Continuous Assessment of Presence in Stereoscopic Displays

Perception ◽  
1997 ◽  
Vol 26 (1_suppl) ◽  
pp. 186-186 ◽  
Author(s):  
W A IJsselsteijn ◽  
J Freeman ◽  
S E Avons ◽  
J Davidoff ◽  
H de Ridder ◽  
...  
Keyword(s):  
Temporal Variation ◽  
Visual Cues ◽  
Sensory Information ◽  
Subjective Assessment ◽  
Continuous Assessment ◽  
Central Importance ◽  
Stereoscopic Displays ◽  
Sense Of Presence ◽  
Being There ◽  
Stereo Acuity

Presence, a sense of ‘being there’ evoked by a display, can be regarded as a concept of central importance in the evaluation of broadcasting and entertainment services in general and virtual reality applications in particular. Subjective methods of assessing presence that have either been used or proposed to date do not provide a measure of temporal variation in observers' presence. To overcome this limitation, we have applied the method of continuous assessment (ITU-R, BT 500-7) to the measurement of presence. Thirty observers (twelve at IPO, eighteen at UoE) with normal or corrected-to-normal vision and good stereo-acuity viewed a stereoscopic film. While watching, observers were asked to continuously rate their perceptions of depth, naturalness and presence. The stimulus material varied considerably in the amount and strength of the visual cues presented over time. This enabled us to investigate whether the extent of sensory information presented to an observer was a determinant of presence, as proposed by Sheridan [1992 Presence: Teleoperators and Virtual Environments1(1) 120 – 125]. The results, which were very similar across two independent laboratories, suggested that continuous assessment provides a promising methodology for the subjective assessment of temporal variation in the observer's sense of presence. Further, increasing the extent of sensory information presented to an observer may enhance the sense of presence, provided the depth cues introduced are consistent and within natural bounds. [ Note: First and second author in arbitrary order.]

Effects of Stereo and Motion Manipulations on Measured Presence in Stereoscopic Displays

Perception ◽  
1997 ◽  
Vol 26 (1_suppl) ◽  
pp. 144-144 ◽  
Author(s):  
J Freeman ◽  
S E Avons ◽  
J Davidoff ◽  
D E Pearson
Keyword(s):  
Sensory Information ◽  
Subjective Assessment ◽  
Tv Viewing ◽  
Stereoscopic Displays ◽  
Continuous Evaluation ◽  
Quality Ratings ◽  
Post Test ◽  
Display Technology ◽  
Being There

Methods of assessing presence, a sense of ‘being there’ within a displayed virtual environment, include post-test subjective measures, discrimination tests, and monitoring reflexive responses. Each is limited—either they do not provide a measure of temporal variation, are not feasible with current display technology or are overly content-specific. A measure of presence derived from the method of continuous evaluation (ITU-R, Recommendation BT.500-7, revised, “Methodology for the subjective assessment of the quality of television pictures”, 1995) has been used to overcome these limitations. The results of two experiments are presented. Those of the first experiment established that the methodology is usable under the optimal viewing conditions for the 20 inch stereoscopic TV display upon which our stimuli were presented. It compares within-subject variation on continuous TV picture quality ratings under two viewing conditions—at six picture heights in the light (standard for quality evaluations) and at two picture heights in the dark (optimal stereo TV viewing). The second experiment investigated the effects of manipulations of the visual parameters of stereo, scene motion, and observer-based motion on participants' presence evaluations within edited sections of a stereoscopic film. The results provide support for theories predicting that the extent of sensory information available to a participant is one of the factors determining presence.

scholarly journals Effects of Sensory Information and Prior Experience on Direct Subjective Ratings of Presence

1999 ◽  
Vol 8 (1) ◽  
pp. 1-13 ◽  
Author(s):  
Jonathan Freeman ◽  
S. E. Avons ◽  
Don E. Pearson ◽  
Wijnand A. IJsselsteijn
Keyword(s):  
Motion Parallax ◽  
Prior Experience ◽  
Sensory Information ◽  
Training Sequence ◽  
Video Sequences ◽  
Picture Quality ◽  
Subjective Ratings ◽  
Continuous Assessment ◽  
Spatial Cues ◽  
Sense Of Presence

