my experience, I think of the virtual tour more as somewhere that I visited, rather than as R3 images that I saw. Storytelling: experiences in a coherent narrative format with audience perspective (Delgadillo &Escalas 2004). S1. The VR story consisted of actors engaged in actions to achieve goals.. S2. The VR story let me know what the actors are thinking and feeling.. S3. The VR story provided me with insight about the personal evolution or change in the life of a character.. S4. The VR story explained why this relic happens, that is, what caused this relic to happen? The VR story had a well delineated beginning (initial event), middle (crisis or turning point), and ending. S5 (conclusion)? S6. The VR story focused on specific, particular events rather than on generalizations or abstractions.. Immersion: a psychological state characterized by perceiving oneself to be enveloped by, included in, and interacting with VR (Witmer and Singer, 1998, Witmer et al. 2005). How well could you concentrate on the assigned tasks or required activities rather than on the mechanisms used to. 政治大. I1 perform those tasks or activities?. 立. I2. My senses were completely engaged in this experience.. I3. I easily adjust to the control devices used to interact with the virtual environment.. ‧ 國. 學. Absorption: a psychological state experienced as a consequence of focusing one’s mental energy and attention on a coherent set of stimuli or meaningfully related activities or events (Witmer et al.2005, Agarwal and Karhnal 2000). Temporal Dissociation: The inability to register the passage of time while engaged in interaction.. AD2. I lost track of time when I was experiencing the VR.. AD3. Time flied when I was experiencing the VR.. y. al. I have fun interacting with the VR.. AE2. Experiencing the VR provides me with a lot of enjoyment.. AE3. I enjoy experiencing the VR.. AC. n. AE1. . sit. Heightened enjoyment: The pleasurable aspects of the interaction.. io. . ‧. Time appeared to go by very quickly when I was experiencing the VR.. Nat. AD1. Ch. engchi. er. . i Un. v. Curiosity: The experience arouses an individual's sensory and cognitive curiosity Interacting with the VR makes me curious about this relic.. NPM performance: Kumar and Pansari (2016) . Referrals: A form of engaging and attracting with the customers who would otherwise not be attracted through traditional marketing channels.. N1 . The VR experience encourages me to refer NPM to my friends and relatives. Influence: The effect that users affect others’ activities within their social network.. N2. I will love talking about this VR experience. N3. I will discuss the benefits that I get from this VR experience with others.. 29. DOI:10.6814/NCCU202000420.

(36) Table 4.6.. Summary of Opening Answers Category & Answers. Percentage. Uncomfortable Experience . Heavy headset. . Hot temperature of the environment. 67 (35.64%). Equipment Problem . Device should be updated.. . Sometimes controller got poor induction.. . Bad visual quality of VR scene.. . Text are too small and not clear.. . Audio sound can be better by using earphones.. 立. Exhibition Design. 129 (68.62%). 政治大. ‧ 國. 學. Want more interaction. . Feel bored of taking too long to watch. . Not enough time to interact.. . Location too far. 61 (32.45%). ‧. . io. n. al. . Not enough instructions about the range of VR. . Weird transition and don’t know what to do. . Not enough introduction and description about the relic. Ch. engchi. er. sit. y. Nat. Instructions and Guide. i Un. v. 34 (18.09%). 30. DOI:10.6814/NCCU202000420.

