Designing Virtual Worlds – Designing virtual worlds

Faculty Details	Professor
Name	Dr. Slavica Ceperkovic
Email	slavica@nyu.edu
Workspace	C3 – 112
Office Hours	By appointment: https://calendly.com/slavica_ceperkovic/office-hours

Course Description

This studio lab course is designed for artists to explore user engagement and storytelling in virtual reality. User Experience Design (UX) is pivotal in developing engaging immersive interactions. In this course students will prototype and test different models of interaction that are emerging in Virtual Reality. Students will develop skills in Unity to develop immersive interactive environments. Students will learn how to prototype interactive models and design complex solutions for virtual environments. Students are not required to have previous experience with Unity prior to the course. Students will be oriented to Unity software.

By the end of the course students will be able to think critically about virtual reality immersive worlds and have applied research developing virtual reality environments. Students will explore themes such as landscape, narrative and sound for virtual reality through applied coursework.

Credits: 4

This course counts toward the following NYUAD degree requirements:

Majors > Interactive Media > Media and Design Thinking
Minors > Interactive Media

Prerequisites

Students must have one of the following IM-UH 1010, IM-UH 1011, IM-UH 2310, IM-UH 2318, CS-UH 1001 or ENGR-UH 1000

Course Learning Outcomes and Link to Program Learning Outcomes (PLOs)

Upon successful completion of this course the student will be able to:	Linked to Major PLOs (refer to Appendix 1)
1. Implement human computer interaction user experience models for virtual reality environments	PLO 3 (high) PLO 5 (high) PLO 6 (high)
2. Produce interactive immersive experiences for virtual environments	PLO 4(high) PLO 5 (high) PLO 6 (high)
3. Employ storytelling design principles for virtual reality worldmaking	PLO 1 (medium) PLO 2 (high) PLO 4(high) PLO 5(high) PLO 6 (high)
4. Debate principles of interaction design for immersive virtual environments	PLO 1(medium) PLO 2 (high) PLO 7 (low)
5. Analyze academic writings on virtual reality and immersive storytelling	PLO 1(medium) PLO 3(high) PLO 4 (high)

Teaching Methodology

This is a production-based course. Students will be learning primarily through hands-on experience and iterative experimentation. Classes will move quickly through each technology, first providing a theoretical foundation along with technical instruction, and then encouraging students to learn through play, experimentation, collaboration, and exploration. Individual classes will include lectures, discussions, examples, workshops, group work, and presentations. Outside of the class, students will engage in both individual and group work.

Graded Activities

Activity Detail Grade Percentage Submission Linked to Course Learning

Date/ Week Outcome(s)

Homework	20%	Ongoing reading responses	1,2,3,4
Assignment 1> DIGITAL ARCHITECTURES – Build a room	15%	Week 4: Session 1	1,2,3,4
Assignment 2 > SOUND AND VISION	15%	Week 8: Session 1	1,2,3,4
Assignment 3 > INTERACTION MODELS -TACTILE ENVIRONMENTS	20%	Week 12: Session 1	1,2,3,4
Assignment 4> DEFINING XR	20%	Week 15: Session 2	1,2,3,4
Participation	10%	Ongoing	1,2,3,4

More than one unexcused absence will result in a 5-percentage point drop in your attendance participation grade per absence.

See Appendix 1. on assignment definitions and rubrics

Required Bookstore Texts

Lanier, Jaron Dawn of the New Everything: Encounters with Reality and Virtual

Reality Henry Holt and C. New York, NY 2017

Other readings will be available in Brightspace:

Back, Bettina. “Virtual Reality: How does the viewer get into the picture? A short

reception aesthetic history of shifting frames.” The Unframed World: Virtual Reality as Artistic Medium; edited by Christoph Merian, Verlag, Haus der elektronischen Künste, Basel, 2017. Pgs. 16-25.

Bolter, Jay and Engberg, Maria. “Mobile Cinematics” Compact cinematics: The moving image in the age of bit-sized media. edited by Hesselberth, Pepita, and Maria Poulaki, Bloomsbury Publishing USA, 2017. Chapter 16 pgs. 165-173

Bolter, Jay and Gromala, Diane, Windows and Mirrors, Interaction Design, Digital Art and the Myth of Transparency MIT Press, Cambridge, Massachusetts 2003 Chapter 2- page 30 – 56 (reflect on pages 49-56 – Virtual Reality and the myth of the natural interface)

Friedberg, Anne. The Virtual Window. Cambridge, MA: MIT Press, 2009.

