scholarly journals The Sense of Presence through the Humanization Created by Virtual Environments

Proceedings ◽  
2019 ◽  
Vol 21 (1) ◽  
pp. 7 ◽  
Author(s):  
Donga ◽  
Marques ◽  
Pereira ◽  
Gomes

This work focus on the study of solutions that using video 360 and virtual reality that allow children’s and older people that are away of their family environments for various reasons to be able to feel they are participating at family or school events. The solutions proposed should deliver a strong sense of presence to the users and the interface must be friendly. The validation will be made by user observation and inquiries.

2003 ◽  
Vol 51 (4) ◽  
pp. 302-315 ◽  
Author(s):  
Evelyn K. Orman

This study is an examination of the effect of computer-generated virtual reality graded exposure on the physiological and psychological responses of performing musicians. Eight university saxophone majors, five men and three women, participated in twelve 15- to 20-minute weekly practice sessions during which they were immersed in one of four different virtual environments designed to elicit various anxiety levels. Baseline heart rates and subjective measurements were taken prior to immersion and continued throughout the exposure period. In addition, heart rate and subjective measurements were recorded for three live performances given by each subject before beginning the virtual reality exposure and after completion of the sixth and the twelfth exposure sessions. Findings indicated that the virtual environments did elicit a sense of presence and may have provided the means for desensitization. Heart-rate readings and psychological indications of anxiety did not always correspond.


2012 ◽  
Vol 21 (4) ◽  
pp. 423-434
Author(s):  
Marta Ferrer-García ◽  
Olaya García-Rodríguez ◽  
Irene Pericot-Valverde ◽  
Jin H. Yoon ◽  
Roberto Secades-Villa ◽  
...  

Cue exposure treatment (CET) consists of controlled and repeated exposure to drug-related stimuli in order to reduce cue-reactivity. Virtual reality (VR) has proved to be a promising tool for exposition. However, identifying the variables that can modulate the efficacy of this technique is essential for selecting the most appropriate exposure modality. The aim of this study was to determine the relation between several individual variables and self-reported craving in smokers exposed to VR environments. Forty-six smokers were exposed to seven complex virtual environments that reproduce typical situations in which people smoke. Self-reported craving was selected as the criterion variable and three types of variables were selected as the predictor variables: related to nicotine dependence, related to anxiety and impulsivity, and related to the sense of presence in the virtual environments. Sense of presence was the only predictor of self-reported craving in all the experimental virtual environments. Nicotine dependence variables added predictive power to the model only in the virtual breakfast at home. No relation was found between anxiety or impulsivity and self-reported craving. Virtual reality technology can be very helpful for improving CET for substance use disorders. However, the use of virtual environments would make sense only insofar as the sense of presence was high. Otherwise, the effectiveness of exposure might be affected.


Author(s):  
João Martinho Moura ◽  
Né Barros ◽  
Paulo Ferreira-Lopes

Virtual reality (VR) has been a prominent idea for exploring new worlds beyond the physical, and in recent decades, it has evolved in many aspects. The notion of immersion and the sense of presence in VR gained new definitions as technological advances took place. However, even today, we can question whether the degrees of immersion achieved through this technology are profound and felt. A fundamental aspect is the sense of embodiment in the virtual space. To what extent do we feel embodied in virtual environments? In this publication, the authors present works that challenge and question the embodiment sensation in VR, specifically in the artistic aspect. They present initial reflections about embodiment in virtuality and analyze the technologies adopted in creating interactive artworks prepared for galleries and theater stage, questioning the sensations caused by the visual embodiment in virtual reality under the perspective of both the audience and the performer.


2004 ◽  
Vol 14 (1) ◽  
pp. 129-147 ◽  
Author(s):  
Jan Holmberg

Abstract With the cliché of allegedly “primitive” cinema spectators fleeing the theatre in fear of onrushing train as a point of departures, this article investigates various immersive and stereoscopic strategies in early cinema. Although the three-dimensional or virtual qualities of, for example, phantom rides, Hale’s Tours, and early tracking shots have often been discussed, the notion of a “virtual reality avant la lettre” merits a fuller investigation. Through different technological, textual and discursive strategies, much early cinema can be seen to create a strong sense of presence or immersion that is, with the use of spectacle and engagement radically different than the sense of “identification” crucial to the later classical style.


