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The Equation of Perception: Assessing User Perception in Virtual Environments
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Abstract
The Equation of Perception by Chalmers et al. (2009) introduces a quantitative model to analyze how sensory information and environmental factors influence human perception in both real and virtual settings. This groundbreaking work combines variables representing visual, auditory, olfactory, gustatory, and tactile stimuli, alongside a distraction component, to create a comprehensive formula. This formula aims to predict and understand the depth of human engagement and perception across the reality-virtuality continuum. The study significantly contributes to the fields of virtual reality, cognitive science, and user experience design, offering insights into creating more immersive and realistic virtual environments.
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This study acts as an intersection set of four different disciplines: psychology, virtual reality, communications, marketing, to develop innovative proposals for the prospective utilization of virtual reality medium in marketing communications. The thesis initially aims to detect the psychological effects of VR on three crucial phenomena concerning the qualities of a satisfactory immersive experience in VR: emotions, sense of presence, and perception, with the help of thematic analysis, by compiling various scientific studies within its scope. Further, it aspires to benefit from psychological elements detected to come up with more efficient VR experiences in favor of brand communication endeavors.
Humans perceive the world with all five senses: visuals, audio, smell, touch and taste. Crossmodal effects, i.e. the interaction of the senses, can have a major influence on how environments are being perceived, even to the extent that large amounts of detail of one sense may be ignored when in the presence of other more dominant sensory inputs. Real Virtuality environments (also known as there-reality™) are true high-fidelity multi-sensory virtual environments which provide the same perceptual response from viewers as if they were actually present, or "there" in the real scene being portrayed. Unlike traditional virtual reality environments, Real Virtuality allows all five senses to be stimulated concurrently in a natural way. This paper gives an overview of Real Virtuality, describes how such a system may be achieved, and shows why Real Virtuality is indeed a step-change from current virtual reality systems.
Realism in real-time has long been a "holy grail" of the computer graphics community. While real-time performance is typically accepted as 25fps and above, the definition of realism remains less clear. If we were able to simulate the physics of the real world to minute detail then it would be possible for us to achieve images which were physically correct. However, the amount of computation required for such physical accuracy of complex scenes precludes any possibility of achieving such images in reasonable, let alone real-time, on a desktop computer for many years to come. Furthermore, there is no guarantee of realism as these images do not take into account how the human may perceive this information. Our perception of an environment is not only what we see, but may be significantly influenced by other sensory input, including sound, smell, touch, and even taste. If virtual environments are ever to be regularly used as a valuable tool to experiment in the virtual world with confidence that the results are the same as would be experienced in the real world, then we need to be able to compute these environments to be perceptually equivalent as if we were "there" in the real world; so called "there-reality" or real virtuality. This paper surveys promising efforts to date and identifies and discusses future research directions.
Many presence studies show the importance of display variables in determining presence. However, very little empirical evidence exists to support the notion of "the suspension of disbelief" or other psychological determinants of presence. We argue from a cognitive presence perspective that presence can be considered as an extension of perception, a process which is known to be significantly affected by the perceiver's mental state. We support our argument by presenting the results of a large study (n=103) in which users were conceptually primed by reading a booklet either related to or unrelated to a VE and then were left to explore that VE with either a high quality or low quality display. We found a significant interaction effect between display quality and priming, showing that the mental state of the user sets a context which affects their experience of presence as measured using two scales. We conclude that, like perception, presence does not simply occur as a consequence of sensory input only, but that it is a constructive process in which the VE user creates an experience using both sensory and psychological inputs.
It's currently impossible, even on modern graphics hardware to compute high fidelity graphics of complex scenes in real time. As we are producing the graphics for human observers it may be possible to exploit limitations of the human perceptual system to improve the quality/rendering time ratio. When confronted with multisensory input the human has to divide his/her cognitive resources between the different sensory stimuli. We present an independent samples experiment on the influence of musical tempo and emotional suggestiveness of music on the perception of motion and time duration in a computer graphics environment. The purpose is to investigate whether music would be a significant distractor, allowing us to render at a slower frame rate without any perceivable difference for the user. No overall main effect of fast tempo/exciting music was revealed, while slow tempo/relaxing music resulted in longer duration estimations and slower perceived temporal rates
In this paper a novelty filter is introduced which allows a robot operating in an un structured environment to produce a self-organised model of its surroundings and to detect deviations from the learned model. The environment is perceived using the rob ot's 16 sonar sensors. The algorithm produces a novelty measure for each sensor scan relative to the model it has learned. This means that it highlights stimuli which h ave not been previously experienced. The novelty filter proposed uses a model of hab ituation. Habituation is a decrement in behavioural response when a stimulus is pre sented repeatedly. Robot experiments are presented which demonstrate the reliable o peration of the filter in a number of environments.
- D L Schacter
- D T Gilbert
- D M Wegner
- B M Hood
Schacter, D. L., Gilbert, D. T., Wegner, D. M., & Hood, B. M. (2011). Psychology (pp. 164). Worth.