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Barfield, W. (2016). Musings on Presence twenty-five years after "Being There". Presence: Teleoperators and Virtual Environments, 25(2), 148–150.
Added by: Mark Grimshaw-Aagaard 08/02/2019, 10:15
"we particularly need more studies on how the nonvisual modalities (e.g. haptic, gustatory, auditory, smell) affect the sense of presence"
Barfield, W., & Danas, E. (1996). Comments on the use of olfactory displays for virtual environments. Presence: Teleoperators and Virtual Environments, 5(1), 109–121.
Added by: Mark Grimshaw-Aagaard Last edited by: Mark Grimshaw-Aagaard 27/07/2018, 15:21
Notes that VEs (at the time of writing) do have smell even without specific olfactory devices but these are odours from the equipment, laboratory etc. and this often provides conflicting smell stimuli.
Benyon, D., Smyth, M., O'Neill, S., McCall, R., & Carroll, F. (2006). The place probe: Exploring a sense of place in real and virtual environments. Presence: Teleoperators and Virtual Environments, 15(6), 668–687.
Added by: Mark Grimshaw-Aagaard 16/09/2018, 15:17
"the sense of presence requires a body; it is not just a mental construct."
Blesser, B., & Salter, L.-R. (2007). Spaces speak, are you listening? Experiencing aural architecture. Cambridge, Massachusetts: MIT Press.
Added by: Mark Grimshaw-Aagaard Last edited by: Mark Grimshaw-Aagaard 23/10/2023, 15:11
"Auditory spatial awareness is more than just the ability to detect that space has changed sounds; it includes as well the emotional and behavioral experience of space."
"When traditional experiments involving rats in a maze were reexamined, earlier results were questioned and challenged because experimenters had not considered the rat’s ability to detect spatial properties using the auditory channel."
"bats in the Amazon valley shifted their vocalization from the more typical 100,000 Hz region to 8,000 Hz because the high humidity of the tropical rain forests rapidly attenuates ultrasonic signals (Griffin, 1971). Male short-tailed crickets can increase the area of their calling song by a factor of 14 by perching in treetops instead of on the ground (Paul and Walker, 1979). Fish take can take advantage of the highfrequency cutoff of shallow water to avoid detection by predators but still maintain communication with their conspecifics (Forrest, Miller, and Zagar, 1993). As these examples clearly illustrate, animals are more than merely aware of their particular acoustic environment. They use that awareness to evolve more useful communication strategies within a shared competitive auditory channel." Griffin, D. (1971). The importance of atmospheric attenuation for the echolocation of bats (Chiroptera). Animal Behavior 19: 55–61. Paul, R., and Walker, T. (1979). Arboreal singing in a burrowing cricket, Anurogryllus arboreus. Jour- nal of Comparative Physiology 132: 217–223. Forrest, T., Miller, G., and Zagar, J. (1993). Sound propagation in shallow water: Implications for acoustics communications by aquatic animals. Bioacoustics: The International Journal of Animal Sound and Its Recording 4: 259–270.
"Because evolution did not provide us with a reliable mechanism to observe and communicate affect, using scientific experiments to understand the aural experience of spatiality is fraught with risks and uncertainty."
"Hemispherical specialization implies that various substrates are only partially aware of what other substrates are experiencing. In fact, what we think of as the unity of consciousness is not unified at all—it just appears that way."
"our modern brains are an evolutionary solution to older problems; biological trade-offs over millions of years determined the properties of our auditory and cognitive cortices."
"auditory spatial awareness also contributes to our ability to thrive in socially complex groups."
"A cognitive map of space is a combination of the rules of geometry as well as knowledge about the physical world. [...] This knowledge is acquired in childhood and continually modified in our experience as adults, we are not conscious of its existence. When sensing a spatial environment, an individual builds a cognitive map of space using a combination of sensory information and experiences accumulated over a lifetime. [The map] is subjective and personalized -- an active and synthetic creation -- rather than a passive reaction to stimuli."
Acoustic Horizon: "the maximum distance between a listener and source of sound where the sonic event can still be heard." Acoustic Arena: "a region where listeners are part of a community that shares an ability to hear a source event." Auditory Channel: "the connection between a sound event and a listener ... a channel shared among listeners provides social cohesion."
"...we do not so much hear sound as perceive sonic events..."
Because humans have an innate ability to produce sound (cf light production), "aural architecture is dynamic, reactive and enveloping." Spaces respond sonically to the human voice and sound-making but not visually.
"...full sonic illumination of aural architecture requires a mixture of continuous and transient energy over a wide range of frequencies, amplitudes, and locations."
"An acoustic arena has both social and physical properties ... The social consequence of an acoustic arena is an acoustic community, a group of individuals who are able to hear the same sonic events."
"Headphones produce the most private of all acoustic arenas."
"Injecting noise of whatever kind into an acoustic arena is nothing more than an exercise of sonic power"
"... silence is the ultimate manifestation of social cohesiveness" because it requires common purpose and adherence to a shared set of values.
"In all spatial experiences, there are two perspectives: allocentric, from which objects are perceived relative to a fixed external framework; and egocentric, from which objects are perceived relative to the perceiver."
