DOCSLIB.ORG

Effects of Transparency and Haze on Trust and Performance During a Full Motion Video Analysis Task

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Effects of Transparency and Haze on Trust and Performance During a Full Motion Video Analysis Task Old Dominion University ODU Digital Commons Psychology Theses & Dissertations Psychology Spring 2020 Effects of Transparency and Haze on Trust and Performance During a Full Motion Video Analysis Task Sarah C. Leibner Old Dominion University, [email protected] Follow this and additional works at: https://digitalcommons.odu.edu/psychology_etds Part of the Applied Behavior Analysis Commons, Industrial and Organizational Psychology Commons, and the Industrial Engineering Commons Recommended Citation Leibner, Sarah C.. "Effects of Transparency and Haze on Trust and Performance During a Full Motion Video Analysis Task" (2020). Master of Science (MS), Thesis, Psychology, Old Dominion University, DOI: 10.25777/7sba-p044 https://digitalcommons.odu.edu/psychology_etds/352 This Thesis is brought to you for free and open access by the Psychology at ODU Digital Commons. It has been accepted for inclusion in Psychology Theses & Dissertations by an authorized administrator of ODU Digital Commons. For more information, please contact [email protected]. EFFECTS OF TRANSPARENCY AND HAZE ON TRUST AND PERFORMANCE DURING A FULL MOTION VIDEO ANALYSIS TASK by Sarah C. Leibner B.S. Psychology, May 2017, Old Dominion University A Thesis Submitted to the Faculty of Old Dominion University in Partial Fulfillment of the Requirements for the Degree of MASTER OF SCIENCE PSYCHOLOGY OLD DOMINION UNIVERSITY May 2020 Approved by: James P. Bliss (Director) Mark Scerbo (Member) Konstantin Cigularov (Member) ABSTRACT EFFECTS OF TRANSPARENCY AND HAZE ON TRUST AND PERFORMANCE DURING A FULL MOTION VIDEO ANALYSIS TASK Sarah C. Leibner Old Dominion University, 2020 Director: Dr. James P. Bliss Automation is pervasive across all task domains, but its adoption poses unique challenges within the intelligence, surveillance, and reconnaissance (ISR) domain. When users are unable to establish optimal levels of trust in the automation, task accuracy, speed, and automation usage suffer (Chung & Wark, 2016). Degraded visual environments (DVEs) are a particular problem in ISR; however, their specific effects on trust and task performance are still open to investigation (Narayanaswami, Gandhe, & Mehra, 2010). Research suggests that transparency of automation is necessary for users to accurately calibrate trust levels (Lyons et al., 2017). Chen et al. (2014) proposed three levels of transparency, with varying amounts of information provided to the user at each level. Transparency may reduce the negative effects of DVEs on trust and performance, but the optimal level of transparency has not been established (Nicolau & McKnight, 2006). The current study investigated the effects of varying levels of transparency and image haze on task performance and user trust in automation. A new model predicting trust from attention was also proposed. A secondary aim was to investigate the usefulness of task shedding and accuracy as measures of trust. A group of 48 undergraduates attempted to identify explosive emplacement activity within a series of full motion video (FMV) clips, aided by an automated analyst. The experimental setup was intended to replicate Level 5 automation (Sheridan & Verplank, 1978). Reliability of the automated analyst was primed to participants as 78% historical accuracy. For each clip, participants could shed their decision to an automated analyst. Higher transparency of automation predicted significantly higher accuracy, whereas hazy visual stimuli predicted significantly lower accuracy and 2.24 times greater likelihood of task shedding. Trust significantly predicted accuracy, but not task shedding. Participants were fastest in the medium transparency condition. The proposed model of attention was not supported; however, participants’ scanning behavior differed significantly between hazy and zero haze conditions. The study was limited by task complexity due to efforts to replicate real-world conditions, leading to confusion on the part of some participants. Results suggested that transparency of automation is critical, and should include purpose, process, performance, reason, algorithm, and environment information. Additional research is needed to explain task shedding behavior and to investigate the relationship between degrade visual environments, transparency of automation, and trust in automation. iv Copyright 2019 by Sarah C Leibner, All Rights Reserved. v ACKNOWLEDGEMENTS I would like to acknowledge my advisor and committee chair, Dr. James Bliss, for his patient guidance throughout this process. I would also like to acknowledge Dr. Anne Michalek for her kind assistance and extended loan of eye tracking equipment during data collection. vi TABLE OF CONTENTS Page LIST OF TABLES ....................................................................................................................... viii LIST OF FIGURES ....................................................................................................................... ix Chapter I. INTRODUCTION ...................................................................................................................10 AUTOMATED FMV ANALYSIS .................................................................................