We report three experiments using a new form of direct subjective presence evaluation that was developed from the method of continuous assessment used to assess television picture quality. Observers were required to provide a continuous rating of their sense of presence using a handheld slider. The first experiment investigated the effects of manipulating stereoscopic and motion parallax cues within video sequences presented on a 20 in. stereoscopic CRT display. The results showed that the presentation of both stereoscopic and motion parallax cues was associated with higher presence ratings. One possible interpretation of Experiment 1 is that CRT displays that contain the spatial cues of stereoscopic disparity and motion parallax are more interesting or engaging. To test this, observers in Experiment 2 rated the same stimuli first for interest and then for presence. The results showed that variations in interest did not predict the presence ratings obtained in Experiment 1. However, the subsequent ratings of presence differed significantly from those obtained in Experiment 1, suggesting that prior experience with interest ratings affected subsequent judgments of presence. To test this, Experiment 3 investigated the effects of prior experience on presence ratings. Three groups of observers rated a training sequence for interest, presence, and 3-Dness before rating the same stimuli as used for Experiments 1 and 2 for presence. The results demonstrated that prior ratings sensitize observers to different features of a display resulting in different presence ratings. The implications of these results for presence evaluation are discussed, and a combination of more-refined subjective measures and a battery of objective measures is recommended.

The sense of presence in virtual environments:

2003 ◽  
Vol 15 (2) ◽  
pp. 69-71 ◽  
Author(s):  
Thomas W. Schubert
Keyword(s):  
Virtual Environments ◽  
Coding Theory ◽  
Model Building ◽  
Self Report ◽  
Survey Study ◽  
Spatial Presence ◽  
Component Structure ◽  
Sense Of Presence ◽  
Being There ◽  
Measure Sense

Abstract. The sense of presence is the feeling of being there in a virtual environment. A three-component self report scale to measure sense of presence is described, the components being sense of spatial presence, involvement, and realness. This three-component structure was developed in a survey study with players of 3D games (N = 246) and replicated in a second survey study (N = 296); studies using the scale for measuring the effects of interaction on presence provide evidence for validity. The findings are explained by the Potential Action Coding Theory of presence, which assumes that presence develops from mental model building and suppression of the real environment.

Visual and Tactile Information About Object-Curvature Control Fingertip Forces and Grasp Kinematics in Human Dexterous Manipulation

2000 ◽  
Vol 84 (6) ◽  
pp. 2984-2997 ◽  
Author(s):  
Per Jenmalm ◽  
Seth Dahlstedt ◽  
Roland S. Johansson
Keyword(s):  
Visual Processing ◽  
Visual Cues ◽  
Grip Force ◽  
Center Of Mass ◽  
Precision Grip ◽  
Sensory Information ◽  
Afferent Input ◽  
Dependent Manner ◽  
Tactile Sensibility ◽  
Grasp Stability

Most objects that we manipulate have curved surfaces. We have analyzed how subjects during a prototypical manipulatory task use visual and tactile sensory information for adapting fingertip actions to changes in object curvature. Subjects grasped an elongated object at one end using a precision grip and lifted it while instructed to keep it level. The principal load of the grasp was tangential torque due to the location of the center of mass of the object in relation to the horizontal grip axis joining the centers of the opposing grasp surfaces. The curvature strongly influenced the grip forces required to prevent rotational slips. Likewise the curvature influenced the rotational yield of the grasp that developed under the tangential torque load due to the viscoelastic properties of the fingertip pulps. Subjects scaled the grip forces parametrically with object curvature for grasp stability. Moreover in a curvature-dependent manner, subjects twisted the grasp around the grip axis by a radial flexion of the wrist to keep the desired object orientation despite the rotational yield. To adapt these fingertip actions to object curvature, subjects could use both vision and tactile sensibility integrated with predictive control. During combined blindfolding and digital anesthesia, however, the motor output failed to predict the consequences of the prevailing curvature. Subjects used vision to identify the curvature for efficient feedforward retrieval of grip force requirements before executing the motor commands. Digital anesthesia caused little impairment of grip force control when subjects had vision available, but the adaptation of the twist became delayed. Visual cues about the form of the grasp surface obtained before contact was used to scale the grip force, whereas the scaling of the twist depended on visual cues related to object movement. Thus subjects apparently relied on different visuomotor mechanisms for adaptation of grip force and grasp kinematics. In contrast, blindfolded subjects used tactile cues about the prevailing curvature obtained after contact with the object for feedforward adaptation of both grip force and twist. We conclude that humans use both vision and tactile sensibility for feedforward parametric adaptation of grip forces and grasp kinematics to object curvature. Normal control of the twist action, however, requires digital afferent input, and different visuomotor mechanisms support the control of the grasp twist and the grip force. This differential use of vision may have a bearing to the two-stream model of human visual processing.

