Graphics Reference
In-Depth Information
Line A :
V
=
a
'
+
b
'
T
'
0
0
Coefficient of coordinate transform of ∆ T '
K 0 ' k 1 '
0.67 0.74
Single regression analysis by ∆ T'
Intercept
a 0 '
Line B :
V
=
a
'
'
+
b
'
'
T
'
'
0
0
T
'
'
=
k
'
'
T
+
k
'
'
A
0
1
Coefficient
b 0 '
Determination
coefficient R 2
V
=
a
'
+
b
'
T
'
Line A :
-475
76.3
0.84
0
0
T
'
=
k
'
T
+
k
'
A
0
1
Line B :
V
=
a
'
'
+
b
'
'
T
'
'
0
0
Coefficient of coordinate transform of ∆ T ''
K 0 '' k 1 ''
0.26 0.97
Single regression analysis by ∆ T ''
Intercept
a 0 ''
Difference in
amplitude ∆ A
| A n-1 | - | A n |
Difference in
cycle ∆ T
| T n-1 | - | T n |
Coefficient
b 0 ''
Determination
coefficient R 2
10280
67.0
0.76
Fig. 15 Linear regression analysis in Kendo experiment (Player Y) [ 11 ]
that player Y creates avatar motion using line B just before the collapse of Maai.
We think that player Y used Line B to intentionally collapse Maai, because player
Y used line B not in the act of collapsing Maai, but just before the collapse of Maai.
Summarization of these results shows that the controller manipulation method is
different when the intention is to create Maai and when the intention is to collapse
it. Moreover, in this system, if player Y creates avatar motion using the method in
which the Δ T fl uctuates, but Δ A is kept nearly constant, it is going to be more likely
that the opponent (player K) can anticipate the movement of player Y's avatar
because the operation rhythm of the controller is mutually transmitted as the sound.
In this case, player Y uses line B when intending to collapse Maai. Player Y does
not want the opponent to anticipate the motion of player Y's avatar in this situation.
Therefore, we found that player Y creates avatar motion using the controller
manipulation method that is appropriate for the situation. Further, the results of
player K, who lost the Kendo match, show the same tendency (Figs. 13 d and 16 b ).
From the result, we found that humans can improvise actions by changing the
controller manipulation method depending on the situation.
In the Kendo experiment, the forward motion of the avatar has two quite dif-
ferent meanings. One is to move forward to create Maai. The other is to move
forward to collapse Maai. Results of this study show that by changing the controller
manipulation method, players realize two actions whose movements are same, but
whose meanings are quite different. This shows that the relationship between the
controller input and avatar motion fl flexibly changes depending on circumstances he
is in right now, or context. Therefore, we consider the rhythm controller as the soft
interface that has ambiguity.
 
 
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