…11 LEVELS OF AUTOMATION ............................................................................................17 RELIABILITY ....................................................................................................................18 HUMAN-AUTOMATION TRUST ....................................................................................18 SITUATION AWARENESS AND DECISION MAKING ...............................................20 DEGRADED VISUAL ENVIRONMENTS .......................................................................21 TRANSPARENCY OF AUTOMATION ...........................................................................23 CONVERGENT MEASURES............................................................................................25 CURRENT STUDY ............................................................................................................27 HYPOTHESES ..............................................................................................................28 II. METHOD ................................................................................................................................31 DESIGN ..............................................................................................................................31 INDEPENDENT VARIABLES ....................................................................................31 DEPENDENT VARIABLES ........................................................................................34 PARTICIPANTS .................................................................................................................37 MATERIALS ......................................................................................................................38 MEASURES ........................................................................................................................40 PROCEDURE .....................................................................................................................41 III. RESULTS ...............................................................................................................................44 DATA CLEANING ............................................................................................................44 DATA CODING .................................................................................................................45 ACCURACY .......................................................................................................................46 DECISION SPEED .............................................................................................................47 TASK SHEDDING .............................................................................................................50 ATTENTION ......................................................................................................................52 TRUST ................................................................................................................................55 IV. DISCUSSION .........................................................................................................................60 HAZE AND TRANSPARENCY ........................................................................................60 MEASURING TRUST ........................................................................................................61 ATTENTION ......................................................................................................................64 vii Chapter Page IV. DISCUSSION .........................................................................................................................60 IMPLICATIONS .................................................................................................................65 LIMITATIONS ...................................................................................................................66 CONCLUSION ...................................................................................................................67 REFERENCES ..............................................................................................................................69 APPENDICES ...............................................................................................................................78
Load more

Recommended publications
  • Why John Madden Football Has Been Such a Success
    Why John Madden Football Has Been Such A Success Kevin Dious STS 145: The History of Computer Game Design: Technology, Culture, Business Professor: Henry Lowood March 18, 2002 Kevin Dious STS 145: The History of Computer Game Design: Technology, Culture, Business Professor: Henry Lowood March 18, 2002 Why John Madden Football Has Been Such A Success Case History Athletic competition has been a part of the human culture since its inception. One of the most popular and successful sports of today’s culture is American football. This sport has grown into a worldwide phenomenon, and like the video game industry, has become a multi-billion entity. It was only a matter of time until game developers teamed up with the National Football League (NFL) to bring magnificent sport to video game players across the globe. There are few, if any, game genres that are as popular as sports games. With the ever-increasing popularity of the NFL, it was inevitable that football games would become one of the most lucrative of the sports game genre. With all of the companies making football games for consoles and PCs during the late 1980s and 1990s, there is one particular company that clearly stood and remains above the rest, Electronic Arts. EA Sports, the sports division of Electronic Arts, revolutionized not only the football sports games but also the entire sports game genre itself. Before Electronic Arts entered the sports realm, league licenses, celebrity endorsements, and re-release of games were all unheard of. EA was one of the first companies to release the same game annually, creating several series of games that are thriving even today.
