"The Role Play and Material Culture in Virtual Spaces: A Cyclical Model of Experience Goods in Virtual Consumption Market" <Conference Information> 2017 Fall Conference of The Korea Society of Management Information Systems Session F2 : ICT Convergence Time : 14:00 ~ 15:40, Wednesday 13th December Room : Room #321 COEX (Conference Room South) Full time table : http://www.kmis.or.kr/kmis/sub02/sub02_view_filedown.asp?F_Idx=508

1. The Role Play and Material Culture in Virtual Spaces
: A Cyclical Model of Experience Goods in Virtual Consumption Market
Heejung Kwon, Ph.D., Creative Innovation Research Center, Yonsei Business Research Institute
Andrew Hudson-Smith, Head of Department & Director, Centre for Advanced Spatial Analysis, The Bartlett, UCL
2017 Fall Conference of The Korea Society of Management Information Systems
Session F2 : ICT Convergence
Time : 14:00 ~ 15:40, Wednesday 13th December
Room : Room #321 COEX (Conference Room South)
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2. Social VR
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2Hollywood Art Museum in Sansar©

3. ICTConvergence2017FallConferenceofKMIS
3Hollywood Art Museum in Sansar©

4. Sansar Business Framework
 Immersive Experience
−HMD Technology
−High End 3D Experience
 User Based Marketplace
−Virtual Goods
−Virtual Currency
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5. Sansar Store
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6. SandeX - Cryptocurrency Market
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7. High Fidelity's Blockchain Model
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7Avatar Island of High Fidelity©

8. Virtual Goods and Identity
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9. Research Question
 What will be the requirements of feasible success of VR
marketplaces led by the development of immersive
technology and human emotion?
− Technical proficiency
− Game experiences
− Immersion
− Collaboration (in speculative design approach )
− Design quality
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10. Research Model
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Design Quality
Technical
Proficiency
Game
Experience
Immersion
Collaboration
FIGURE 1 Research Model

11. Theoretical Background
 Speculative Architecture
− As a speculative architect, I don’t design buildings as endpoints or
outputs, but I would still argue that what I do is architectural, or at
least it’s architecture in some form. Instead of creating buildings
themselves, I tell stories about cities. The dominant forces of the past
that shaped our cities, buildings, and public spaces are now being
displaced by technologies, systems, networks, and stacks. Thus, the
architect needs to change their model of practice in order to remain
relevant. The architect now needs to intervene in these systems beyond
shaping the physical building. And that is really about telling stories
about how they operate. Speculative architects mostly create narratives
about how new technologies and networks influence space, culture, and
community. They try to imagine where new forms of agency exist within the
cities changed by these new processes.(Liam Young Interview, 2017)
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12. Theoretical Background
 Material Culture
−Fabrication is never simply technological construction, but instead
‘ developmental symbolic processes that transform both socially
significant properties or operational capacities of objects, and
significant aspects of the relations between persons and objects’
(Munn 1977:39, referred in Buchli 2002:31)
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13. Virtual Material Culture
 Material Culture
− Possessions establish social standing.
Dress and accessories organize
people and time into occupations and
leisure activities. And souvenirs
picked up during the course of life
become anchors for one’s
identity(Lehdonvirta, 2010).
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FIGURE 1 Living Store Soy

14. Research Method
 Design Game
−A branch method of participatory
design
−A design process for innovation
−Alienated from participants’ real
life
−Relationship to speculative design:
The main process of design is a
“dialogue”
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FIGURE 2 VR Workshop Studio

15. Design Game
 Four main purposes for which design games are employed (Vaajakallio, 2014)
1. for research:
 to study design actions in a manipulable environment that gives rise to design situations resembling those in real life. In
games, as in real life, players’ moves are limited by the existing rules, conventions and principles(Habraken 1987);
2. for building design competence:
 to create, play and reflect game playing as a way of teaching interaction design students how to establish social interaction
between stakeholders in participatory design processes (Iversen 2002; Sproedt 2012)
3. for empowering users, i.e. people who are not traditionally part of design processes but are influenced by
design:
 to provide hands-on tools for establishing a common language between designers and users and to involve users in
discussions on existing and future alternatives. This application area has historically also dealt with improving
democratisation of workplaces (Ehn 1991)
4. for engaging multiple stakeholders:
 to engage diverse stakeholders in expressing, negotiating and generating a shared understanding of users, use contexts and
technology in early concept design (Brandt2004; Johansson 2005)
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16. Research Method
 Second Life game engine as a
design toolkit
− Toolkit
− Inworld 3D tools
− LSL
− Second Life marketplace
− Virtual Design Game
− Avatar Modeling
− Environment construction
− Making Machinima
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FIGURE 2 VR Studio Flickr Group

17. Research Method
 Research Duration
−3 months: September – November 2017
 Participants
−7 Interaction Design students in their 2nd and 3rd year
−Interests and skills
− 3D modeling
− Game development
− Interaction design
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18. Research Method
3D Modeling Game Development Creative Orientation
P1 1 2 Designer
P2 1 1 Artist
P3 3 5 Engineer
P4 2 4 Artist
P5 3 4 Engineer
P6 1 2 Artist
P7 3 5 Engineer
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TABLE 1 Technical Knowledge and Use Experience of the Design Game Participants

19. Research Method
 Design Game Process
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Exploring Game
Environment
Round 1 Transfer
(L$ 13,000)
Building Avatars
and Environment
Round 2 Transfer
(L$ 10,000)
Final Completion
FIGURE 2 Design Game Process

20. Research Method
 Data Collection and Analysis
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3D Modeling
Game
Development
Immersion Collaboration
P1 1 2 2 1
P2 1 1 4 3
P3 3 5 5 5
P4 2 4 3 2
P5 3 4 4 4
P6 1 2 2 1
P7 3 5 2 2
TABLE 2 Game Immersion and Collaboration Measurements Regarding to Technical Knowledge and Use Experience of the Design Game Participants

21. Research Method
 Data Collection and Analysis
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3D Modeling
Game
Development
Immersion Collaboration Design Quality
P1 1 2 2 1 2
3 1 1 4 3 3
P3 3 5 5 5 5
P4 2 4 3 2 3
P5 3 4 4 4 5
P6 1 2 2 1 2
P7 3 5 2 2 1
TABLE 3 Final Evaluation of Design Quality

22. Results
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Design Quality
Technical
Proficiency
Game
Experience
Immersion
Collaboration
FIGURE 2 Research Results
n/s n/s
n/s
n/s
0.89
0.86

23. Results
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Technical
Proficiency
Game
Experience
n/s n/s
n/s
n/s
0.86
0.89
Immersion
Collaboration
Design Quality
FIGURE 2 Research Results

24. Results & Conclusions
 The design quality of design game participants was highly correlated
to game emersion, and its speculative process rather than previous 3D
modeling skills and game experiences.
 The results reveals VR collaborations are highly influenced by
− Whom they collaborate with
− How pleasurable to collaborate with
− Satisfaction of social interaction that implies to how much effectively communicate
with collaborators
 The long tail approach in the material culture perspective
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25. ICTConvergence2017FallConferenceofKMIS
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Beauty is in the eye of the beholder

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For More Information
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