Musicianship Enhances Perception But Not Feeling of Emotion From Others’ Social Interaction Through Speech Prosody

Music expertise has been shown to enhance emotion recognition from speech prosody. Yet, it is currently unclear whether music training enhances the recognition of emotions through other communicative modalities such as vision and whether it enhances the feeling of such emotions. Musicians and nonmusicians were presented with visual, auditory, and audiovisual clips consisting of the biological motion and speech prosody of two agents interacting. Participants judged as quickly as possible whether the expressed emotion was happiness or anger, and subsequently indicated whether they also felt the emotion they had perceived. Measures of accuracy and reaction time were collected from the emotion recognition judgements, while yes/no responses were collected as indication of felt emotions. Musicians were more accurate than nonmusicians at recognizing emotion in the auditory-only condition, but not in the visual-only or audiovisual conditions. Although music training enhanced recognition of emotion through sound, it did not affect the felt emotion. These findings indicate that emotional processing in music and language may use overlapping but also divergent resources, or that some aspects of emotional processing are less responsive to music training than others. Hence music training may be an effective rehabilitative device for interpreting others’ emotion through speech

Long-term music training modulates the recalibration of audiovisual simultaneity

To overcome differences in physical transmission time and neural processing, the brain adaptively recalibrates the point of simultaneity between auditory and visual signals by adapting to audiovisual asynchronies. Here, we examine whether the prolonged recalibration process of passively sensed visual and auditory signals is affected by naturally occurring multisensory training known to enhance audiovisual perceptual accuracy. Hence, we asked a group of drummers, of non-drummer musicians and of non-musicians to judge the audiovisual simultaneity of musical and non-musical audiovisual events, before and after adaptation with two fixed audiovisual asynchronies. We found that the recalibration for the musicians and drummers was in the opposite direction (sound leading vision) to that of non-musicians (vision leading sound), and change together with both increased music training and increased perceptual accuracy (i.e. ability to detect asynchrony). Our findings demonstrate that long-term musical training reshapes the way humans adaptively recalibrate simultaneity between auditory and visual signals

Realism and Field of View Affect Presence in VR but Not the Way You Think

Presence is one of the most studied and most important variables in immersive virtual reality (VR) and it influences the effectiveness of many VR applications. Separate bodies of research indicate that presence is determined by (1) technical factors such as the visual realism of a virtual environment (VE) and the field of view (FoV), and (2) human factors such as emotions and agency. However, it remains unknown how technical and human factors may interact in the presence formation process. We conducted a user study (n=360) to investigate the effects of visual realism (high/low), FoV (high/low), emotions (focusing on fear) and agency (yes/no) on presence. Counter to previous assumptions, technical factors did not affect presence directly but were moderated through human factors. We propose TAP-Fear, a structural equation model that describes how design decisions, technical factors and human factors combine and interact in the formation of presence

Effects of emotion and agency on presence in virtual reality

Arguably the most important characteristic of virtual reality (VR) is its ability to induce feelings of presence. Still, research has remained inconclusive on how presence is affected by human factors such as emotion and agency. Here we adopt a novel design to investigate their effects by testing virtual environments inducing either happiness or fear, with or without user agency. Results from 121 participants showed that the dominant emotion induced by a virtual environment is positively correlated with presence. In addition, agency had a significant positive effect on presence and, furthermore, moderated the effect of emotion on presence. We show for the first time that the effects of emotion and agency on presence are not straightforward but they can be modeled by separating design factors from subjective measures. We discuss how these findings can explain seemingly conflicting results of related work and their implications for VR design

Imagine That! Imaginative Suggestibility Affects Presence in Virtual Reality

Personality characteristics can affect how much presence an individual experiences in virtual reality, and researchers have explored how it may be possible to prime users to increase their sense of presence. A personality characteristic that has yet to be explored in the VR literature is imaginative suggestibility, the ability of an individual to successfully experience an imaginary scenario as if it were real. In this paper, we explore how suggestibility and priming affect presence when consulting an ancient oracle in VR as part of an educational experience - a common VR application. We show for the first time how imaginative suggestibility is a major factor which affects presence and emotions experienced in VR, while priming cues have no effect on participants' (n=128) user experience, contrasting results from prior work. We consider the impacts of these findings for VR design and provide guidelines based on our results.</p

Long-term music training modulates the recalibration of audiovisual simultaneity

To overcome differences in physical transmission time and neural processing, the brain adaptively recalibrates the point of simultaneity between auditory and visual signals by adapting to audiovisual asynchronies. Here, we examine whether the prolonged recalibration process of passively sensed visual and auditory signals is affected by naturally occurring multisensory training known to enhance audiovisual perceptual accuracy. Hence, we asked a group of drummers, of non-drummer musicians and of non-musicians to judge the audiovisual simultaneity of musical and non-musical audiovisual events, before and after adaptation with two fixed audiovisual asynchronies. We found that the recalibration for the musicians and drummers was in the opposite direction (sound leading vision) to that of non-musicians (vision leading sound), and change together with both increased music training and increased perceptual accuracy (i.e. ability to detect asynchrony). Our findings demonstrate that long-term musical training reshapes the way humans adaptively recalibrate simultaneity between auditory and visual signals