Virtual Reality (VR), especially in a technologically focused discourse, is defined by a class of hardware and software, among them head-mounted displays (HMD); navigation and pointing devices; and stereoscopic imaging. This presentation examines an experiential aspect of VR. Putting virtual in front of reality modifies the ontological status of a class of experience that of reality. Reality has also been modified (by artists, new media theorists, technologists and philosophers) as augmented, mixed, simulated, artificial, layered and enhanced. Modifications of reality are (...) closely tied to modifications of perception. Media theorist Roy Ascott creates a model of three VRs: verifiable reality, virtual reality and vegetal (entheogenically induced) reality. The ways in which we shift our perceptual assumptions, create and verify illusions and enter the willing suspension of disbelief that allows us entry into imaginal worlds is central to the experience of VR worlds, whether those worlds are explicitly representational (robotic manipulations) or explicitly imaginal (artistic creations). The early rhetoric surrounding VR was interwoven with psychedelics, a perception amplified by Timothy Leary's presence on the historic SIGGRAPH panel, and the Wall Street Journal's tag of VR as electronic LSD. This article discusses the connections philosophical, social-historical and psychological-perceptual between these two domains. (shrink)

The article describes areas of interpersonal communication in which the Virtual Reality technology plays an increasingly bigger role. The analysis of data shows that the VR system has proved successful in entertainment brand and is widely used for educational purposes. What is more brand advertising strategy can also rely on it. Access to virtual reality is still exclusive due to high price of the VR googles. However, more and more companies see a great potential of VR systems and increase funding (...) in order to develop this sector of technology. Interpersonal communication methodologies are always generation-based and thus one can suspect that the VR will became the main facility that connects people in the future. (shrink)

This article introduces a novel use of technologies to visualize space and temporary structures in public space as a critical and speculative method for artistic research. Imitation and iconification have been vital in visual culture since civilization began. Science has become proficient in picturing invisible matter and numerical data. However, we are limited to visualizing these data in an iconic, ‘understandable’ way, that is, to some extent, reductionist. A non-naturalistic artistic visualization (NNAVi) method is proposed to discover and present the (...) underlying context of objects and space. First, this article discusses the representational function of artistic images and the artistic use of emerging technologies to represent invisible information. Following the discussion, the case study of the virtual reality (VR) artwork The Last Recreational Land shows how NNAVi can be applied. The case study starts with an exploration of the pandemic’s context and nature and then moves to an explanation of the multisensory and immersive setting of the artwork. Interweaving case studies and theoretical references, the article elaborates on how the VR experience is used as a device to respond to the pandemic. By deconstructing the relationship between visualization, imitation and iconification, the article theorizes NNAVi as a new methodology for artistic research that provides tangible insights into the nature of the pandemic. (shrink)

Studies on history of linguistics, chiefly with reference to India.

While social interaction and play in a VR environment are becoming ever more popular, little is known about how social VR games affect users. The purpose of this study was to elucidate the role of several contingent factors in social VR games by modeling the relationships between involvement, well-being, depression, self-esteem, and social connectedness. A conditional process-moderated mediation model of the measured variables was analyzed with 220 pieces of collected data. The result showed that: the direct effect of involvement on (...) well-being was significant, and the index of moderated mediation involving depression, self-esteem, and social connectedness was significant. We conclude that high levels of involvement in social VR games by socially isolated users with low self-esteem can negatively affect their well-being. The findings of this study contribute in several ways to our understanding of the effect of social VR games upon users and provide important practical implications. (shrink)

Gruber and Smith (2019) have conducted some interesting virtual reality (VR) experiments, but we think that these experiments fail to illuminate why people think that the present is special. Their experiments attempted to test a suggestion by Hartle (2005) that with VR one might construct scenarios in which people experience the same present twice. If that’s possible, then it could give us a reason to think that when we experience the present as being special, that’s not because it’s objectively so. (...) Instead, our experience of the present being special is a feature of having a psychology like ours. While we are sympathetic to the thought that there is no objective present, we do not think that these experiments give us a reason to think this. That said, VR experiments, such as Gruber and Smith’s, hold much promise for being able to illuminate various aspects of our temporal psychology.According to Hartle’s (2005) IGUS model (which is meant to resemble entities like us) sensory information is routed to two kinds of processes: conscious processes C, which cause behavior, and unconscious processes, U, which construct a schematic representation of the environment. Hartle proposed that we experience the present as being special because of the sensory information at a time entering into C. For Gruber et al. (2020), the succession of sensory information entering into C underpins our experience of time passing. Our experience of time passing is illusory because it fails to be verid... (shrink)

