In this paper we present a virtual character controlled by an actor in real time, who talks with an audience through an augmented mirror. The application, which integrates video images, the avatar and other virtual objects within an Augmented Reality system, has been implemented using a mixture of technologies: two kinect systems for motion capture, depth map and real images, a gyroscope to detect head movements, and control algorithms to manage avatar emotions.

This paper argues that presence, as shown in virtual environments, can usefully be seen as comprising various subtypes and that these in turn may have common conceptual and ontological features with a sense of agency as defined by Russell (1996, Agency: Its Role in Mental Development, Erlbaum.). Furthermore, an analysis of Russell's characterization of the concept of agency may be useful for acquiring insight into the sense of presence itself and the variables affecting it. Empirical evidence from cognitive developmental research and the positive results of attempts to develop symbolic understanding in people with autism spectrum disorders (ASD) in virtual environments suggest that presence may be more about experiencing agency than either pretending to be there or constructing and reconstructing mental models in real time. This analysis is used to shed some light on the current issues of presence research and to open up new philosophical and psychological aspects, in relation to both presence and ASD.

The use of augmented reality (AR) in cultural heritage (CH) applications opens a whole set of possibilities, including the virtual transformation of CH elements. This paper presents TinajAR, a mirror-based AR application designed to serve both as an edutainment application in the field of CH and also as an artistic expression. As an edutainment application, TinajAR features a multi-marker video-based AR application designed to show virtual ceramic pieces and explain the pottery process through virtual avatars. As an artistic expression, TinajAR seeks to reinterpret an ancient type of cellar called calado, which was used in the past for storing wine in northern Spain. The reinterpretation consists in giving a different but meaningful use to the space. TinajAR was used by around 1800 people during a ceramics exhibition in La Rioja, Spain and was assessed at the satisfaction level with 56 users by means of a system usability scale, giving very satisfactory results.

Autism spectrum disorder (ASD) is an umbrella term used to group a range of brain development disorders. The learning profile of most people with ASD is mainly visual, and VR and AR technologies offer important advantages to provide a visually based mean for gaining access to educational contents. The prices of VR and AR glasses and helmets have fallen. Also, a number of tools that facilitate the development and publication of AR and VR contents have recently appeared. Therefore, a scenario of opportunity for new developments has appeared in this field. This chapter offers guidelines for developing AR and VR learning contents for people on the autism spectrum and analyses those guidelines from the perspective of two important case studies developed in previous years.

Multisensory stimuli can be integrated in systems that make use of different paradigms, such as Virtual Reality (VR), Augmented Reality (AR) or, in a wider sense, Mixed Reality (MR), enhancing user experiences within the virtual content. However, despite the many technological solutions that exist (both hardware and software), only visual and sonic stimuli can be considered as highly integrated in consumer-grade applications. This chapter addresses the current state of the art in multisensory experiences, taking also in consideration the aforementioned interaction paradigms, and brings the benefits and challenges. As an example, authors introduce ROMOT, a RObotic 3D-MOvie Theatre, that supports and integrates various types of displays and interactive applications, providing users with multisensory experiences.