Chapter 4 – The Architecture of Spectatorship pgs. 150 – 180

Laurel, Brenda. “The Six Elements and the Causal Relations Among them.” The

New Media Reader. Edited by Noah Wardrip-Fruin and Nick Montfort. Cambridge, MA: MIT Press, 2003. Pgs. 563-573

Loader, Alison A Rational and Entertaining Species of Amusement to Bipeds of All

Ages: The Splendid Camera Obscura In Marina Dahlquist, Doron Galili, Jan Olsson and Valentine Robert Corporeality in Early Cinema Indiana University Bloomington 2018 pgs. 289-300

Papagiannis, Helen, Augmented Human: How Technology Is Shaping the New

Reality, O’Reilly Media, 2017. Chapter 6 – Storytelling and the human imagination. Pgs. 67-92

Ryan, Marie-Laure. Narrative as Virtual Reality. Baltimore, MD: John Hopkins University Press, 2001. Chapter 8 – Can Coherence Be Saved. pgs. 242-270

Academic Policies

Participation grade:

Attendance is mandatory. Every class builds off the preceding one so it is vital to be present and on time for every lesson.
Each unexcused absence results in a deduction of 5% of final grade
Two latenesses of more than 10 minutes will count as one absence.
More than two unexcused absences will result in a final grade of F.
Technical Workshop attendance is mandatory. If you miss a technical workshop, you will not be allowed to use or check-out equipment.
Engaging in class discussions and offering advice, input, feedback, etc during class is a major part of your grade. Participating in class is helpful for me to get to know you as an individual and keep track of your progress. What is equally important is that it provides you and your classmates the opportunity to learn from each other through the sharing of failures, successes, and insights on the work you are doing.
Laptops should only be used when necessary for class work and cell phones should be set to silent.
You are expected to present your work in class. Explaining your work to other people is a great way to better understand the material and answer questions for yourself.
Ask questions. If you do not ask questions, I can only assume you understand the material completely
All assignments must be turned in on time.

Be prepared to work in groups on the assignments.

Integrity:

At NYU Abu Dhabi, a commitment to excellence, fairness, honesty, and respect within and outside the classroom is essential to maintaining the integrity of our community. By accepting membership in this community, students, faculty, and staff take responsibility for demonstrating these values in their own conduct and for recognizing and supporting these values in others. In turn, these values create a campus climate that encourages the free exchange of ideas, promotes scholarly excellence through active and creative thought, and allows community members to achieve and be recognized for achieving their highest potential.

Students should be aware that engaging in behaviors that violate the standards of academic integrity will be subject to review and may face the imposition of penalties in accordance with the procedures set out in the NYUAD policy:

https://students.nyuad.nyu.edu/campus-life/student-policies/community-standards-policies/academic-integrity/.

Mental Health Awareness:

As a University student, you may experience a range of issues that can interfere with your ability to perform academically or impact your daily functioning, such as: heightened stress; anxiety; difficulty concentrating; sleep disturbance; strained relationships; grief and loss; personal struggles.

If you have any well-being or mental health concerns please visit the Counseling Center on the ground floor of the campus center from 9am-5pm Sunday – Thursday, or schedule an appointment to meet with a counselor by calling: 02-628-8100, or emailing:

nyuad.healthcenter@nyu.edu.

If you require mental health support outside of these hours call NYU’s Wellness Exchange hotline at 02-628-5555, which is available 24 hours a day, 7 days a week.

You can also utilize the Wellness Exchange mobile chat feature, details of which you can find on the student portal. If you need help connecting to these supports please contact me directly.