    [Show full text]
  • Internet Camera the D-Link SECURICAM Network DCS-2100 Internet Automatically Add It to the Network
    Remote Audio & Video Surveillance for Home/Office View Full Motion Video of Your Home or Office over the Internet 4x Digital Zoom1 Magnifies Image for Enhanced Viewing Captures Video in Minimal DCS-2100 Lighting2 – Ideal for use at Night Remotely Take Snapshots and Save to a Hard Drive via Web Browser Starts Recording and Sends E-mail Alerts When Motion is Detected 10/100 Fast Ethernet Internet Camera The D-Link SECURICAM Network DCS-2100 Internet automatically add it to the network. The DCS-2100 can Camera is designed for office and home users who want be accessed and viewed from “My Network Places” as a a full-featured surveillance system that provides remote, device on the network. high quality video and audio monitoring over the Internet. By signing up with one of the many free Dynamic DNS The DCS-2100 connects directly to an Ethernet broadband services available on the web, you can create a personal network to enable remote viewing and management of web address (e.g., www.mycamera.myddns.com) the camera from anywhere in the world using Internet for your camera. This allows you to remotely access Explorer version 6. With its own IP address and built-in your camera and monitor your site without having to web server, you can place the DCS-2100 anywhere on remember the IP address, even if it has been changed the network without requiring a direct connection to a PC. by your Internet Service Provider. As you watch and listen remotely to video and sound Full-featured software is included to enhance the obtained by the DCS-2100, you can instantly take monitoring and management of the DCS-2100.
    [Show full text]
  • Video-Based Interactive Storytelling
    4 Video-Based Interactive Storytelling This thesis proposes a new approach to video-based interactive narratives that uses real-time video compositing techniques to dynamically create video sequences representing the story events generated by planning algorithms. The proposed approach consists of filming the actors representing the characters of the story in front of a green screen, which allows the system to remove the green background using the chroma key matting technique and dynamically compose the scenes of the narrative without being restricted by static video sequences. In addition, both actors and locations are filmed from different angles in order to provide the system with the freedom to dramatize scenes applying the basic cinematography concepts during the dramatization of the narrative. A total of 8 angles of the actors performing their actions are shot using a single or multiple cameras in front of a green screen with intervals of 45 degrees (forming a circle around the subject). Similarly, each location of the narrative is also shot from 8 angles with intervals of 45 degrees (forming a circle around the stage). In this way, the system can compose scenes from different angles, simulate camera movements and create more dynamic video sequences that cover all the important aspects of the cinematography theory. The proposed video-based interactive storytelling model combines robust story generation algorithms, flexible multi-user interaction interfaces and cinematic story dramatizations using videos. It is based on the logical framework for story generation of the Logtell system, with the addition of new multi-user interaction techniques and algorithms for video-based story dramatization using cinematography principles.
    [Show full text]
  • Appendix A. DEFINITIONS of TERMS
    Appendix A. DEFINITIONS OF TERMS In this section, we provide more detailed information about each of these facets as well as indexing terms, examples of video game screenshots, and corresponding rules for applying these terms with regards to the related terms. 1.1 Artistic Style Facet The style facet provides a framework for selecting the predominant and recognizable visual appearance of a video game towards which its artistic features are intentionally directed. Style describes the overall aesthetic organization of the entities in the game, and provides a distinctive category shared by similarly designed games. Abstract The term “abstract” describes pure forms, so generally it does not go with games which have narrative contexts to accompany the gameplay (from Järvinen, 2002). This term has two child terms: fractal and text. Fractal is a form of algorithmic art created by computations calculating the movement and display of graphic objects. It tends to be symmetrical and geometric in appearance but encompasses all abstract visualizations of color and form. Psychedelic, a child term of fractal, refers to a specific abstract fractal style featuring “kaleidoscopically swirling patterns” in bright, multicolored entropic motifs, and is commonly found in rhythm games. Figure 18. Abstract: Tetris (1984) Figure 19. Fractal: Fractal: Make Blooms Not War (2011) Figure 20. Psychedelic: Dyad (2012) Text, on the other hand, refers to an abstract visual style where the artistic elements are completely conveyed through the use of text. This is more common in older video games such Legend of the Red Dragon (1989), Zork (1977) and other MUD games. Figure 21. Text: Legend of the Red Dragon (1989) Photorealism The term “photorealism” refers to “photographic likeness with reality” (p.
