Cognitive transfer of spatial awareness states from immersive virtual environments to reality.

An individual's prior experience will influence how new visual information in a scene is perceived and remembered. Accuracy of memory performance per se is an imperfect reflection of the cognitive activity (awareness states) that underlies performance in memory tasks. The aim of this research is to investigate the effect of varied visual fidelity of training environments on the transfer of training to the real-world after exposure to immersive simulations representing a real-world scene. A between groups experiment was carried out to explore the effect of rendering quality on measurements of location-based recognition memory for objects and associated states of awareness. The immersive simulation, consisted of one room that was either rendered flat-shaded or using radiosity rendering. The simulation was displayed on a stereo head-tracked Head Mounted Display. Post exposure to the synthetic simulation, participants completed a memory recognition task conducted in a real-world scene by physically arranging objects in their physical form in a real world room. Participants also reported one of four states of awareness following object recognition. They were given several options of awareness states that reflected the level of visual mental imagery involved during retrieval, the familiarity of the recollection and related guesses. The scene incorporated objects that 'fitted' into the specific context of the real-world scene, referred to as consistent objects, and objects which were not related to the specific context of the real-world scene, referred to as inconsistent objects. A follow-up study was conducted a week after the initial test. Interestingly, results revealed a higher proportion of correct object recognition associated with mental imagery when participants were exposed to low fidelity flat-shaded training scenes rather than the radiosity rendered ones. Memory psychology indicates that awareness states based on visual imagery require stronger attentional processing in the first instance than those based on familiarity. A tentative claim would therefore be that those immersive environments that are distinctive because of their variation from 'real', such as flat-shaded environments, recruit stronger attentional resources. This additional attentional processing may bring about a change in participants' subjective experiences of 'remembering' when they later transfer the training from that environment into a real-world situation

Factors Affecting Spatial Awareness in Non- Stereo Visual Representations of Virtual, Real and Digital Image Environments

The increasing number of applications employing virtual environment (VE) technologies as a tool, particularly those that use VE as surrogates, makes it important to examine the ability of VE to provide realistic simulations to users. Accurate space and distance perceptions have been suggested as essential preconditions for the reliable use of VE technologies in various applications. However, space and distance perception in the VE has been reported by some investigators as being perceived differently from the real world. Thus, the overall aim of this thesis is to improve our understanding of factors affecting spatial awareness in the VE. The general approach is based on a strategy of conducting empirical investigations comparing tasks performed in the VE to similar tasks performed in the real world. This research has examined the effect of display related factors on users' spatial task performance in the context of static, dynamic and interactive presentations. Three sets of experiments in these respective contexts were conducted to explore the influence of image type, display size, viewing distance, physiological cues, interface device and travel modes on distance estimate and spatial memory tasks. For distance perception, results revealed that the effect of image type depends on the context of presentations, the type of asymmetrical distances and image resolution. The effect of display size in static and dynamic presentations is consistent with the results of previous investigations. However, results from evaluations conducted by the author have indicated that other factors such as viewing distance and physiological cues were also accountable. In interactive presentations, results indicated that display size had different effects on different users whereby familiarity with display size may influence user's performance. Similarly, it was shown that a commonly used interface device is more useful and beneficial for user's spatial memory performance in the VE than the less familiar ones. In terms of travel mode, the natural method of movement available in the real world may not necessary be better than the unnatural movement which is possible in the VE. The results of investigations reported in this thesis contribute towards knowledge and understanding on factors affecting spatial awareness in the real and VE. In particular, they highlight the influence of these factors in space and distance perception in different contexts of VE presentations which will serve as important scientifically based guidelines for designers and users ofVE applications