(37) Chapter 5. Analysis and Results 5.1. Measurement Model Analysis We used the partial least squares (PLS) regression approach for our data analysis.. This method is a better fit for our data because of its properties—minimal demand of sample size, residual distributions, and the ability to model formative and reflective constructs (Chin, 1998). To determine whether the data have good measurement ability, item reliability and content validity must be examined. The results of these analyses are shown in Tables 5.1, 5.2, and 5.3.. 治政大 desirable and a loading loadings of each item. A loading of 0.7 and above is considered 立 First, we assessed item reliability in our questionnaire by evaluating the factor. of 0.5 and above is acceptable. Items with loadings equal to or under 0.5 should be. ‧ 國. 學. dropped (Hulland, 1999). As shown in Table 5.1, all item loadings fulfil the. ‧. acceptability principle. In order to preserve content validity, we chose not to drop those. sit. y. Nat. items (Bollen & Lennox, 1991).. io. er. Second, we then evaluated the construct validity, including convergent and. al. iv n C whilehthe e nlatter h i Uweak correlations g cshows. n. discriminant validity. The former indicates how strongly each item correlates with the construct associated with it,. with other. constructs in the model (Gefen & Straub, 2018). Following Fornell and Larcker (1981), we used Cronbach’s alpha, composite reliability, and average variance extracted (AVE) to examine construct validity. As shown in Table 5.1, with the exception of vividness, all items had a Cronbach's alpha and composite reliability above 0.7, which satisfies the principle of Nunnally (1987). Although the value of vividness is not desirable, nevertheless we were curious about its impact, and its value was still larger than the lowest standard of 0.5. We concluded that vividness is an indispensable element for VR. 31. DOI:10.6814/NCCU202000420.

(38) design and therefore chose not to drop this item. The value of AVE for each construct also meets the 0.5 standard (Götz et al., 2010). Another way to assess discriminant validity is to examine the factor loadings of each item (Wasko & Faraj, 2005). Table 5.2 presents the factor loadings of each item and their cross-loadings. Measurements should load strongly on their intended factor and weakly on other factors. That is, all the item loadings correlated with their construct should be higher than their correlations with the other constructs. Also, the square root of each construct’s AVE is reported in the diagonal cells of Table 5.3, indicating larger values than all the remaining latent constructs. Taken together, these indicators show. 政治大. that all the constructs have good measurement properties.. 立. ‧. ‧ 國. 學. n. er. io. sit. y. Nat. al. Ch. engchi. i Un. v. 32. DOI:10.6814/NCCU202000420.

(39) Table 5.1.. AC1. 0.701. AD1. 0.81. AD2. 0.781. AD3. 0.78. AE1. 0.805. AE2. 0.807. AE3. 0.807. I3. 0.805. I4. 0.914. I6. 0.824. IM1. 0.823. 立. IM3 Interactivity. 0.802. N6. 0.858. N7. 0.856. R1. 0.869. R2. 0.924. io. al. n S3. 0.617. 0.807. 0.885. 0.72. 0.87. 0.626. 0.79. 0.877. ‧. N4. S2. 0.918. 0.801 0.739. S1. 0.896. AVE. 0.817. IS1. R3. Reliability. 學. Realism. Alpha. 政治大 0.785. Nat. Performance. ‧ 國. IR2. NPM. Composite. 0.704. y. Immersion. Cronbach's Loading. sit. Absorption. Item. 0.881. 0.926. 0.806. 0.895. 0.92. 0.658. 0.616. 0.836. 0.719. er. Factor. Item Reliability Analysis (n=375):. 0.9. i n C0.837 U hengchi 0.762. v. 0.854. Storytelling S4. 0.822. S5. 0.852. S6. 0.733. VF1. 0.896. VF2. 0.797. Vividness. 33. DOI:10.6814/NCCU202000420.

