Virtual reality space reconstruction based on visual space orientation theory

2019 ◽  
Vol 34 (2) ◽  
pp. 215-219
Author(s):  
夏振平 XIA Zhen-ping ◽  
胡伏原 HU Fu-yuan ◽  
程 成 CHENG Cheng ◽  
顾敏明 GU Min-ming
2018 ◽  
Vol 131 ◽  
pp. 192-203
Author(s):  
Wang Zhongmin ◽  
Guo Wenhong

2021 ◽  
Vol 11 (1) ◽  
Author(s):  
Noriaki Kanayama ◽  
Masayuki Hara ◽  
Kenta Kimura

AbstractVirtual reality (VR) enables the fast, free, and highly controllable setting of experimental body images. Illusions pertaining to a body, such as the rubber hand illusion (RHI), can be easily conducted in VR settings, and some phenomena, such as full-body illusions, are only realized in virtual environments. However, the multisensory-integration process in VR is not yet fully understood. Thus, it remains to be clarified if specific phenomena that occur under VR settings manifest in real life as well. One useful investigative approach is measuring brain activities during a psychological experiment. Electroencephalography (EEG) oscillatory activities provide insight into the human multisensory integration process. Nevertheless, EEG data can be vulnerable to VR noise, which causes measurement and analytical difficulties for EEG data recorded in VR environments. Here, we achieve an experimental RHI setting using a head-mounted display that provides a VR visual space and VR dummy hand along with EEG measurements. We compared EEG data collected in both real and VR environments and observed the gamma and theta band oscillatory activities. Ultimately, we observed statistically significant differences between congruent (RHI) and incongruent (not RHI) conditions in the real environment, which is consistent with previous studies. Differences in the VR condition were observed only on the late theta band oscillation, suggesting that the VR setting itself altered the perceptual and sensory integration mechanisms. Thus, we must model this difference between real and VR settings whenever we use VR to investigate our bodily self-perception.


2021 ◽  
pp. 191-216
Author(s):  
Nicolas Bilchi

The purpose of this article is to highlight a few stylistic and aesthetic principles, common to the genre of the travel film (both documentary and fictional), as employed by immersive media and devices from the twentieth century – such as the Hale’s Tours of the World, Todd-AO, and Cinerama – up to today’s digital systems like Virtual Reality and 4D Cinema. I will discuss how the different experiences of simulated travels, proffered by those media, are all related to a broader aesthetic tendency in creating what I label as enveloping tactile images. Such images are programmed to surround the viewer from every side, thus increasing their spectacular dimension, but at the same time they strive to temper and weaken the haptic solicitations aroused in the viewer by the immersive apparatus itself. In this sense I propose that the spectator of immersive travelogue films is ‘immersed, yet distant’: she is tangled in the illusion of traversing an enveloping visual space, but the position she occupies is nonetheless a metaphysical one, not different from that of Renaissance perspective, because even if she can see everything, the possibility to interact with the images is denied, in order to preserve the realistic illusion. By analysing the stylistic techniques employed to foster the viewer’s condition of non-interactive immersion in the enveloping world presented by the medium, I will consequently address the topic of the conflict that such immersive aesthetics establish with traditional forms of audiovisual storytelling.


Leonardo ◽  
1999 ◽  
Vol 32 (5) ◽  
pp. 365-371 ◽  
Author(s):  
Oliver Grau

Virtual reality (VR) is a constant phenomenon in art history that can be traced back to antiquity. It can involve an area of ritual action, a private, artificial paradise, or a public sphere with politically suggestive power—in short, it encompasses a visual history that is characterized by totality. The concept of transposing viewers into an enclosed, illusionary visual space has been revived and expanded in the VR art of the current age. The more intimate ly an interface nestles into viewers' senses, the more intense their immersion will be. Such an interface weakens the viewers' sense of psychological distance and puts the relationship between art and consciousness into question.


Author(s):  
Noriaki Kanayama ◽  
Masayuki Hara ◽  
Kenta Kimura

AbstractVirtual reality (VR) enables fast, free, and highly controllable experimental body image setting. Illusions pertaining to a body, like the rubber hand illusion (RHI), can be easily conducted in VR settings, and some phenomena, such as full-body illusions, are only realized in virtual environments. However, the multisensory integration process in VR is not yet fully understood, and we must clarify the limitations and whether specific phenomena can also occur in real life or only in VR settings. One useful investigative approach is measuring brain activities during a psychological experiment. Electroencephalography (EEG) oscillatory activities provide insight into the human multisensory integration process. Unfortunately, the data can be vulnerable to VR noise, which causes measurement and analytical difficulties for EEG data recorded in VR environments. Here, we took care to provide an experimental RHI setting using a head-mounted display, which provided a VR visual space and VR dummy hand along with EEG measurements. We compared EEG data taken in both real and VR environments and observed the gamma and theta band oscillatory activities. Ultimately, we saw statistically significant differences between congruent (RHI) and incongruent (not RHI) conditions in the real environment, which agrees with previous studies. No difference in the VR condition could be observed, suggesting that the VR setting itself altered the perceptual and sensory integration mechanisms. Thus, we must model this difference between real and VR settings whenever we use VR to investigate our bodily self-perception.


2021 ◽  
Vol 2021 ◽  
pp. 1-8
Author(s):  
Lijia Zeng ◽  
Xiang Dong

With the rapid development of digital information technology, virtual reality (VR) and VR visual space technology have become important branches in the field of computer 5G. Their application research has attracted more and more attention, and their practical value and application prospects are also very broad. This paper mainly studies the artistic style conversion based on 5G VR and VR visual space. This paper starts from the two concepts of VR technology and VR vision, analyzes the development process and characteristics of the two, discusses the possibility and inevitability of the fusion of the two, and leads to the space art produced by the fusion of VR technology and VR vision. This kind of art space gives people an “immersive” experience. This paper analyzes multiple immersive experience works, analyzes its multi-sensory and multi-technical spatial art style transformation form, and summarizes the advantages and disadvantages of the current art style transformation form based on 5G VR and VR visual space, with a view to the future development of VR immersion for reference. This paper analyzes the ease-of-use indicators. The experimental results show that, except for the sensory experience indicators, the average values of other indicators are less than 1. This is a project with better ease of use, and the use of 5G VR and VR vision technology can improve the transformation of space art style.


Author(s):  
Dean Rosen

If participants are asked to orient a face half way between frontal view and profile view, they typically choose an angle somewhere between 30 and 40 degrees. In this study, we demonstrate this phenomenon called orientation bias, and we test the hypothesis that it is directly related to presenting the face in the pictorial space of the flat screen rather than in the egocentric visual space of the observer.Participants were required to use a keyboard to rotate a 3D rendering of a human head to orient it at 45 degrees, that is, half way between frontal and profile view. Employing a repeated-measures design, participants completed two blocks in counterbalanced order. Both viewing conditions were implemented in virtual reality. In the first, participants saw a columnar pedestal with a head mounted on top of it in the visual space before them. In the second block, the very same scene was recorded with a fixed camera and projected on a virtual computer screen.The results indicated that the mean angle estimations in visual space (M = 43.01, SD = 5.96) and pictorial space (M = 37.40, SD = 6.99) differed significantly, t(15) = 5.13, p < .001.These differences could be a result of depth compression, which has been previously described in the context of distance perception. Given that interpretation, our results imply that depth compression might be a result of the flatness of the picture plane which is perceived in a “twofold” way alongside the depicted contents of the image.


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