VR systems for memory assessment and depth perception

La evolución de la tecnología de Realidad Virtual (RV) ha contribuido en todos los campos, incluyendo la psicología. Esta evolución implica mejoras tanto en hardware como en software, que permiten experiencias más inmersivas. En un entorno de RV los usuarios pueden percibir la sensación de "presencia" y sentirse "inmersos". Estas sensaciones son posibles utilizando HMDs. Hoy en día, el desarrollo de los HMDs se ha centrado en mejorar sus características técnicas para ofrecer inmersión total. En psicología, los entornos de RV son una herramienta de investigación. Hay algunas aplicaciones para evaluar la memoria espacial que utilizan métodos básicos de interacción. Sin embargo, sistemas de RV que incorporen estereoscopía y movimiento físico todavía no se han explotado en psicología. En esta tesis, se ha desarrollado un nuevo sistema de RV que combina características inmersivas, interactivas y de movimiento. El sistema de RV (tarea en un laberinto virtual) se ha utilizado para evaluar la memoria espacial y la percepción de profundidad. Se han integrado dos tipos diferentes de interacción: una basada en locomoción que consistió en pedalear en una bicicleta fija (condición1) y otra estacionaria usando un gamepad (condición2). El sistema integró dos tipos de visualización: 1) Oculus Rift (OR); 2) Una gran pantalla estéreo. Se diseñaron dos estudios. El primer estudio (N=89) evaluó la memoria espacial a corto plazo usando el OR y los dos tipos de interacción. Los resultados indican que existían diferencias significativas entre ambas condiciones. Los participantes que utilizaron la condición2 obtuvieron mejor rendimiento que los que utilizaron la tarea en la condición1. Sin embargo, no se encontraron diferencias significativas en las puntuaciones de satisfacción e interacción entre ambas condiciones. El desempeño en la tarea correlacionó con el desempeño en las pruebas neuropsicológicas clásicas, revelando la verosimilitud entre ellas. El segundo estudio (N=59) incluyó participantes con y sin estereopsis. Este estudio evaluó la percepción de profundidad comparando los dos sistemas de visualización. Los participantes realizaron la tarea usando la condición2. Los resultados mostraron que las diferentes características del sistema de visualización no influyeron en el rendimiento en la tarea entre los participantes con y sin estereopsis. Se encontraron diferencias significativas a favor del HMD entre las dos condiciones y entre los dos grupos de participantes respecto a la percepción de profundidad. Los participantes que no tenían estereopsis y no podían percibir la profundidad cuando utilizaban otros sistemas de visualización, tuvieron la ilusión de percepción de profundidad cuando utilizaron el OR. El estudio sugiere que para las personas que no tienen estereopsis, el seguimiento de la cabeza influye en gran medida en la experiencia 3D. Los resultados estadísticos de ambos estudios han demostrado que el sistema de RV desarrollado es una herramienta apropiada para evaluar la memoria espacial a corto plazo y la percepción de profundidad. Por lo tanto, los sistemas de RV que combinan inmersión total, interacción y movimiento pueden ser una herramienta útil para la evaluación de procesos cognitivos humanos como la memoria. De estos estudios se han extraído las siguientes conclusiones generales: 1) La tecnología de RV y la inmersión proporcionada por los actuales HMDs son herramientas adecuadas para aplicaciones psicológicas, en particular, la evaluación de la memoria espacial a corto plazo; 2) Un sistema de RV como el presentado podría ser utilizado como herramienta para evaluar o entrenar adultos en habilidades relacionadas con la memoria espacial a corto plazo; 3) Los dos tipos de interacción utilizados para la navegación en el laberinto virtual podrían ser útiles para su uso con diferentes colectivos; 4) El OR permite que los usuarios sin estereopsis puedan percibir lThe evolution of Virtual Reality (VR) technology has contributed in all fields, including psychology. This evolution involves improvements in hardware and software allowing more immersive experiences. In a VR environment users can perceive the sensation of "presence" and feel "immersed". These sensations are possible using VR devices as HMDs. Nowadays, the development of the HMDs has focused on improving their technical features to offer full immersion. In psychology, VR environments are research tools because they allow the use of new paradigms that are not possible to employ in a real environment. There are some applications for assessing spatial memory that use basic methods of HCI. However, VR systems that incorporate stereoscopy and physical movement have not yet been exploited in psychology. In this thesis, a novel VR system combining immersive, interactive and motion features was developed. This system was used for the assessment of the spatial memory and the evaluation of depth perception. For this system, a virtual maze task was designed and implemented. In this system, two different types of interaction were integrated: a locomotion-based interaction pedaling a fixed bicycle (condition1), and a stationary interaction using a gamepad (condition2). This system integrated two types of display systems: 1) The Oculus Rift; 2) A large stereo screen. Two studies were designed to determine the efficacy of the VR system using physical movement and immersion. The first study (N=89) assessed the spatial short term memory using the Oculus Rift and the two types of interaction The results showed that there were statistically significant differences between both conditions. The participants who performed the condition2 got better performance than participants who performed the condition1. However, there were no statistically significant differences in satisfaction and interaction scores between both conditions. The performance on the task correlated with the performance on other classical neuropsychological tests, revealing a verisimilitude