The purpose of the article is to offer a phenomenological description of VR images and their experience. In the first section, I briefly present the peculiar features of these kinds of images; in the second section, I compare VR images with phantasms, especially in the light of the idea of “presentification” (Vergegenwärtigung), and then I discuss the reality or unreality of VR image-objects; the third section elaborates an analysis of VR images according to the notions of image object (Bildobjekt), and (...) discusses the issue of “presence” both of the representing image and the user; finally, in the last section, I focus on the correlated experience of the subject, which I describe as a switching between image consciousness and perceptual apprehension. (shrink)

The goal of this article is to present a first list of ethical concerns that may arise from research and personal use of virtual reality (VR) and related technology, and to offer concrete recommendations for minimizing those risks. Many of the recommendations call for focused research initiatives. In the first part of the article, we discuss the relevant evidence from psychology that motivates our concerns. In Section “Plasticity in the Human Mind,” we cover some of the main results suggesting that (...) one’s environment can influence one’s psychological states, as well as recent work on inducing illusions of embodiment. Then, in Section “Illusions of Embodiment and Their Lasting Effect,” we go on to discuss recent evidence indicating that immersion in VR can have psychological effects that last after leaving the virtual environment. In the second part of the article, we turn to the risks and recommendations. We begin, in Section “The Research Ethics of VR,” with the research ethics of VR, covering six main topics: the limits of experimental environments, informed consent, clinical risks, dual-use, online research, and a general point about the limitations of a code of conduct for research. Then, in Section “Risks for Individuals and Society,” we turn to the risks of VR for the general public, covering four main topics: long-term immersion, neglect of the social and physical environment, risky content, and privacy. We offer concrete recommendations for each of these 10 topics, summarized in Table 1. (shrink)

Knowing the subjective perspective of other agents, how the world manifests itself to them, through the prism of their specific embodiment and situated, remains beyond the limits of our direct cognition and sometimes even imagination. Simulations using virtual reality technology (VR) can partially bring us closer to the embodied perspective of other agents. This technology enables the experience of another body, as one’s own and causal, during the phenomenon of virtual embodiment. The user can be situated in a simulated environment (...) specific to the agent and experience it through the prism of modified sensory modalities (e.g., using the sense of echolocation in the case of a bat). However, the possibilities of simulation are significantly limited by technological and biological factors. The purposes of this text are to review currently developed simulations of being another agent and to analyze the potential of VR technology to experience the embodied perspective of other agents as one’s own. (shrink)

I live in Seattle, the city which last Fall was host to two major international conferences of interest to science fiction readers: The Annual International IEEE Symposium on Virtual Reality (VRAIS- 93) and The 5th ACM Conference on Hypertext (Hypertext-93). I was able to attend both conferences, and I'll use this column to provide an overview of what I learned there.

In this article, we apply the literature on the ethics of choice-architecture (nudges) to the realm of virtual reality (VR) to point out ethical problems with using VR for empathy-based nudging. Specifically, we argue that VR simulations aiming to enhance empathic understanding of others via perspective-taking will almost always be unethical to develop or deploy. We argue that VR-based empathy enhancement not only faces traditional ethical concerns about nudge (autonomy, welfare, transparency), but also a variant of the semantic variance problem (...) that arises for intersectional perspective-taking. VR empathy simulations deceive and manipulate their users about their experiences. Despite their often laudable goals, such simulations confront significant ethical challenges. In light of these goals and challenges, we conclude by proposing that VR designers shift from designing simulations aimed at producing empathic perspective-taking to designing simulations aimed at generating sympathy. These simulations, we claim, can avoid the most serious ethical issues associated with VR nudges, semantic variance, and intersectionality. (shrink)

Study of Brahmasūtramitākṣarā by Annambhaṭṭa, 17th cent., classical commentary on Brahmasūtra of Bādarāyaṇa.