Author(s):  
Marina Carulli ◽  
Monica Bordegoni ◽  
Umberto Cugini

The sense of smell has a great importance in our daily life. In recent years, smells have been used for marketing purposes with the aim of improving the person’s mood and of communicating information about products as household cleaners and food. However, the scent design discipline can be also applied to any kind of products to communicate their features to customers. In the area of Virtual Reality several researches have focused on integrating smells in virtual environments. The research questions addressed in this work concern whether Virtual Prototypes, including the sense of smell, can be used for evaluating products as effectively as studies performed in real environments, and also whether smells can contribute to increase the users’ sense of presence in the virtual environment. For this purpose, a Virtual Reality experimental framework including a prototype of a wearable olfactory display has been set up, and experimental tests have been performed.


Author(s):  
Max M. North ◽  
Sarah M. North

The study of sense of presence experienced in virtual reality environments has become an important area of research. The continued advancement of immersive technology offers more opportunities to examine how a subject becomes immersed in and interacts with a variety of virtual environments. The primary purpose of this research is to study the sense of presence while interacting with a traditional Virtual Reality Environment (Helmet-based system with a Head-tracking device) and compare it with a virtual reality environment using an Immersive Environment (Spherical-based Visualization environment). Two empirical experiments were investigated in this study, each consisting of thirty-five subjects. A virtual airplane scenario was created and simulated for the participants of both environments. Participants were given several questionnaires after completing the simulation. This study mainly focused on question 9 and 10 of that survey, which dealt with how much the participant felt present in the virtual environment, and if the presence of the real world could still be experienced while in the virtual environment. We found that the subjects felt more involved with the virtual environment while using the Immersive Environment simulation versus using the traditional helmet-based Virtual Reality Environment. There was a statistically significant difference in questions 9 and 10 between the Immersive Environment and traditional Virtual Reality Environment when those questions are considered in isolation. However there was not a significant difference in the total sense of presence between the two environments after analyzing the questions together. The primary differences between the questions were analyzed using the overall mean and the standard deviation. The Immersive Environment has a smaller deviation than the traditional Virtual Reality Environment, implying that the sense of presence response is more concentrated. However, the overall results demonstrate that both environments are almost equally effective, with the Immersive Environment having several slight advantages.


Author(s):  
Erik M. Champion

Communities identify and are identified by not just the clothes they wear or by the language they speak, or even by the way they greet each other. Communities are often identified by where their activities take place, how they use spaces to construct meanings, and the traces left by their social interactions. These “trigger” regions are thus not just points in space; they are also landmarks, havens, homes, ruins, or hells. Communities, then, are identified and identify with or against, not just space but place. For places do not just organize space; they orient, identity, and animate the bodies, minds, and feelings of both inhabitants and visitors. Presence researchers have often cited and used, the sense of “being in a place” as a test of virtual presence. For example, Biocca (1997) says people feel present in real imaginary or virtual places. Slater (1999) says one aspect of presence is feeling that one is in another place, and not just viewing a set of images. Researchers often use the term “place” in their presence questionnaires (Lessiter, Freeman, Keogh, & Davidoff, 2000; Schuemie, van der Straaten, Krijn, & van der Mast, 2001; Slater, 1999). While much debate has centered on the meaning of virtual “presence,” there has been far less debate on a virtual “place.” Presence in virtual environments is often defined as the subjective belief that one is in a place even though the participant knows the experience is mediated by digital media (Slater, 1999). Yet presence can only be clearly defined when relating it to place, if place itself is clearly defined and understood. Place itself may mean many different types of location, the feeling that one is in or surrounded by a type or kind of location, or the intensity of that feeling of being in a particular place. One may well feel spatially surrounded, or be able to say an event happened in a certain position in a virtual environment without feeling that one was experiencing a strong or unique experience of place. To understand how and why people can feel a sense of presence then, we need to have a clear and appropriate sense of place. And if we do not have a strong sense of place, then perhaps we do not have a strong sense of presence. Many writers (frequently from architecture) have made the distinction between place and cyberspace, and suggested that virtual environments usually lack the former (e.g., Benedikt, 1991; Champion & Dave, 2002; Coyne, 1999; Johnson, 1997; Kalay & Marx, 2001, 2003; Kitchin, 1998). Given the premise that place is a necessary part of creating a meaningful virtual environment, the question is raised as to how we can best gain a sense of place via virtual environments.