between them. The second study (N=59) involved participants who had and who had not stereopsis. This study assessed the depth perception by comparing the two display systems. The participants performed the task using the condition2. The results showed that the different features of the display system did not influence the performance on the task between the participants with and without stereopsis. Statistically significant differences were found in favor of the HMD between the two conditions and between the two groups of participants regard to depth perception. The participants who did not have stereopsis and could not perceive the depth when they used other display systems (e.g. CAVE); however, they had the illusion of depth perception when they used the Oculus Rift. The study suggests that for the people who did not have stereopsis, the head tracking largely influences the 3D experience. The statistical results of both studies have proven that the VR system developed for this research is an appropriate tool to assess the spatial short-term memory and the depth perception. Therefore, the VR systems that combine full immersion, interaction and movement can be a helpful tool for the assessment of human cognitive processes as the memory. General conclusions from these studies are: 1) The VR technology and immersion provided by current HMDs are appropriate tools for psychological applications, in particular, the assessment of spatial short-term memory; 2) A VR system like the one presented in this thesis could be used as a tool to assess or train adults in skills related to spatial short-term memory; 3) The two types of interaction (condition1 and condition2) used for navigation within the virtual maze could be helpful to use with different collectives; 4) The Oculus Rift allows that the users without stereopsis can perceive the depth perception of 3D objects and have rich 3D experiences.L'evolució de la tecnologia de Realitat Virtual (RV) ha contribuït en tots els camps, incloent la psicologia. Aquesta evolució implica millores en el maquinari i el programari que permeten experiències més immersives. En un entorn de RV, els usuaris poden percebre la sensació de "presència" i sentir-se "immersos". Aquestes sensacions són possibles utilitzant HMDs. Avui dia, el desenvolupament dels HMDs s'ha centrat a millorar les seves característiques tècniques per oferir immersió plena. En la psicologia, els entorns de RV són eines de recerca. Hi ha algunes aplicacions per avaluar la memòria espacial que utilitzen mètodes bàsics d'interacció. Tanmateix, sistemes de RV que incorporen estereoscòpia i moviment físic no s'han explotat en psicologia. En aquesta tesi, s'ha desenvolupat un sistema de RV novell que combina immersió, interacció i moviment. El sistema (tasca en un laberint virtual) s'ha utilitzat per a l'avaluació de la memòria espacial i la percepció de profunditat. S'han integrat dos tipus d'interacció: una interacció basada en locomoció pedalejant una bicicleta fixa (condició1), i l'altra una interacció estacionària usant un gamepad (condició2). S'han integrat dos tipus de sistemes de pantalla: 1) L'Oculus Rift; 2) Una gran pantalla estereoscòpica. Dos estudis van ser dissenyats. El primer estudi (N=89) va avaluar la memòria a curt termini i espacial utilitzant l'Oculus Rift i els dos tipus d'interacció. Els resultats indiquen que hi havia diferències significatives entre les dues condicions. Els participants que van utilitzar la condició2 van obtenir millor rendiment que els participants que van utilitzar la condició1. Tanmateix, no hi havia diferències significatives dins satisfacció i puntuacions d'interacció entre les dues condicions. El rendiment de la tasca va correlacionar amb el rendiment en les proves neuropsicològiques clàssiques, revelant versemblança entre elles. El segon estudi (N=59) va implicar participants que van tenir i que van haver-hi no estereopsis. Aquest estudi va avaluar la percepció de profunditat comparant els dos sistemes de pantalla. Els participants realitzen la tasca utilitzant la condició2. Els resultats van mostrar que les diferents característiques del sistema de pantalla no va influir en el rendiment en la tasca entre els participants qui tenien i els qui no tenien estereopsis. Diferències significatives van ser trobades a favor del HMD entre les dues condicions i entre els dos grups de participants. Els participants que no van tenir estereopsis i no podien percebre la profunditat quan van utilitzar altres sistemes de pantalla (per exemple, CAVE), van tenir la il.lusió de percepció de profunditat quan van utilitzar l'Oculus Rift. L'estudi suggereix que per les persones que no van tenir estereopsis, el seguiment del cap influeix en gran mesura en l'experiència 3D. Els resultats estadístics dels dos estudis han provat que el sistema de RV desenvolupat per aquesta recerca és una eina apropiada per avaluar la memòria espacial a curt termini i la percepció de profunditat. Per això, els sistemes de RV que combinen immersió plena, interacció i moviment poden ser una eina útil per la avaluació de processos cognitius humans com la memòria Les conclusions generals que s'han extret d'aquests estudis, són les següents: 1) La tecnologia de RV i la immersió proporcionada pels HMDs són eines apropiades per aplicacions psicològiques, en particular, la avaluació de memòria espacial a curt termini; 2) Un sistema de RV com el presentat podria ser utilitzat com a eina per avaluar o entrenar adults en habilitats relacionades amb la memòria espacial a curt termini; 3) Els dos tipus d'interacció utilitzats per navegació dins del laberint virtual podrien ser útils per al seu ús amb diferent col.lectius; 3) L'Oculus Rift permet que els usuaris que no tenen estereopsis puguen percebre la percepció de profunditat dels objectes 3D i tenirCárdenas Delgado, SE. (2017). VR systems for memory assessment and depth perception [Tesis doctoral no publicada]. Universitat Politècnica de València. https://doi.org/10.4995/Thesis/10251/94629TESI