Neural Processing of Gravito-Inertial Cues in Humans. IV. Influence of Visual Rotational Cues During Roll Optokinetic Stimuli

2003 ◽  
Vol 89 (1) ◽  
pp. 390-400 ◽  
Author(s):  
L. H. Zupan ◽  
D. M. Merfeld
Keyword(s):  
Visual Cues ◽  
Gravitational Force ◽  
Sensory Information ◽  
Inertial Force ◽  
Linear Acceleration ◽  
Otolith Organs ◽  
Optokinetic Stimulation ◽  
The Difference ◽  
The Right ◽  
Roll Tilt

Sensory systems often provide ambiguous information. For example, otolith organs measure gravito-inertial force (GIF), the sum of gravitational force and inertial force due to linear acceleration. However, according to Einstein's equivalence principle, a change in gravitational force due to tilt is indistinguishable from a change in inertial force due to translation. Therefore the central nervous system (CNS) must use other sensory cues to distinguish tilt from translation. For example, the CNS might use dynamic visual cues indicating rotation to help determine the orientation of gravity (tilt). This, in turn, might influence the neural processes that estimate linear acceleration, since the CNS might estimate gravity and linear acceleration such that the difference between these estimates matches the measured GIF. Depending on specific sensory information inflow, inaccurate estimates of gravity and linear acceleration can occur. Specifically, we predict that illusory tilt caused by roll optokinetic cues should lead to a horizontal vestibuloocular reflex compensatory for an interaural estimate of linear acceleration, even in the absence of actual linear acceleration. To investigate these predictions, we measured eye movements binocularly using infrared video methods in 17 subjects during and after optokinetic stimulation about the subject's nasooccipital (roll) axis (60°/s, clockwise or counterclockwise). The optokinetic stimulation was applied for 60 s followed by 30 s in darkness. We simultaneously measured subjective roll tilt using a somatosensory bar. Each subject was tested in three different orientations: upright, pitched forward 10°, and pitched backward 10°. Five subjects reported significant subjective roll tilt (>10°) in directions consistent with the direction of the optokinetic stimulation. In addition to torsional optokinetic nystagmus and afternystagmus, we measured a horizontal nystagmus to the right during and following clockwise (CW) stimulation and to the left during and following counterclockwise (CCW) stimulation. These measurements match predictions that subjective tilt in the absence of real tilt should induce a nonzero estimate of interaural linear acceleration and, therefore, a horizontal eye response. Furthermore, as predicted, the horizontal response in the dark was larger for Tilters ( n = 5) than for Non-Tilters ( n= 12).

Effects of full body vibration on the perceived sense of verisimilitude and sense of presence

2012 ◽  
Vol 25 (0) ◽  
pp. 111
Author(s):  
Shuichi Sakamoto ◽  
Gen Hasegawa ◽  
Akio Honda ◽  
Yukio Iwaya ◽  
Yôiti Suzuki ◽  
...  
Keyword(s):  
Visual Information ◽  
Sensory Information ◽  
Information And Communications Technologies ◽  
High Definition ◽  
Body Vibration ◽  
Spatiotemporal Information ◽  
Sense Of Presence ◽  
Perceived Reality ◽  
Advance Information ◽  
Full Body