    [Show full text]
  • Justin Hwang STS145 March 18, 2002
    Justin Hwang STS145 March 18, 2002 Maximum Convergence “The technological line between video games and action movies has become so tenuous that even the nimble Lara Croft may have a hard time detecting it” – so reads a recent USA Today article (“Games, Movies Share”). Indeed, given the latest flurry of new action motion pictures based on computer and video games, it would appear as though we are headed for an ultimate convergence between the two media into a cataclysmic Big Bang giving birth to a new interactive medium. Coming from the other direction, as computer technology and graphics advance at an astonishingly rapid pace, we see computer and video games borrowing more from movies, incorporating such elements as flashy cinematography and wild camera angles, while game designers supplement atmosphere with original soundtracks and stronger narrative plots that bring more to games than just mindlessly blasting the opposition into a digital oblivion. Max Payne, designed by Remedy Entertainment, is one such game featuring all of the above elements and appearing at the forefront of this seemingly unavoidable collision. Serving as a springboard for the future of entertainment media, Max Payne might appear to symbolize the upcoming conglomeration of two massive multi-billion dollar industries, signifying a revolution in the entertainment industry, as well as new radical changes in how society interacts with its cultural media. The consequences of such a revolution are staggering. However, we are not heading toward an age where there will be no distinction between video games and movies, but rather, both media will continue to thrive together, existing in a symbiotic relationship where both forms ultimately remain unique and distinct yet intertwined and interdependent upon each other.
    [Show full text]
  • Turbografx-16 Games
    Open Archaeology 2019; 5: 350–364 Original Study John Aycock*, Andrew Reinhard, Carl Therrien A Tale of Two CDs: Archaeological Analysis of Full-Motion Video Formats in Two PC Engine/ TurboGrafx-16 Games https://doi.org/10.1515/opar-2019-0022 Received March 18, 2019; accepted July 16, 2019 Abstract: As an example of how the archaeology of modern/contemporary media can be conducted, we examine the technology behind artifacts with cultural relevance in modern society: video games. In particular, we look at two game artifacts from the PC Engine/TurboGrafx-16, a game console produced from 1987–1994. A 1× CD-ROM drive could be added on to the console, with a corresponding increase in the amount of data a game could access, and some games took advantage of this capability to include full-motion video (FMV). This digital excavation report details the FMV formats of two such games along with the methodology used to reverse engineer the formats and verify the correctness of the analysis. Keywords: video games, CD-ROM, digital media, full-motion video, reverse engineering 1 Introduction Domestic video game entertainment in the 1980s developed into two distinct digital enclaves. Console gaming was seen as a novel and cheap way to bring the arcade into anyone’s living room, while personal computers were typically less competent to translate the frenetic action of popular arcade titles. Part of the attraction exerted by the more expensive personal computers came from the versatility and affordability of the preferred storage medium (magnetic cassette tapes or diskettes, versus the expensive ROM chips used for consoles).
    [Show full text]
  • The Story of Final Fantasy VII and How Squaresoft
    STS145 History of Computer Game Design, Final Paper, Winter 2001 Gek Siong Low Coming to America The making of Final Fantasy VII and how Squaresoft conquered the RPG market Gek Siong Low [email protected] Disclaimer: I have tried my best to find sources that are as reliable as possible (press releases, interviews in published magazines, etc) but many times I had to depend on third-party accounts of what happened. Some of these accounts conflict with one another, so I try to present as coherent an account of the history as I can here. I do not claim that everything in this paper is true. With that in mind, let us proceed on with the story… Introduction “[Final Fantasy VII is]…quite possibly the greatest game ever made.” -- GameFan magazine, quote on back of Final Fantasy VII CD case (Greatest Hits edition) The story of Squaresoft’s success in the US video games market appears at first glance to be like a fairy tale. Before Final Fantasy VII, console-based role-playing games (RPGs) were still a niche market, played only by a dedicated few who were willing to endure the long wait for the few games to cross the Pacific and onto American soil. Then came Final Fantasy VII in the September of 1997, wowing everybody with its amazing graphics, story and gameplay. The game single-handedly lifted console-based RPGs out of their little niche into the mainstream, selling millions of copies worldwide, and made Squaresoft a household name in video games. Final Fantasy VII CD cover art Today console-based RPGs are a major industry, with players spoilt-for- choice on which RPG to buy every Christmas.