As the development of artificial intelligence technology, the deep-learning -based Virtual Reality technology, and DL technology are applied in human-computer interaction, and their impacts on modern film and TV works production and audience psychology are analyzed. In film and TV production, audiences have a higher demand for the verisimilitude and immersion of the works, especially in film production. Based on this, a 2D image recognition system for human body motions and a 3D recognition system for human body motions based on (...) the convolutional neural network algorithm of DL are proposed, and an analysis framework is established. The proposed systems are simulated on practical and professional datasets, respectively. The results show that the algorithm's computing performance in 2D image recognition is 7–9 times higher than that of the Open Pose method. It runs at 44.3 ms in 3D motion recognition, significantly lower than the Open Pose method's 794.5 and 138.7 ms. Although the detection accuracy has dropped by 2.4%, it is more efficient and convenient without limitations of scenarios in practical applications. The AI-based VR and DL enriches and expands the role and application of computer graphics in film and TV production using HCI technology theoretically and practically. (shrink)

To maximize brain plasticity after stroke, several rehabilitation strategies have been explored, including the use of intensive motor training, motor imagery, and action observation. Growing evidence of the positive impact of virtual reality (VR) techniques on recovery following stroke has been shown. However, most VR tools are designed to exploit active movement, and hence patients with low level of motor control cannot fully benefit from them. Consequently, the idea of directly training the central nervous system has been promoted by utilizing (...) motor-imagery (MI) based brain-computer interfaces (BCIs). To date, detailed information on which VR strategies lead to successful functional recovery is still largely missing, and very little is known about how to optimally integrate BCI and VR paradigms for stroke rehabilitation. The purpose of this study was to examine the efficacy of a BCI-VR system using a MI paradigm for post-stroke upper limb rehabilitation on functional assessments, and related changes in MI ability and brain imaging. To achieve this, a 60 years old male chronic stroke patient was recruited. The patient underwent a 3-week intervention in a clinical environment, resulting in 10 BCI-VR training sessions. The patient was assessed before and after intervention, as well as on a one-month follow-up, in terms of clinical scales and brain imaging using functional MRI (fMRI). Consistent with prior research, we found important improvements in upper extremity scores (Fugl-Meyer) and identified increases in brain activation measured by fMRI that suggest neuroplastic changes in brain motor networks. This study expands on the current body of evidence as more data are needed on the effect of this type of interventions not only on functional improvement but also through brain imaging to study the effect of the intervention on plasticity. (shrink)

We aim to generate a dilemma for virtual reality-based research that we motivate through an extended case study of Judith Thomson’s (1985) Bridge variant of the trolley problem. Though the problem we generate applies more broadly than the Bridge problem, we believe it makes a good exemplar of the kind of case we believe is problematic. First, we argue that simulations of these thought experiments run into a practicality horn that makes it practically impossible to produce them. These problems revolve (...) around concepts that we call “perspectival fidelity”and “context realism.” Moral dilemmas that include features present in the Bridge variant will, as a result, be practically impossible to simulate. We also argue that, should we be wrong about the practical impossibility of creating a VR simulation of Bridge, such a simulation must face an ethical horn which renders these simulations ethically impermissible to develop or use. For these reasons, we argue that it is virtually impossible to simulate the bridge problem (and other thought experiments with similar features) both practically and ethically in VR. (shrink)

Several experimental studies on moral judgment and moral decision-making show that in virtual reality people tend to make more “characteristically utilitarian” decisions than when responding to standard questionnaires. An explanation of this phenomenon that has been considered by many authors states that the feature of VR studies that is responsible for this effect is the visual salience of the harmful consequences of “deontological” decisions. The present paper makes three points, the first of which is theoretical: we argue that this explanation, (...) which draws from Cushman’s dual-process account of moral judgment, is in fact not coherent with this account’s predictions with respect to behavior in VR. The second point is that this explanation does not sufficiently explain the existing empirical findings concerning the footbridge dilemma because these studies differ in important aspects of experimental design from studies on the switch dilemma. The third point is empirical: we present two original VR studies that were designed to check the robustness of the increased “utilitarian” tendency and directly test the explanation that is based on the visual salience of harmful consequences. The results of the experiments provide evidence that the effect is quite robust but the proposed explanation is inadequate. (shrink)

An Enquiry into the Nature of Liberation: Bhaṭṭa Rāmakaṇṭha’s Paramokṣanirāsakārikāvṛtti, a Commentary on Sadyojyotiḥ’s Refutation of Twenty Conceptions of the Liberated State. Edited and translated by Alex Watson, Dominic Goodall, and S. L. P. Anjaneya Sarma. Collection Indologie, vol. 122. Pondicherry: Institut Français de Pondichéry, École française d’Extrême-Orient, 2013. Pp. 508. €38.

