Several disciplines have investigated the interconnected empathic abilities behind the proverb "to walk a mile in someone else's shoes" to determine how the presence, and absence, of empathy-related phenomena affect prosocial behavior and intergroup relations. Empathy enables us to learn from others' pain and to know when to offer support. Similarly, virtual reality (VR) appears to allow individuals to step into someone else's shoes, through a perceptual illusion called embodiment, or the body ownership illusion. Considering these perspectives, we propose a theoretical analysis of different mechanisms of empathic practices in order to define a possible framework for the design of empathic training in VR. This is not intended to be an extensive review of all types of practices, but an exploration of empathy and empathy-related phenomena. Empathyrelated training practices are analyzed and categorized. We also identify different variables used by pioneer studies in VR to promote empathy-related responses. Finally, we propose strategies for using embodied VR technology to train specific empathy-related abilities.

is an open access repository that collects the work of Arts et Métiers ParisTech researchers and makes it freely available over the web where possible. This is an author-deposited version published in: https://sam.ensam.eu Handle ID: .http://hdl.handle.net/10985/12194 To cite this version :Jérôme GUEGAN, Stéphanie BUISINE, Fabrice MANTELET, Nicolas MARANZANA, Frédéric SEGONDS -Avatar-mediated creativity: When embodying inventors makes engineers more creative -Avatar-mediated creativity: When embodying inventors makes engineers more creative a b s t r a c tAn important challenge today is to support creativity while enabling geographically distant people to work together. In line with the componential theory of creativity, self-perception theory and recent research on the Proteus Effect, we investigate how avatars, which are virtual representations of the self, may be a medium for stimulating creativity. For this purpose, we conducted two studies with a population of engineering students. In the first study, 114 participants responded to online surveys in order to identify what a creative avatar may look like. This enabled us to select avatars representing inventors, which were perceived as creative by engineering students, and neutral avatars. In the second study, 54 participants brainstormed in groups of 3, in 3 different conditions: in a control face-to-face situation, in a virtual environment while embodying neutral avatars and in a virtual environment with inventor avatars. The results show that inventor avatars led to higher performance in fluency and originality of ideas. Moreover, this benefit proved to endure over time since participants allocated to inventor avatars also performed better in a subsequent face-to-face brainstorming. The prospects of using avatars for enhancing creativity-relevant processes are discussed in terms of theoretical and applicative implications.

Because of the range of design possibilities they provide, virtual environments have a promising potential to support creative work. This article presents an experiment that explores the effects of contextual cues, provided in a virtual environment, on performance in a creative task. One hundred thirty-five participants completed a classical creativity task in one of three environments: a virtual creativity-conducive environment (CCE), comprising standardized elements identified from a survey as being characteristic of environments that support creativity, a real meeting room (real control environment), and its virtual replication (virtual control environment). Results show that participants produced more original ideas and explored idea categories in greater depth in the CCE than in the control conditions. These results were discussed in terms of research on creativity, priming, virtual environments, and of the design of workplaces.

This article investigates the ways in which players of massively multiplayer online role-playing games (MMORPGs) internalize being a player into their self-concept. In accordance with the social identity framework, we assume that being a player and being a member of a guild within the game can both shape the social identity of members. In two studies, we survey players inside or outside the MMORPG. Players are interviewed either at an interguild comparison level or at the more inclusive level of MMORPG players. Study 1 (n = 84) reveals favoritism for the in-group guild in a within-game context, and Study 2 (n = 200) shows that valuation of and identification with the in-group are moderated by the interview context and the level of category inclusion: Inside the game, the guild is more valued and identification is emphasized. In contrast, valuation of and identification with MMORPG players is not influenced by the interview context. Together, by examining both valuation and identification processes, this research reveals that playing online games may be self-involving because being a player, but also being a member of a guild, directly contribute to the social identity.

is an open access repository that collects the work of Arts et Métiers ParisTech researchers and makes it freely available over the web where possible. This is an author-deposited version published in: https://sam.ensam.eu Handle ID

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Flow is a well-known concept in the fields of positive and applied psychology. Examination of a large body of flow literature suggests there is a need for a conceptual model rooted in a cognitive approach to explain how this psychological phenomenon works. In this paper, we propose the Flow Engine Framework, a theoretical model explaining dynamic interactions between rearranged flow components and fundamental cognitive processes. Using an IPO framework (Inputs – Processes – Outputs) including a feedback process, we organize flow characteristics into three logically related categories: inputs (requirements for flow), mediating and moderating cognitive processes (attentional and motivational mechanisms) and outputs (subjective and objective outcomes), describing the process of the flow. Comparing flow with an engine, inputs are depicted as flow-fuel, core processes cylinder strokes and outputs as power created to provide motion.

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