Author(s):  
Monica Bordegoni ◽  
Marina Carulli

The sense of smell has a great importance in our daily life. Recently, smells have been used for marketing purposes for improving the people's mood and for communicating information about products as household cleaners and food. However, the scent design discipline can be used for creating a “scent identity” of these products not traditionally associated to a specific smell, in order to communicate their features to customers. In the area of virtual reality (VR), several researches concerned the integration of smells in virtual environments. The research questions addressed in this paper concern if virtual prototypes (VP), including smell simulation, can be used for evaluating products as effectively as studies performed in real environments, and also if smells can enhance the users' sense of presence in virtual environments. For this purpose, a VR experimental framework including a prototype of a wearable olfactory display (wOD) has been set up, and experimental tests have been carried out.


Author(s):  
Susan Turner

This chapter considers the role of sound, and more specifically, listening, in creating a sense of presence (of “being there”) in “places” recreated by virtual reality technologies. We first briefly review the treatment of sound in place and presence research. Here we give particular attention to the role of sound in inducing a sense of presence in virtual environments that immerse their users in representations of particular places. We then consider the phenomenology of listening, the nature of different types of listening, and their application: listening is active, directed, intentional hearing, and is not merely egocentric, it is body-centric. A classification of modes of listening that draws on work in film studies, virtual reality, and audiology is then proposed as a means of supporting the design of place-centric virtual environments in providing an effective aural experience. Finally, we apply this to a case study of listening in real and simulated soundscapes, and suggest directions for further applications of this work


2020 ◽  
Vol 3 (2) ◽  
pp. 20502-1-20502-10 ◽  
Author(s):  
Siavash Eftekharifar ◽  
Anne Thaler ◽  
Nikolaus F. Troje

Abstract The sense of presence is defined as a subjective feeling of being situated in an environment and occupying a location therein. The sense of presence is a defining feature of virtual environments. In two experiments, we aimed at investigating the relative contribution of motion parallax and stereopsis to the sense of presence, using two versions of the classic pit room paradigm in virtual reality. In Experiment 1, participants were asked to cross a deep abyss between two platforms on a narrow plank. Participants completed the task under three experimental conditions: (1) when the lateral component of motion parallax was disabled, (2) when stereopsis was disabled, and (3) when both stereopsis and motion parallax were available. As a subjective measure of presence, participants completed a presence questionnaire after each condition. Additionally, electrodermal activity (EDA) was recorded as a measure of anxiety. In Experiment 1, EDA responses were significantly higher with restricted motion parallax as compared to the other two conditions. However, no difference was observed in terms of the subjective presence scores across the three conditions. To test whether these results were due to the nature of the environment, participants in Experiment 2 experienced a slightly less stressful environment, where they were asked to stand on a ledge and drop virtual balls to specified targets into the abyss. The same experimental manipulations were used as in Experiment 1. Again, the EDA responses were significantly higher when motion parallax was impaired as compared to when stereopsis was disabled. The results of the presence questionnaire revealed a reduced sense of presence with impaired motion parallax compared to the normal viewing condition. Across the two experiments, our results unexpectedly demonstrate that presence in the virtual environments is not necessarily linked to EDA responses elicited by affective situations as has been implied by earlier studies.


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