    [Show full text]
  • Designing a PC Game
    CS 563 Advanced Topics in Computer Graphics Designing a PC Game by LinnaMa Topic ° Background ° Six game characteristics ° History ° Kinds of Games ° Design ° Platforms ° Languages ° Components ° Tools ° Game engines ° Trends Background - Characteristics General games Succes Chance-based criteria games Optional Rules consequences Quantifiable outcome associated with player(s) Player Simulations / influences Toys outcome Background - Characteristics Sid Meier: “A game is a series of interesting choices.“ ° Pre-defined rules (a dynamic system) ° Goals ° Variable outcome associated with the player(s) ° Optional real-world consequences. (You can place a bet on the outcome of a game, but you can also choose not to.) ° Non-gambling: The player influences the outcome. ° In a game with a theme, a game is a representation of a fictive world. Background - Characteristics 2hat do players want? ° Players want: a challenge, to socialize, a dynamic solitaire experience, bragging rights, emotional experience, fantasize ° Players expect: A consistent world, to understand the game-world‘s bounds, reasonable solutions to work, direction, to accomplish a task incrementally, to be immersed, to fail, a fair chance, to not need to repeat themselves, to not get hopelessly stuck, to do - not to watch. Background - History ° 19705s and Earlier ° Space War developed at MIT 1961 ° Used vector graphics on PDP-1 ° Star Trek popular in 70‘s ° Mainframes ° Almost no graphics Background - History 1980‘s Adventure Platform Action Driving °Action-adventure: Gauntlet, Jet
    [Show full text]
  • TASE Imaging Systems Is the Leader in Steering and Electronic Image Stabilization Creating Sound Solutions in Demanding Environments
    TASE™ imaging systems A LEADING SOURCE OF REAL-TIME INTELLIGENCE Over 500,000 operational hours of advanced, reliable imaging for warfighters and first responders TASE™ ADVANCED IMAGING SYSTEMS SUPERIOR PERFORMANCE, LOWEST SIZE WEIGHT AND TASE™ 250 LWIR POWER (SWaP) Compact lightweight EO/LWIR Mechanical Diameter: 5.5 inches (139.7 mm) Height: 7.5 inches (190.5 mm) Weight: <4.4 lbs (<1.99 kg) Electrical VIN: 14 - 30 volts Power: 25 W (average) 100 W (max) ENVIRONMENTAL Payload performance Payload stabilization: 2-axis Video out - (H.264): 640 x 480 30 Hz - with embedded metadata Long wave IR camera Dual field of view lens HFOV: 11° - 4.4° Resolution: 640 x 480 Daylight camera Stepped digital zoom: 4x HFOV: 14.5°- 2.5° Laser pointer1 (optional) Class IIIb laser1 830 nm (NVG band) 130 mW max PERFORMANCE TASE™ 400 DXR TASE™ 400 BLK II TASE™ 500 HD Extended range daylight imaging Advanced day/night imaging Advanced multi-spectral imaging Mechanical Mechanical Mechanical Diameter: 7 inches (177.8 mm) Diameter: 7 inches (177.8 mm) Diameter: 10.25 inches (260.35 mm) Height: 10.5 inches (266.7 mm) Height: 10.5 inches (266.7 mm) Height: 14.75 inches (374.65 mm) Weight: 8.25 lbs (3.74kg) Weight: 8.1lbs (3.67kg) Unmanned weight: 33 lbs (15 kg) Manned weight: 37 lbs (17 kg) Electrical Electrical VIN: 10 - 30 volts VIN: 10 - 30 volts Electrical Power: 25 W (average) 100 W (max) Power: 35 W (average) 100 W (max) VIN: 18 - 30 volts Power: 95 W (average) 125 W (max) Payload performance Payload performance Payload performance Payload stabilization: 2-axis
    [Show full text]
  • Worldbuilding Voices in the Soundscapes of Role-Playing Video Games
    University of Huddersfield Repository Jennifer, Smith Worldbuilding Voices in the Soundscapes of Role Playing Video Games Original Citation Jennifer, Smith (2020) Worldbuilding Voices in the Soundscapes of Role Playing Video Games. Doctoral thesis, University of Huddersfield. This version is available at http://eprints.hud.ac.uk/id/eprint/35389/ The University Repository is a digital collection of the research output of the University, available on Open Access. Copyright and Moral Rights for the items on this site are retained by the individual author and/or other copyright owners. Users may access full items free of charge; copies of full text items generally can be reproduced, displayed or performed and given to third parties in any format or medium for personal research or study, educational or not-for-profit purposes without prior permission or charge, provided: • The authors, title and full bibliographic details is credited in any copy; • A hyperlink and/or URL is included for the original metadata page; and • The content is not changed in any way. For more information, including our policy and submission procedure, please contact the Repository Team at: [email protected]. http://eprints.hud.ac.uk/ Worldbuilding Voices in the Soundscapes of Role-Playing Video Games Jennifer Caron Smith A thesis submitted to the University of Huddersfield in partial fulfilment of the requirements for the degree of Doctor of Philosophy The University of Huddersfield October 2020 1 Copyright Statement i. The author of this thesis (including any appendices and/ or schedules to this thesis) owns any copyright in it (the “Copyright”) and s/he has given The University of Huddersfield the right to use such Copyright for any administrative, promotional, educational and/or teaching purposes.