High-definition multimodal displays are necessary to advance information and communications technologies. Such systems mainly present audio–visual information because this sensory information includes rich spatiotemporal information. Recently, not only audio–visual information but also other sensory information, for example touch, smell, and vibration, has come to be presented easily. The potential of such information is expanded to realize high-definition multimodal displays. We specifically examined the effects of full body vibration information on perceived reality from audio–visual content. As indexes of perceived reality, we used the sense of presence and the sense of verisimilitude. The latter is the appreciative role of foreground components in multimodal contents, although the former is related more closely to background components included in a scene. Our previous report described differences of characteristics of both senses to audio–visual contents (Kanda et al., IMRF2011). In the present experiments, various amounts of full body vibration were presented with an audio–visual movie, which was recorded via a camera and microphone set on wheelchair. Participants reported the amounts of perceived sense of presence and verisimilitude. Results revealed that the intensity of full body vibration characterized both senses differently. The sense of presence increased linearly according to the intensity of full body vibration, while the sense of verisimilitude showed a nonlinear tendency. These results suggest that not only audio–visual information but also full body vibration is importantto develop high-definition multimodal displays.

scholarly journals Field (In)dependence Flexibility Following a Virtual Immersion Is Associated With Cybersickness and Sense of Presence

2021 ◽  
Vol 2 ◽  
Author(s):  
A. Maneuvrier ◽  
L. M. Decker ◽  
P. Renaud ◽  
G. Ceyte ◽  
H. Ceyte
Keyword(s):  
Visual Cues ◽  
Subjective Experience ◽  
A Posteriori ◽  
Future Studies ◽  
Sense Of Presence ◽  
Before And After ◽  
High Level ◽  
Shed Light ◽  
Rod And Frame Test ◽  
Rod And Frame

Field dependence–independence (FDI) is a psychological construct determining an individual’s approach of the perception–cognition coupling. In virtual reality (VR) context, several studies suggest that an individual’s perceptive style is susceptible to shift toward a more FI mode through down-weighting of conflicting visual cues. The present study proposes to investigate the potential flexible nature of FDI following a virtual immersion and to assess if this flexibility might be associated with the subjective experience of VR. 86 participants explored a real-world–like virtual environment for approximately 10 min. FDI levels were measured before and after the VR exposure using the rod-and-frame test. Their subjective experience of VR was measured a posteriori (cybersickness and sense of presence) and used in order to build two experimental groups via a cluster analysis. The results showed that only participants with a poor subjective experience of VR (i.e., a low level of sense of presence associated with a high level of cybersickness) significantly shifted to a more FI mode, which is discussed as a sensory re-weighting mechanism. Pragmatical applications are discussed, and future studies are outlined, based on the conclusion that FDI might be more flexible than we thought, which could shed light on the psychophysiology of VR.

scholarly journals Multimodal integration and stimulus categorization in putative mushroom body output neurons of the honeybee

2018 ◽  
Vol 5 (2) ◽  
pp. 171785 ◽  
Author(s):  
Martin F. Strube-Bloss ◽  
Wolfgang Rössler
Keyword(s):  
Visual Information ◽  
Mushroom Body ◽  
Visual Cues ◽  
Sensory Modality ◽  
Sensory Information ◽  
Insect Brain ◽  
Pollinating Insects ◽  
Output Neurons ◽  
Electrophysiological Characterization ◽  
Nonlinear Integration

Flowers attract pollinating insects like honeybees by sophisticated compositions of olfactory and visual cues. Using honeybees as a model to study olfactory–visual integration at the neuronal level, we focused on mushroom body (MB) output neurons (MBON). From a neuronal circuit perspective, MBONs represent a prominent level of sensory-modality convergence in the insect brain. We established an experimental design allowing electrophysiological characterization of olfactory, visual, as well as olfactory–visual induced activation of individual MBONs. Despite the obvious convergence of olfactory and visual pathways in the MB, we found numerous unimodal MBONs. However, a substantial proportion of MBONs (32%) responded to both modalities and thus integrated olfactory–visual information across MB input layers. In these neurons, representation of the olfactory–visual compound was significantly increased compared with that of single components, suggesting an additive, but nonlinear integration. Population analyses of olfactory–visual MBONs revealed three categories: (i) olfactory, (ii) visual and (iii) olfactory–visual compound stimuli. Interestingly, no significant differentiation was apparent regarding different stimulus qualities within these categories. We conclude that encoding of stimulus quality within a modality is largely completed at the level of MB input, and information at the MB output is integrated across modalities to efficiently categorize sensory information for downstream behavioural decision processing.

