Visualisation techniques, human perception and the built environment

Historically, architecture has a wealth of visualisation techniques that have evolved throughout the period of structural design, with Virtual Reality (VR) being a relatively recent addition to the toolbox. To date the effectiveness of VR has been demonstrated from conceptualisation through to final stages and maintenance, however, its full potential has yet to be realised (Bouchlaghem et al, 2005). According to Dewey (1934), perceptual integration was predicted to be transformational; as the observer would be able to ‘engage’ with the virtual environment. However, environmental representations are predominately focused on the area of vision, regardless of evidence stating that the experience is multi sensory. In addition, there is a marked lack of research exploring the complex interaction of environmental design and the user, such as the role of attention or conceptual interpretation. This paper identifies the potential of VR models to aid communication for the Built Environment with specific reference to human perception issues

Towards 3-D Sound: Spatial Presence and the Space Vacuum

This chapter demonstrates the evolution of relationships between sound design and music in cinematic representations of the interstellar space vacuum. Mera provides a framework for understanding how audiences believe they are physically present in the represented environment and argues that, in the late 2000s, we move towards three-dimensional (3-D) sound, an aesthetic and technical extension of the superfield and the ultrafield as defined by Chion and Kerins, respectively. 3-D Sound’s primary characteristic is the emancipation of music from a fixed sound-stage spatialization, resulting in greater fluidity between sound design and music. This chapter examines the relationship between two types of spatial presence, articulating both the audience’s suspension of disbelief within a film’s narrative world and the spatial presence of sound and music within a multichannel cinema environme

Telepresence and the Role of the Senses

The telepresence experience can be evoked in a number of ways. A well-known example is a player of videogames who reports about a telepresence experience, a subjective experience of being in one place or environment, even when physically situated in another place. In this paper we set the phenomenon of telepresence into a theoretical framework. As people react subjectively to stimuli from telepresence, empirical studies can give more evidence about the phenomenon. Thus, our contribution is to bridge the theoretical with the empirical. We discuss theories of perception with an emphasis on Heidegger, Merleau-Ponty and Gibson, the role of the senses and the Spinozian belief procedure. The aim is to contribute to our understanding of this phenomenon. A telepresence-study that included the affordance concept is used to empirically study how players report sense-reactions to virtual sightseeing in two cities. We investigate and explore the interplay of the philosophical and the empirical. The findings indicate that it is not only the visual sense that plays a role in this experience, but all senses

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