    [Show full text]
  • An Exploration of the Nondiegetic1 in Soccer Video Games
    Sociology of Sport Journal, 2009, 26, 67-88 © 2009 Human Kinetics, Inc. Starting at “Start”: An Exploration of the Nondiegetic1 in Soccer Video Games Steven Craig Conway University of Bedfordshire This article is a critical qualitative textual analysis of a selection of soccer video games, focusing on the representational and functional aspects of machine actions outside the game (Galloway, 2006) as illustrated by the “Introductory Video” and “Start Menu.” I analyze the figurative and ludic implications of these components comparatively, illustrating their crucial role in configuring audience expectations and pleasures for the game genre as well as for game play. By doing so I hope to illumi- nate how the socio-ideological values of sport video games (and video games in gen- eral) are not only exhibited through the main content of the game but also through something as simple as the start screen. This research concludes by examining what these nongame spaces have to tell us about representations of soccer in new media, and how these mediations affect our understanding of the sport’s culture. Cet article constitue une analyse textuelle critique d’une sélection de jeux vidéo sur le soccer. L’analyse est centrée sur les aspects fonctionnels et représentationnels des actions en dehors du jeu (Galloway, 2006) telles qu’on les retrouve dans la vidéo d’introduction et le menu « Débuter ». J’analyse les implications figuratives et ludiques de ces composantes et j’illustre leur rôle crucial de configuration des attentes et des plaisirs des joueurs. En se faisant, j’espère éclairer la façon dont les valeurs socio-idéologiques des jeux vidéo sur le sport sont non seulement exposées dans le jeu mais aussi dans une chose aussi simple que l’écran de départ.
    [Show full text]
  • The Report by the Written by Amanda Wong Funded by the July 4, 2017
    The Report by the written by Amanda Wong funded by the July 4, 2017 2 Acknowledgement Funding for this project was provided by the Ontario Media Development Corporation (OMDC). The Hand Eye Society would like to thank and acknowledge the financial support received by the OMDC. Any opinions, findings, conclusions, or recommendations expressed in this material are those of the author and do not necessarily reflect the views of the Ontario Media Development Corporation of the Government of Ontario. The Government of Ontario and its agencies are in no way bound by the recommendations contained in this document. Over the past year, we have recruited many hard-working volunteers who have given up their time, work, and knowledge to help us meet our goal of 1000 entries. A majority of our volunteers are either Hand Eye members or have heard of our organization. We have had students, academics, game-makers, game-enthusiasts, and game-organizers contribute to our database. Many volunteers are quite experienced and familiar with the local gaming community, while others have joined to learn more about what Toronto has to offer. We would like to thank these volunteers for their exhaustive support and we hope that they can see their hard work come to fruition. 3 Table of Contents Abstract 4 Introduction 5 Creators 6 Yearly Game Releases 8 Number of Players 9 Types of Play 10 Game Engines 11 Distribution Channels and Methods 12 Platforms 13 Pay Model 14 Tagging System 15 Genres 16 Styles 17 Communities 18 Themes 19 Conclusions, Reflections, and the Future 20 Appendix A - Lists of Criterion 21 4 Abstract The objective of the Toronto Videogame Database (TOVGDB) is to include the diverse videogame projects created by game makers across the Greater Toronto Area (GTA).
    [Show full text]