Bridging the Gap with Distance Education Students

2014 ◽  
pp. 294-307
Author(s):  
Alaattin Parlakkilic
Keyword(s):  
Social Presence ◽  
Teaching And Learning ◽  
Cognitive Theory ◽  
Theoretical Models ◽  
Education Students ◽  
Sense Of Presence ◽  
Emotional Aspects ◽  
Different Dimensions ◽  
Being There ◽  
Behavior And Cognition

Presence, a sense of “being there,” is critical to the success of designing, teaching, and learning at a distance using both synchronous and asynchronous (blended) technologies. Until recently, presence has been defined and discussed in terms of behavioral or cognitive theory. Emotional aspects of presence have been largely ignored. A theory of presence must incorporate emotions and take into consideration their interaction with behavior and cognition. In order to create, convey, and/or experience a sense of presence, it is necessary to become familiar with and take into consideration the types, modes, determinants, and dimensions of presence. In addition, it is important to recognize that when others sense your existence, it may enhance your individual sense of presence and your differentiation of self and experience of self. Further, continuing to experience and practice with technologies, in groups and sharing with others, a sense of presence will most likely increase. Presence will also be affected by expectations based on prior experience; as expectations rise, it refines ways in which presence can be experienced. Throughout this process, trust and support are critical. The concept of presence has been conceptualized differently across various theoretical models. Different dimensions of the presence in the literature can be grouped in three main categories as (place) presence, social presence, and co-presence. Presence is explored in this chapter.

Human Stereopsis, Fusion, and Stereoscopic Virtual Environments

1995 ◽  
Author(s):  
Elizabeth Thorpe Davis ◽  
Larry F. Hodges
Keyword(s):  
Virtual Environments ◽  
Visual Cues ◽  
Spatial Information ◽  
Spatial Perception ◽  
Human Perception ◽  
Stereoscopic Vision ◽  
Human Vision ◽  
Spatial Factors ◽  
Stereoscopic Displays ◽  
And Performance

Two fundamental purposes of human spatial perception, in either a real or virtual 3D environment, are to determine where objects are located in the environment and to distinguish one object from another. Although various sensory inputs, such as haptic and auditory inputs, can provide this spatial information, vision usually provides the most accurate, salient, and useful information (Welch and Warren, 1986). Moreover, of the visual cues available to humans, stereopsis provides an enhanced perception of depth and of three-dimensionality for a visual scene (Yeh and Silverstein, 1992). (Stereopsis or stereoscopic vision results from the fusion of the two slightly different views of the external world that our laterally displaced eyes receive (Schor, 1987; Tyler, 1983).) In fact, users often prefer using 3D stereoscopic displays (Spain and Holzhausen, 1991) and find that such displays provide more fun and excitement than do simpler monoscopic displays (Wichanski, 1991). Thus, in creating 3D virtual environments or 3D simulated displays, much attention recently has been devoted to visual 3D stereoscopic displays. Yet, given the costs and technical requirements of such displays, we should consider several issues. First, we should consider in what conditions and situations these stereoscopic displays enhance perception and performance. Second, we should consider how binocular geometry and various spatial factors can affect human stereoscopic vision and, thus, constrain the design and use of stereoscopic displays. Finally, we should consider the modeling geometry of the software, the display geometry of the hardware, and some technological limitations that constrain the design and use of stereoscopic displays by humans. In the following section we consider when 3D stereoscopic displays are useful and why they are useful in some conditions but not others. In the section after that we review some basic concepts about human stereopsis and fusion that are of interest to those who design or use 3D stereoscopic displays. Also in that section we point out some spatial factors that limit stereopsis and fusion in human vision as well as some potential problems that should be considered in designing and using 3D stereoscopic displays. Following that we discuss some software and hardware issues, such as modelling geometry and display geometry as well as geometric distortions and other artifacts that can affect human perception.

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