“Flow Zone: A Cross-Modal Music Creation VR Experience to Induce Flow”
Conference:
Experience Type(s):
Title:
- Flow Zone: A Cross-Modal Music Creation VR Experience to Induce Flow
Description:
Many people want to live a happy and fulfilling life, yet finding this positive sense of well-being is often quite a challenge. Flow is a wonderfully powerful experience that not only feels amazing in the moment but actually improves a person’s general sense of well-being as well. It seems like a great answer to this problem, but unfortunately the complex concoction of parameters necessary to enter flow prevent the experience from occurring regularly. Flow Zone aims to lower the barrier to entry with its design tailored to maximize potential for flow. VR was used as the medium to create an immersive environment that simultaneously removes distractions and focuses the player’s attention on the task at hand. The enhanced immersiveness of cross-modality combined with game design elements centered around creative expression through music creates a streamlined pathway to the flow state.
References:
[1] Riccardo Berta, Francesco Bellotti, Alessandro De Gloria, Danu Pranantha, and Carlotta Schatten. 2013. Electroencephalogram and physiological signal analysis for assessing flow in games. IEEE Transactions on Computational Intelligence and AI in Games 5, 2 (2013), 164–175.
[2] Yulong Bian, Chenglei Yang, Fengqiang Gao, Huiyu Li, Shisheng Zhou, Hanchao Li, Xiaowen Sun, and Xiangxu Meng. 2016. A framework for physiological indicators of flow in VR games: construction and preliminary evaluation. Personal and Ubiquitous Computing 20, 5 (2016), 821–832.
[3] Ting-Jui Chou and Chih-Chen Ting. 2003. The role of flow experience in cyber-game addiction. CyberPsychology & Behavior 6, 6 (2003), 663–675.
[4] Mihaly Csikszentmihalyi. 1990. Flow: The psychology of optimal performance. NY: Cambridge UniversityPress 40 (1990).
[5] Steven Kotler. 2014. The rise of superman: Decoding the science of ultimate human performance. Houghton Mifflin Harcourt.
[6] Giovanni B Moneta. 2004. The flow experience across cultures. Journal of Happiness Studies 5, 2 (2004), 115–121.
[7] Katelyn Procci, Allysa R Singer, Katherine R Levy, and Clint Bowers. 2012. Measuring the flow experience of gamers: An evaluation of the DFS-2. Computers in Human Behavior 28, 6 (2012), 2306–2312.
[8] Scott Rigby and Richard M Ryan. 2011. Glued to games: How video games draw us in and hold us spellbound: How video games draw us in and hold us spellbound. ABC-CLIO.
[9] Giuseppe RIVA1-a. 2012. What is Positive Technology and its impact on CyberPsychology. Annual Review of Cybertherapy and Telemedicine: Advanced Technologies in the Behavioral, Social and Neurosciences. 2012 181 (2012), 37.
[10] Yoones A Sekhavat and Hossein Zarei. 2018. Sense of immersion in computer games using single and stereoscopic augmented reality. International Journal of Human-Computer Interaction 34, 2 (2018), 187–194.
[11] John L Sherry. 2004. Flow and media enjoyment. Communication theory 14, 4 (2004), 328–347.
[12] David Bryce Yaden, Johannes C Eichstaedt, and John D Medaglia. 2018. The Future of Technology in Positive Psychology: Methodological Advances in the Science of Well-being. Frontiers in Psychology 9 (2018), 962.
