Media Presence and Inner Presence: The Sense of Presence in Virtual Reality Technologies

Abstract. Presence is widely accepted as the key concept to be considered in any research involving human interaction with Virtual Reality (VR). Since its original description, the concept of presence has developed over the past decade to be considered by many researchers as the essence of any experience in a virtual environment. The VR generating systems comprise two main parts: a technological component and a psychological experience. The different relevance given to them produced two different but coexisting visions of presence: the rationalist and the psychological/ecological points of view. The rationalist point of view considers a VR system as a collection of specific machines with the necessity of the inclusion \ud of the concept of presence. The researchers agreeing with this approach describe the sense of presence as a function of the experience of a given medium (Media Presence). The main result of this approach is the definition of presence as the perceptual illusion of non-mediation produced by means of the disappearance of the medium from the conscious attention of the subject. At the other extreme, there \ud is the psychological or ecological perspective (Inner Presence). Specifically, this perspective considers presence as a neuropsychological phenomenon, evolved from the interplay of our biological and cultural inheritance, whose goal is the control of the human activity. \ud Given its key role and the rate at which new approaches to understanding and examining presence are appearing, this chapter draws together current research on presence to provide an up to date overview of the most widely accepted approaches to its understanding and measurement

Inputs and outputs: engagement in digital media from the maker's perspective

In the process of developing a technology assembly that can objectively measure engagement on a moment-by-moment basis, subjective responses to stimuli must be shown to correlate with the component technologies, such as motion capture or psychophysiology. Subjective scales for engagement are not all consistent in segregating the measurement of causes (inputs to the audience) and effects (outputs from the audience); this lack of separation can obscure appropriate inferences in the relationship between cause and effect. Inputs to the audience are scripted, and are controllable by the maker. An output is what the designed experience engenders in the end-user, and outputs can include both mental states (satisfaction) and physical activities (heart rate) during the stimulus and subsequently. Inputs can be maximised by design, whereas to optimise outputs from the end-user, one needs an empirical process because outputs are dependent upon an interpretive process or entry into a biological system. Outputs will be highly dependent on audience and context, and they will often be quite variable, even in individuals from a similar audience profile. It is critical that, in instruments assessing the relationship between inputs and outputs, controllable inputs to the end-user must not be conflated with outputs engendered in the end-user

From presence to consciousness through virtual reality

Immersive virtual environments can break the deep, everyday connection between where our senses tell us we are and where we are actually located and whom we are with. The concept of 'presence' refers to the phenomenon of behaving and feeling as if we are in the virtual world created by computer displays. In this article, we argue that presence is worthy of study by neuroscientists, and that it might aid the study of perception and consciousness

Emotional Qualities of VR Space

The emotional response a person has to a living space is predominantly affected by light, color and texture as space-making elements. In order to verify whether this phenomenon could be replicated in a simulated environment, we conducted a user study in a six-sided projected immersive display that utilized equivalent design attributes of brightness, color and texture in order to assess to which extent the emotional response in a simulated environment is affected by the same parameters affecting real environments. Since emotional response depends upon the context, we evaluated the emotional responses of two groups of users: inactive (passive) and active (performing a typical daily activity). The results from the perceptual study generated data from which design principles for a virtual living space are articulated. Such a space, as an alternative to expensive built dwellings, could potentially support new, minimalist lifestyles of occupants, defined as the neo-nomads, aligned with their work experience in the digital domain through the generation of emotional experiences of spaces. Data from the experiments confirmed the hypothesis that perceivable emotional aspects of real-world spaces could be successfully generated through simulation of design attributes in the virtual space. The subjective response to the virtual space was consistent with corresponding responses from real-world color and brightness emotional perception. Our data could serve the virtual reality (VR) community in its attempt to conceive of further applications of virtual spaces for well-defined activities.Comment: 12 figure

Towards transparent telepresence

It is proposed that the concept of transparent telepresence can be closely approached through high fidelity technological mediation. It is argued that the matching of the system capabilities to those of the human user will yield a strong sense of immersion and presence at a remote site. Some applications of such a system are noted. The concept is explained and critical system elements are described together with an overview of some of the necessary system specifications

Exploring the Front Touch Interface for Virtual Reality Headsets

In this paper, we propose a new interface for virtual reality headset: a touchpad in front of the headset. To demonstrate the feasibility of the front touch interface, we built a prototype device, explored VR UI design space expansion, and performed various user studies. We started with preliminary tests to see how intuitively and accurately people can interact with the front touchpad. Then, we further experimented various user interfaces such as a binary selection, a typical menu layout, and a keyboard. Two-Finger and Drag-n-Tap were also explored to find the appropriate selection technique. As a low-cost, light-weight, and in low power budget technology, a touch sensor can make an ideal interface for mobile headset. Also, front touch area can be large enough to allow wide range of interaction types such as multi-finger interactions. With this novel front touch interface, we paved a way to new virtual reality interaction methods

Second Life as a Learning and Teaching Environment for Digital Games Education

Previous studies show that online virtual worlds can contribute to the social aspects of distance learning, improve student engagement, and enhance students’ experience as a whole [4]; [3]. This paper reviews previous research of using online virtual worlds in teaching and learning, compares Second Life with traditional classroom sessions and the Blackboard, and discusses the benefits and problems of using virtual environments in the post-sixteen education and how they affect students’ learning. It also reports a study of using Second Life as an educational environment for teaching games design at undergraduate level, and investigates the impacts and implications of online virtual environments on learning and teaching processes and their application to digital games education. The sample was 27 first year students of the Computer Games Modelling and Animation course. Students’ views on using Second Life for learning and teaching were collected through a feedback questionnaire. The results suggest that virtual learning environments like Second Life can be exploited as a motivational learning tool. However, problems such as identify issues and lacking of role markers may change student behaviour in virtual classroom. We discuss this phenomenon and suggest ways to avoid it in the preparation stage