The responses of people to virtual humans in an immersive virtual environment

This paper presents an experiment investigating the impact of behavior and responsiveness on social responses to virtual humans in an immersive virtual environment (IVE). A number of responses are investigated, including presence, copresence, and two physiological responses—heart rate and electrodermal activity (EDA). Our findings suggest that increasing agents’ responsiveness even on a simple level can have a significant impact on certain aspects of people’s social responses to humanoid agents. Despite being aware that the agents were computer-generated, participants with higher levels of social anxiety were significantly more likely to avoid “disturbing” them. This suggests that on some level people can respond to virtual humans as social actors even in the absence of complex interaction. Responses appear to be shaped both by the agents’ behaviors and by people’s expectations of the technology. Participants experienced a significantly higher sense of personal contact when the agents were visually responsive to them, as opposed to static or simply moving. However, this effect diminished with experienced computer users. Our preliminary analysis of objective heart-rate data reveals an identical pattern of responses

FACING EXPERIENCE: A PAINTER’S CANVAS IN VIRTUAL REALITY

Full version unavailable due to 3rd party copyright restrictions.This research investigates how shifts in perception might be brought about through the development of visual imagery created by the use of virtual environment technology. Through a discussion of historical uses of immersion in art, this thesis will explore how immersion functions and why immersion has been a goal for artists throughout history. It begins with a discussion of ancient cave drawings and the relevance of Plato’s Allegory of the Cave. Next it examines the biological origins of “making special.” The research will discuss how this concept, combined with the ideas of “action” and “reaction,” has reinforced the view that art is fundamentally experiential rather than static. The research emphasizes how present-day virtual environment art, in providing a space that engages visitors in computer graphics, expands on previous immersive artistic practices. The thesis examines the technical context in which the research occurs by briefly describing the use of computer science technologies, the fundamentals of visual arts practices, and the importance of aesthetics in new media and provides a description of my artistic practice. The aim is to investigate how combining these approaches can enhance virtual environments as artworks. The computer science of virtual environments includes both hardware and software programming. The resultant virtual environment experiences are technologically dependent on the types of visual displays being used, including screens and monitors, and their subsequent viewing affordances. Virtual environments fill the field of view and can be experienced with a head mounted display (HMD) or a large screen display. The sense of immersion gained through the experience depends on how tracking devices and related peripheral devices are used to facilitate interaction. The thesis discusses visual arts practices with a focus on how illusions shift our cognition and perception in the visual modalities. This discussion includes how perceptual thinking is the foundation of art experiences, how analogies are the foundation of cognitive experiences and how the two intertwine in art experiences for virtual environments. An examination of the aesthetic strategies used by artists and new media critics are presented to discuss new media art. This thesis investigates the visual elements used in virtual environments and prescribes strategies for creating art for virtual environments. Methods constituting a unique virtual environment practice that focuses on visual analogies are discussed. The artistic practice that is discussed as the basis for this research also concentrates on experiential moments and shifts in perception and cognition and references Douglas Hofstadter, Rudolf Arnheim and John Dewey. iv Virtual environments provide for experiences in which the imagery generated updates in real time. Following an analysis of existing artwork and critical writing relative to the field, the process of inquiry has required the creation of artworks that involve tracking systems, projection displays, sound work, and an understanding of the importance of the visitor. In practice, the research has shown that the visitor should be seen as an interlocutor, interacting from a first-person perspective with virtual environment events, where avatars or other instrumental intermediaries, such as guns, vehicles, or menu systems, do not to occlude the view. The aesthetic outcomes of this research are the result of combining visual analogies, real time interactive animation, and operatic performance in immersive space. The environments designed in this research were informed initially by paintings created with imagery generated in a hypnopompic state or during the moments of transitioning from sleeping to waking. The drawings often emphasize emotional moments as caricatures and/or elements of the face as seen from a number of perspectives simultaneously, in the way of some cartoons, primitive artwork or Cubist imagery. In the imagery, the faces indicate situations, emotions and confrontations which can offer moments of humour and reflective exploration. At times, the faces usurp the space and stand in representation as both face and figure. The power of the placement of the caricatures in the paintings become apparent as the imagery stages the expressive moment. The placement of faces sets the scene, establishes relationships and promotes the honesty and emotions that develop over time as the paintings are scrutinized. The development process of creating virtual environment imagery starts with hand drawn sketches of characters, develops further as paintings on “digital canvas”, are built as animated, three-dimensional models and finally incorporated into a virtual environment. The imagery is generated while drawing, typically with paper and pencil, in a stream of consciousness during the hypnopompic state. This method became an aesthetic strategy for producing a snappy straightforward sketch. The sketches are explored further as they are worked up as paintings. During the painting process, the figures become fleshed out and their placement on the page, in essence brings them to life. These characters inhabit a world that I explore even further by building them into three dimensional models and placing them in computer generated virtual environments. The methodology of developing and placing the faces/figures became an operational strategy for building virtual environments. In order to open up the range of art virtual environments, and develop operational strategies for visitors’ experience, the characters and their facial features are used as navigational strategies, signposts and methods of wayfinding in order to sustain a stream of consciousness type of navigation. Faces and characters were designed to represent those intimate moments of self-reflection and confrontation that occur daily within ourselves and with others. They sought to reflect moments of wonderment, hurt, curiosity and humour that could subsequently be relinquished for more practical or purposeful endeavours. They were intended to create conditions in which visitors might reflect upon their emotional state, v enabling their understanding and trust of their personal space, in which decisions are made and the nature of world is determined. In order to extend the split-second, frozen moment of recognition that a painting affords, the caricatures and their scenes are given new dimensions as they become characters in a performative virtual reality. Emotables, distinct from avatars, are characters confronting visitors in the virtual environment to engage them in an interactive, stream of consciousness, non-linear dialogue. Visitors are also situated with a role in a virtual world, where they were required to adapt to the language of the environment in order to progress through the dynamics of a drama. The research showed that imagery created in a context of whimsy and fantasy could bring ontological meaning and aesthetic experience into the interactive environment, such that emotables or facially expressive computer graphic characters could be seen as another brushstroke in painting a world of virtual reality