(40) Table 5.2.. Matrix of Loadings and Cross-Loadings NPM. Items. Absorption Immersion Interactivity. Realism Storytelling Vividness Performance. AC1. 0.701. 0.270. 0.386. 0.517. 0.350. 0.378. 0.264. AD1. 0.810. 0.473. 0.398. 0.424. 0.386. 0.418. 0.393. AD2. 0.781. 0.502. 0.401. 0.329. 0.408. 0.364. 0.382. AD3. 0.780. 0.486. 0.347. 0.366. 0.383. 0.339. 0.394. AE1. 0.805. 0.405. 0.403. 0.493. 0.337. 0.451. 0.317. AE2. 0.807. 0.388. 0.440. 0.477. 0.404. 0.446. 0.262. AE3. 0.807. 0.468. 0.447. 0.517. 0.391. 0.452. 0.323. I3. 0.310. 0.805. 0.332. 0.200. 0.335. 0.247. 0.319. I4. 0.583. 0.914. 0.470. 0.307. 0.492. 0.350. 0.456. I6. 0.438. 0.824. 0.450. 0.229. 0.338. 0.295. 0.373. IM1. 0.436. 0.359. 0.823. 0.310. 0.451. IM3. 0.414. 0.458. 0.305. 0.347. IR2. 0.392. 0.351 立 0.817. 0.255. 0.344. 0.313. 0.475. IS1. 0.385. 0.403. 0.739. 0.266. 0.253. 0.276. 0.246. N4. 0.515. 0.309. 0.296. 0.802. 0.369. 0.404. 0.296. N6. 0.461. 0.224. 0.254. 0.858. 0.252. 0.282. 0.205. N7. 0.458. 0.205. 0.294. 0.856. 0.233. R1. 0.348. 0.329. 0.326. 0.260. 0.869. R2. 0.424. 0.415. 0.360. 0.283. 0.924. R3. 0.503. 0.490. 0.437. 0.365. S1. 0.399. 0.269. 0.285. 0.266. S2. 0.407. 0.322. 0.281. S3. 0.441. S4. 學. ‧. Nat. 0.289. 0.139. 0.369. 0.339. y. ‧ 國. 0.238 治 0.402 政大0.341 0.301 0.785. 0.900. 0.393. 0.418. 0.299. 0.762. 0.367. 0.339 e n g0.365 c h i U 0.406. 0.837. 0.398. 0.316. C0.306 h. v 0.385 ni. 0.854. 0.451. 0.431. 0.243. 0.294. 0.346. 0.360. 0.822. 0.367. S5. 0.453. 0.346. 0.337. 0.335. 0.359. 0.852. 0.460. S6. 0.402. 0.226. 0.288. 0.307. 0.325. 0.733. 0.357. VF1. 0.370. 0.476. 0.418. 0.163. 0.380. 0.439. 0.896. VF2. 0.349. 0.279. 0.394. 0.300. 0.338. 0.401. 0.797. er. n. al. sit. 0.372. io. 0.420. 34. DOI:10.6814/NCCU202000420.

(41) Table 5.3.. Correlations of Constructs NPM. Absorption Immersion Interactivity. Realism. Storytelling Vividness. Performance Absorption. 0.785. Immersion. 0.544. 0.849. Interactivity. 0.515. 0.5. 0.791. NPM Performance. 0.572. 0.297. 0.336. 0.839. Realism. 0.483. 0.468. 0.424. 0.344. 0.898. Storytelling. 0.521. 0.357. 0.381. 0.391. 0.44. 0.811. Vividness. 0.423. 0.46. 0.478. 0.259. 0.424. 0.496. 5.2. 0.848. Structural Model Analysis We used three models in the analysis. Model 1 is the general model, which is. 政治大. applied regardless of the artifact type. Models 2 and 3 focus on specific stimuli. Model. 立. 2 is for Huai Su’s Autobiography and Model 3 is for Zhao Meng-fu’s Autumn Colors. ‧ 國. 學. on the Que and Hua Mountains. Following Hair and associates’ (2013) suggestion, a. path coefficient.. ‧. bootstrapping approach was implemented with 5,000 samples created for estimating the. y. Nat. er. io. sit. In the first step, path coefficients were calculated. The t-test helps us examine the statistical significance of the construct path coefficient and confidence intervals. The. n. al. Ch. i Un. v. path coefficients and their t-values for Models 1–3 are presented in Table 5.4. In Models. engchi. 1 and 2, the results indicate that most of the paths are significant, with the exception of the effect of vividness on absorption (T1= 0.064; T2= 0.01) and the effect of immersion on NPM performance (T1= 0.382; T2= 0.622). Consistent with previous research, there was one more effect, storytelling on immersion (T3= 0.89), not significant in Model 3. Also, the moderating effect is not strong enough in Model 3. In the second step, model validity was assessed by calculating the R2 value (Chwelos et al., 2001), a statistical measure of how close the data fit the regression. 35. DOI:10.6814/NCCU202000420.