Course Schedule

Week	Session	Date	Topic	Homework
1	1	Tue 24th Jan	Course Overview What is Virtual Reality? Origins and futures
1	2	Thu 26th Jan	Technical Lab: Orientation to Unity	Reading and response: Loader, Alison A Rational and Entertaining Species of Amusement to Bipeds of All Ages: The Splendid Camera Obscura In Marina Dahlquist, Doron Galili, Jan Olsson and Valentine Robert Corporeality in Early Cinema Indiana University Bloomington 2018 pgs. 289-300
2	1	Tue 31st Jan	Optical illusions Reading response due
2	2	Thu 2nd Feb	Technical Lab: Building virtual spaces	Tech lab exercises Reading and response: Friedberg, Anne. The Virtual Window. Cambridge, MA: MIT Press, 2009. Chapter 4 – The Architecture of Spectatorship pgs. 150 – 180
3	1	Tue 7th Feb	Landscape and VR Reading response due
3	2	Thu 9th Feb	Tech lab: Materials and particle effects	Tech lab exercises
4	1	Tue 14th Feb	Presentation Assignment 1
4	2	Thu 16th Feb	Tech lab: Planting Virtual Trees	Tech lab exercises Reading and response: Ryan, Marie-Laure. Narrative as Virtual Reality. Baltimore, MD: John Hopkins University Press, 2001. Chapter 8 – Can Coherence Be Saved. pgs. 242-270
5	1	Tue 21st Feb	Narrative in VR: Storytelling Models Reading response due
5	2	Thu 23rd Feb	Sound in VR	Reading and response: Papagiannis, Helen, Augmented Human: How Technology Is Shaping the New Reality, O’Reilly Media, 2017. Chapter 6 – Storytelling and the human imagination. Pgs. 67-92
6	1	Tuesday 27th Feb	User Action and Story in VR Reading response due
6	2	Thu 2nd Mar	Designing sound for VR	Tech lab exercises Reading and response: Laurel, Brenda. “The Six Elements and the Causal Relations Among them.” The New Media Reader. Edited by Noah Wardrip-Fruin and Nick Montfort. Cambridge, MA: MIT Press, 2003. Pgs. 563-573
7	1	Tue 7th Mar	Designing Virtual Objects Reading response due
7	2	Thu 9th March	Presentation Assignment 2
8	1	Tue 14th Mar	No class
8	2	Thu 16th Mar	SPRING BREAK
9	1	Tue 21st Mar	SPRING BREAK
9	2	Thu 23rd Mar	Tech lab: Tasked Based Interaction	Tech lab exercises Reading and response: Bolter, Jay and Gromala, Diane, Windows and Mirrors, Interaction Design, Digital Art and the Myth of Transparency MIT Press, Cambridge, Massachusetts 2003 Chapter 2- page 30 – 56 (reflect on pages 49-56 – Virtual Reality and the myth of the natural interface)
10	1	Tue 28th Mar	Interaction Models Reading response due
10	2	Thu 30th Mar	Tech lab: Rail based interaction	Bolter, Jay and Engberg, Maria. “Mobile Cinematics” Compact cinematics: The moving image in the age of bit-sized media. edited by Hesselberth, Pepita, and Maria Poulaki, Bloomsbury Publishing USA, 2017. Chapter 16 pgs. 165-173
11	1	Tue 4th Apr	Tactile Environments Reading response due
11	2	Thu 6th Apr	Tech lab: Doors and Portals /Sandbox play	Tech lab exercises
12	1	Tue 11th Apr	Presentation: Assignment 3
12	2	Thu 13th Apr	Tech lab: Defining Objects in VR	Tech lab exercises Reading and response: Back, Bettina. “Virtual Reality: How does the viewer get into the picture? A short reception aesthetic history of shifting frames.” The Unframed World: Virtual Reality as Artistic Medium; edited by Christoph Merian, Verlag, Haus der elektronischen Künste, Basel, 2017. Pgs. 16-25.
13	1	Tue 18th Apr	Defining VR : New worlds Reading response due
13	2	Thu 20th Apr	No classes – holiday	No classes – holiday
			Tech lab: Virtual Touch in VR	Tech Reading and response: Lanier, Jaron Dawn of the New Everything: Encounters with Reality and VirtualReality Henry Holt and C. New York, NY 2017 lab exercises
14	1	Tue 25th Apr	Embodiment in VR Reading response due
14	2	Thu 27th Apr	Tech lab: New interfaces	Tech lab exercises
15	1	Tue 2nd May	Tech Lab: Exporting VR	Tech lab exercises
15	2	Thu 4th May	Final Presentation: Assignment 4

Appendix 1

Assignments

DIGITAL ARCHITECTURES – Build a room.