Understanding the immersive experience: Examining the influence of visual immersiveness and interactivity on spatial experiences and understanding

Advances in computer graphics have enabled us to generate more compelling 3D virtual environments. 'Immersive experience' in these environments result from a combination of immersion and interactivity. As such, various disciplines have started adopting 3D technology for enhancing spatial understanding and experience. But the impact of the immersive experience on spatial understanding and experience remains unclear. This study utilized a controlled, between-subjects experiment to systematically manipulate a virtual reality system's technology affordances (stereoscopy, field of view, and navigability) and measure their impact. Participants, N=120, explored a virtual office and completed a questionnaire on the experience and tasks evaluating their understanding of the space. The results indicated that visual immersion had the greatest impact on understanding but, better experiences were gained when visual immersion was combined with greater interactivity. These findings support the notion the immersive experience is important for the comprehension of virtual spaces. This study overall served to provide insight into the role of the immersive experience on the comprehension of virtual spaces. The findings advance theories of spatial presence and immersion, support the use of methods which look at technology as affordances rather than entities, and support the use of 3D technology for communicating spatial information as in the case of architecture and fire-fighter training

Designing Game Audio Based on Avatar-Centred Subjectivity

This chapter explores a selection of practical approaches for designing video game audio based on the subjective perception of a player avatar. The authors discuss several prototype video game systems developed as part of their practice-led research, which provide interactive audio systems that represent the aural experience of a virtual avatar undergoing an altered state of consciousness. Through the discussion of these prototypes, the authors expose a variety of possible approaches for sound design in order to represent the subjective perceptual experiences of a player avatar

Telepresence, soundscapes and technological expectation: putting the observer into the equation

In an experiment exploring the impact of sound on sensations of telepresence, 126 participants watched a video clip using either headphones or speakers. The results illustrate that sound is an important factor in stimulating telepresence responses in audiences. Interactions between soundscape and screen size were also revealed. A traverse interaction between aural/visual congruency and soundscapes was evident. A second data set of 102 participants was collected to illuminate the effect of technological expectation that emerged in the first study. Expectations had been mentioned in other studies, and the data support the notion that people have an expectation of the technological quality of a presentation. The results suggest that examining expectations could assist in future conceptualizations of telepresence