What’s presented in our normal waking perceptual visual experiences feels present to us, while what we “see” in pictures and imagine does not. What about dreams? Does what we “see” in a dream feel present? Jennifer Windt has argued for an affirmative answer, for all dreams. But the dreams which flow from the brain’s registration of myoclonic twitches present a challenge to this answer. During these dreams motion-guiding vision is shut off, and, as Mohan Matthen has argued, motion-guiding vision seems (...) to be a key mechanism underlying the feeling of presence. I propose that the feeling of presence in fact involves two components: the feeling of immersion, and the feeling of availability for action. I suggest that only the feeling of availability for action derives from motion-guiding vision, and, hence, hypothesize that body-driven dreams lack this component to the feeling of presence. Finally, the distinction between these two varieties of presence has implications for measures of presence in virtual environments, as these measures can diverge over which of the two varieties they track. (shrink)

For VR systems, one of its core parts is to present people with a real and immersive 3D simulation environment. This paper uses real-time computer graphics technology, three-dimensional modeling technology, and binocular stereo vision technology to study the multivisual animation character objects in virtual reality technology; designs a binocular stereo vision animation system; designs and produces a three-dimensional model; and develops a virtual multivisual animation scene application. The main research content and work performed in the text include the research of (...) the basic graphics rendering pipeline process and the analysis and research of each stage of the rendering pipeline. It mainly analyzes the 3D graphics algorithm used in the three-dimensional geometric transformation of computer graphics and studies the basic texture technology, basic lighting model, and other image output processes used in the fragment processing stage. Combined with the development needs of the subject, the principles of 3D animation rendering production software and 3D graphics modeling are studied, and the solid 3D model displayed in the virtual reality scene is designed and produced. This article also reflects the application of virtual reality in multivisual animation character design from the side, so it has realistic value and application prospects. (shrink)

While numerous studies show that brain signals contain information about an individual’s current state that are potentially valuable for smoothing man-machine interfaces, this has not yet lead to the use of brain computer interfaces (BCI) in daily life. One of the main challenges is the common requirement of personal data that is correctly labelled concerning the state of interest in order to train a model, where this trained model is not guaranteed to generalize across time and context. Another challenge is (...) the requirement to wear electrodes on the head. We here propose a BCI that can tackle these issues and may be a promising case for BCI research and application in everyday life. The BCI uses EEG signals to predict head rotation in order to improve images presented in a Virtual Reality (VR) headset. When presenting a 360° video to a headset, Field-of-View approaches only stream the content that is in the current field of view and leave out the rest. When the user rotates the head, other content parts need to be made available soon enough to go unnoticed by the user which is problematic given the available bandwidth. By predicting head rotation, the content parts adjacent to the currently viewed part could be retrieved in time for display when the rotation actually takes place. Eleven participants generated left- and rightward head rotations while head movements were recorded using the headsets motion sensing system and EEG sensors. We trained neural network models to distinguish EEG epochs preceding rightward, leftward and no rotation. Applying these models to streaming EEG data that was withheld from the training showed that 400 ms before rotation onset, the probability ‘no rotation’ started to decrease and the probabilities of an upcoming right- or leftward rotation started to diverge in the correct direction. In the proposed BCI scenario, users already wear a device on their head allowing for integrated sensors. Moreover, it is possible to acquire accurately labeled training data on the fly, and continuously monitor and improve the model’s performance. The BCI can be harnessed if it will improve imagery and therewith enhance immersive experience. (shrink)

The application of digital technology in teaching has triggered the evolution of traditional teaching. Students have different corresponding relationships under digital behavior. The interactive technology of artificial intelligence and virtual reality provides a new driving force for the development of art education and psychology. Firstly, this thesis analyzes the limitations and existing problems of traditional art education. Especially, the influence of the teaching mode of art education on the teaching of other disciplines develops a targeted student-centered digital education program. Secondly, (...) the author used VR equipment and technology to let students experience the virtual world freely, and then, the relevant data model was established on the basis of analyzing the reasons affecting students’ creativity and concentration. Thirdly, the data model was applied to art education in order to improve students’ concentration and creativity. Then, the author compared and analyzed the data of the students under different teaching models through questionnaires. The results show that introducing VR and AI technology into art education and encouraging students to carry out deep learning can significantly improve student concentration and creativity. Finally, the influence reasons are analyzed from the perspective of psychology. VR interaction and Artificial Intelligence can be introduced into middle school fine art education which is to the benefit of students’ deep learning, thus students’ concentration and creativity can be improved. (shrink)

Aphoristic work on Vedanta philosophy with Sanskrit commentary and English translation.