In this assignment students will contemplate a personal narrative, or reflection of identity by developing a room in VR. Students will explore digital architectures and describe how they aid or hinder the interaction design. Students must build a unique room for a VR experience. The work must be interactive in nature and explain how architecture is used in the concept of navigation of the user in the work. Students must build a room as a VR or AR experience. What artifacts are in the room? Describe choices of architecture. Viewers should be able to move through this space. What makes this room unique? How does this room tell a story?

Students must submit:

One level room with four walls, floor and ceiling that the user must be able to enter, developed in Unity. Camera and lighting should also be included as well as assets in the room.
A description in the concept including references to other artists working in a similar genre. A one-page description of how the audience will interact with the VR experience.
Screenshots should be included in addition to the one-page writeup.
A video walk through link should also be included.
The room should depict a sense of place for users to move around.

Rubric – See Appendix 2

Concept and Critical framing / 40

Technical Execution / 40

Writing / 20

/ 100

SOUND AND VISION

In this assignment, students will explore how sound is used to shape a virtual environment.

Students will be required to develop an artwork on how sound will be used in a visual and sound-based VR work. Sound could be verbal or audio in nature and should be triggered through movement in a one level unity environment landscape. Use of free Unity assets permitted.

Deliverables:

1 page artist statement
A VR landscape built in Unity
Sound that is triggered in an environment

-Students can use any music or sound software, however, cannot not remix existing audio content for the work. The audio work must be your own or from a sound library.

– Screenshots should be included in addition to the one-page writeup.

-A video walk through link should also be included.

Rubric – See Appendix 2

Concept and Critical framing / 40

Technical Execution / 40

Writing / 20

/ 100

INTERACTION MODELS – TACTILE ENVIRONMENTS

Understanding human computer interaction when designing electronic environments is pivotal. In this assignment, students will understand how to design interactions for an immersive environment. Students will develop a virtual space in Unity and develop an interactive experience.

Students will choose between one of the following interaction models to explore a VR designed space.

Doors and Portals
Guided Interactions – Rail Based Interaction
Tasked Based Interaction (using tools to navigate environments)
Sandbox Interaction, exploring spaces

-Students must present a one level prototype

-A description of the interaction model used and how it propels the interactive experience and why

-A one page artist statement describing the concept

-Any learnings and insights describing the design process and successes and failures.

-Screenshots should be included in addition to the one-page writeup.

Students will be required to share their work in a presentation and should speak to their idea and approach.

Students should discuss their approach to the room

Approach:

Students will develop a level in Unity
A one page artist statement should be included.
A video walkthrough link
Screen shots in addition to the written write up.

Rubric – See Appendix 2

Concept and Critical framing / 40

Technical Execution / 40

Writing / 20

/ 100

DEFINING XR

In this assignment, students will develop an extended reality experience inspired by one of Jaron Lanier’s definitions of VR. Projects should be developed in Unity. Students should be able to speak about their interaction strategy based on discussions in class. This should be considered a functional prototype. A one-page artist statement is required to be submitted to contextualize the meaning and intent of the work. Students will be required to share their work in a final presentation and should speak to their idea and approach. A video walkthrough should also be included. Students should contextualize their work under one of the Jaron Lanier’s definitions of VR and speak to how they are inspired or expand on the definition.

Things to consider:

If developing an AR work; how does the object presented work in context to the intended place.
If developing a level in VR; how does the navigation shape the space? How does the space design add meaning to the work?

Approach:

Students will develop a level in Unity
A one page artist statement should be included.
A video walkthrough link
Screen shots in addition to the written write up.
Reference:
52 Definitions of VR
Dawn of the New Everything – Jaron Lanier
1. A twenty-first-century art form that will weave together the three great twentieth-century arts: cinema, jazz, programming.
2. A simulated new frontier that can evoke a grandiosity recalling the Age of Exploration or the Wild West.
3. Hope for a medium that could convey dreaming.
4. The substitution of the interface between a person and the physical environment with an interface to a simulated environment.
5. A mirror image of a person’s sensory and motor organs, or if you like, an inversion of a person.
6. An ever-growing set of gadgets that work together and match up with human sensory or motor organs. Goggles, gloves, floors that scroll, so you can feel like you’re walking far in the virtual world even though you remain in the same physical spot; the list will never end.
7. A coarser, simulated reality fosters appreciation of the depth of physical reality in comparison. As VR progresses in the future, human perception will be nurtured by it and will learn to find ever more depth in physical reality.
8. Technology that rallies the brain to fill in the blanks and cover over the mistakes of a simulator, in order to make a simulated reality seem better than it ought to.
9. The investigation of the sensorimotor loop that connects people with their world and the ways it can be tweaked through engineering. The investigation has no end, since people change under investigation.
10. Reality, from a cognitive point of view, is the brain’s expectation of the next moment. In virtual reality, the brain has been persuaded to expect virtual stuff instead of real stuff for a while.
11. VR is the most centrally situated discipline.
12. VR is the technology of noticing experience itself.
13. The perfect tool for the perfect, perfectly evil Skinner box.
14. Magic tricks, as applied to digital devices.
15. Instrumentation to make your world change into a place where it is easier to learn.
16. Entertainment products that create illusions of another place, another body, or another logic for how the world works.
17. A general-purpose simulator, as compared to special-purpose ones like flight or surgical simulators.
18. Instrumentation to explore the deep time of nervous system adaptations and preadaptation.
19. Instrumentation to explore motor cortex intelligence.
20. Like lucid dreaming, except that (a) more than one person can take on roles in the same experience, (b) the quality is not as good, (c) and you have to work to program VR if you want to be in control, which you should want. Dreams, meanwhile, are often best if you don’t seek to control them. Even Stephen LaBerge seeks to be nonlucid in most of his dreams, since it is untethered dreams that the brain surprises and renews itself.
21. In comparison to older, grandiose definitions of “nanotechnology,” VR lets you experience wild things without messing up the one physical world that others are compelled to share with you. VR is vastly more ethical. It’s also not so nutty. We can see how VR will work without weird speculations or apparent violations of fundamental physical laws.
22. A preview of what reality might be like when technology gets better someday.
23. VR is sometimes compared to LSD, but VR users can share a world objectively, even if it’s fantastical, while LSD users cannot. VR worlds will require design and engineering effort and will be best when you are willing to make the effort to create and share your own experiences. It will be like riding a bike, not a roller-coaster ride. Although there will be thrilling VR experiences, you’ll always [be] able to take off the goggles. You won’t lose control. VR will typically be “lower quality” than reality or dreams or psychedelic trips, although it will be up to you to hone your senses so you can notice the difference. LSD is ready now and VR won’t be good for a while. It might be more for your kids or their kids.
24. A cybernetic construction that measures the probing aspect of human perception so that it is canceled out.
25. A media technology for which measurement is more important than display.
26. A media technology that prioritizes stimulating the cognitive dynamics by which the world is perceived over accurately simulating an alternate environment.
27. A medium in which interactive biological motion is emphasized.
28. The digital medium that fights the hardest against time.
29. A cultural movement in which hackers manipulate gadgets to change the rules of causality and perception in demos.
30. A technology in which internal data and algorithms are intelligible as transformations of real-time, point-of-view human experiences and thus inspire curiosity to look under the hood.
31. You are having interesting experiences but look preposterously nerdy and dorky to onlookers.
32. The technology that is often misrepresented as being able to make so-called holograms float impossibly in the air.
33. The ultimate media technology, meaning that it is perpetually premature.
34. Instrumentation that might just enable telecommunications with honest signals someday.
35. Training simulators for anything, not just flight.
36. A way to try out proposed changes to the real world before you commit.
37. Instrumentation to present data as lucidly as possible.
38. The ultimate way to capture someone inside an advertisement. Let’s hope it is done as little as possible.
39. Digital implementation of memory palaces.
40. A generalized tool for cognitive enhancement.
41. A training simulator for Information Age warfare.
42. Digital puppetry.
43. A new art form that must escape the clutches of gaming, cinema, traditional software, New Economy power structures, and maybe even the ideas of its pioneers.
44. The term you might have used in the 1980s if you were partial to those weirdos at VPL Research.
45. A person-centered, experiential formulation of digital technology that hopefully inspires digital economies in which the real people who are the sources of value aren’t ignored.
46. VR = -AI (VR is the inverse of AI).
47. The science of comprehensive illusion.
48. A shared, waking state, intentional, communicative, collaborative dream.
49. The technology that extends the intimate magic of earliest childhood into adulthood.
50. A hint of the experience of life without all the limitations that have always defined personhood.
51. The medium that can put you in someone else’s shoes; hopefully a path to increased empathy.
52. A way of using computers that suggests a rejection of the idea of code

Rubric – See Appendix 2

Concept and Critical framing / 40

Technical Execution / 40

Writing / 20

/ 100

Participation /10

10: Excellent preparation by in-depth reading of the assigned material, leads/contributes in a significant way to discussions, demonstrates consistent active involvement, and offers thoughtful analysis and critique of the course material. Almost always prepared for class including: seated and settled, with notebook and assignment ready, at the beginning of each lesson, ready to engage in class discussion. Has questions or observations prepared, and ready to answer questions from the instructor. If encountered difficulty with assignment, can clearly describe the unexpected behavior and what paths were taken to try to resolve them. Asks questions in class. Almost always engages in discussion with the instructor and other students. Frequently offers assistance to other students.

8: Good preparation (knows facts, considers implications), offers interpretation and analysis, leads/contributes well in discussion and is consistently involved in the class. Occasionally prepared in most of the ways indicated above.

6: Adequate preparation (knows basic facts of the readings but does not show evidence of trying to interpret and analyze), does not participate voluntarily in discussions, demonstrates sporadic involvement

4: Poor preparation (has a superficial knowledge and understanding of the readings), tries to respond when called on, infrequent involvement in discussions. Or speaks without engaging with the reading or classmates’ comments.

2: Very poor preparation (no evidence for reading assigned material), does not respond substantially when called on, participates very rarely in discussions.

0: No participation

Homework

Rubric

10: Excellent preparation by in-depth reading of the assigned material. Student addresses homework questions and contributes to the conversation thread in an insightful way

8: Good understanding of material (knows facts, considers implications), offers good interpretation and analysis to homework questions

6: Adequate preparation (knows basic facts of the readings but does not show evidence of trying to interpret and analyze)

4: Poor preparation (has a superficial knowledge and understanding of the readings) and approach to the homework discussion

2: Very poor preparation (no evidence for reading assigned material), does not respond substantially to the discussion board

0: No participation. Did not contribute to the online discussion board.

Appendix 1

Interactive Media Program Learning Outcomes

Upon completion of the major in Interactive Media at NYU Abu Dhabi, all students are expected to have fulfilled the following:

1. Research and Understanding: IM students will cultivate a substantive understanding of the past, present, and future landscape of Interactive Media.

2. Analytical Thinking: IM students will be challenged to answer fundamental questions relating to the field of Interactive Media.

3. Conceptual Thinking: IM students will develop conceptual skills through the use of computational and interactive media tools to create project-based work and project oriented research.

4. Critical Thinking: IM students will refine their critical thinking skills by analyzing and critiquing work in cultural, social, historical, ethical, and aesthetic contexts.

5. Technical Implementation: IM students will cultivate technical skills with contemporary media technologies to execute their coursework.

6. Creative Processes: IM students will gain the ability to explore, innovate, and realize creative ideas in multiple fields of inquiry and interest.

7. Organization and Communication: IM students will develop professional practices of delivering and sharing their work.

8. Collaboration: IM Students will gain experience in collaboration through active participation in group and team-based work.

Appendix 2 Rubric Detail

Rubric for Applied Projects	Exemplary (90%- 100%)	Proficient (80%-90%)	Developing (70%- 80%	Unacceptable (<70%)
Concept and Critical Framing Weighting 40%	Student incorporates concepts from readings in a thoughtful and engaging way and brings a strong conceptual framework to the artist statement and approach.	Student’s artist statement and concept has some grounding in critical discourse but explore themes on a surface level .	Student initiates some conceptual investigation however concepts are unclear	Student does not submit artist statement or presents vague concepts
Technical Weighting 40 %	Excellent technical execution. Student demonstrates in class tutorials and the work is executed in an engaging manner. Excellent understanding of UX design for VR	Work is mostly Functional. Good understanding of UX for VR however work could be further improved.	Work is slightly functional. Further work is need on technical execution.	Poor execution of UX VR. Does not demonstrate learning from technical tutorials in class. Poor UX for VR
Writing Weighting 20%	Writing is excellent and ideas are well communicated and clear.	Writing is good however could be further improved. May have grammar or structural errors.	Writing is short or does not execute page length required. It may have errors and is difficult to understand ideas.	No writing submitted or lacks clarity in writing. Needs significant editing.