The authors begin a chapter on auditory spatial awareness as evolutionary artefact with "the premise that the aural experience of space contributed, at least indirectly, to the reproductive success of our species. From a narrow perspective, our brain evolved specialized auditory substrates that could incorporate spatial attributes into awareness. But, from a broader perspective, auditory spatial awareness also contributes to our ability to thrive in socially complex groups."
Summarizing Nicholas Humphrey's (2000) view "that evolution progressively shifted sensory awareness of external stimuli from publicly observable reactions to private experiences."
Summarizes (then) current neuroscientific research about the different roles of the two hemispheres of the brain indicating that the creative functions (including music, nonverbal speech, and emotional expression) are in the right and so more-or-less separate from functions such as language and reason which are found in the left.
The authors define attentive listening as an intense focusing on sound often with the eyes shut.
The concept of an acoustic arena is a powerful one particularly when the occupant has some power in shaping it.
Local embellishments (fountain and alcove) affect only part of a larger area and are only heard close up whereas global embellishments affect all of that larger space e.g. reverberation). Typically, visual objects are local whereas acoustic objects are global.
The authors make a distinction between architectural embellishments that are active sources or are passive filters (e.g. fountain and resonant alcove) and draw a parallel to light (e.g. candle and mirror).
A discussion on auditory spatial awareness. Conclusions, based mainly on case studies of blind people: Auditory spatial awareness is a skill that must be learnt and is difficult to learn. Different aural cultures have different abilities and there is no one sensitivity to aural space; rather a group of independent sensory skills (some more aware of spatial volumes, others more aware of objects in that space). Controlled experiments showing humans have give auditory spatial awareness should be treated with care as they are artificial and, in testing one spatial factor, usually remove other potentially confusing factors.
Social spheres are defined by social distances or proxemic distances whereby different distances (from 9.5m to > 4m) are used to limit proximity to other persons and therefore access to a private acoustic arena. Technology (e.g. audio technology) has overturned these rules and complete strangers can now vocalize within a person's private arena through the agency of headphones and an intimate sound balance.
Urban growth led to a shrinkage of the public acoustic arena -- e.g. bells would not carry so far from one village to the next but were now masked by other buildings.
The authors distinguish between soundscape and aural architecture. The former emphasizes sound which has intrinsic importance. The latter emphasizes space and sounds serve merely to illustrate that space. A subtle and not necessarily relevant distinction.
Blumenberg, H. (1983). The legitimacy of the modern age. R. M. Wallace, Trans. Cambridge, Massachusetts: MIT Press.
Added by: Mark Grimshaw-Aagaard 18/01/2021, 11:32
"the discovery of the telescope signifies a caesura, beyond which a continuous increase in accessible reality could be anticipated"
Bormann, K. (2005). Presence and the utility of audio spatialization. Presence: Teleoperators and Virtual Environments, 14(3), 278–297.
Added by: Mark Grimshaw-Aagaard 06/03/2018, 11:02
Bouchard, S., St-Jacques, J., Robillard, G., & Renaud, P. (2008). Anxiety increases the feeling of presence in virtual reality. Presence: Teleoperators and Virtual Environments, 17(4), 376–391.
Added by: Mark Grimshaw-Aagaard Last edited by: Mark Grimshaw-Aagaard 14/08/2020, 15:36
Not only external factors but also "psychological states and appraisal patterns of users might also affect presence."
Suggest that there is a limit to the linear equation between increasing sophistication of immersive technology/level of realism and development of presence.
Bowker, G. C., & Star, S. L. (2000). Sorting things out: Classification and its consequences. Cambridge, Massachusetts: MIT Press.
Added by: Mark Grimshaw-Aagaard Last edited by: Mark Grimshaw-Aagaard 30/11/2023, 11:18
"...the system's description of reality becomes true."
Bregman, A. S. (1990). Auditory scene analysis: The perceptual organization of sound. Cambridge, Massachusetts: MIT Press.
Added by: Mark Grimshaw-Aagaard 21/08/2015, 13:51
Brotons-Mas, J. R., & O'Mara, S. (2006). Neural processing of spatial information: What we know about place cells and what they can tell us about presence. Presence: Teleoperators and Virtual Environments, 15(5), 485–499.
Added by: Mark Grimshaw-Aagaard 09/03/2018, 09:02
Bystrom, K.-E., Barfield, W., & Hendrix, C. (1999). A conceptual model of the sense of presence in virtual environments. Presence: Teleoperators and Virtual Environments, 8(2), 241–244.
Added by: Mark Grimshaw-Aagaard Last edited by: Mark Grimshaw-Aagaard 11/09/2018, 17:22
Calleja, G. (2011). In-game: From immersion to incorporation. Cambridge, Massachusetts: MIT Press.
Added by: Mark Grimshaw-Aagaard 01/12/2025, 08:40
Cavazza, M., Lugrin, J.-L., & Buehner, M. (2007). Causal perception in virtual reality and its implications for presence factors. Presence: Teleoperators and Virtual Environments, 16(6), 623–642.
Added by: Mark Grimshaw-Aagaard 09/03/2018, 11:04
Chertoff, D. B., Schatz, S. L., McDaniel, R., & Bowers, C. A. (2008). Improving presence theory through experiential design. Presence: Teleoperators and Virtual Environments, 17(4), 405–413.
Added by: Mark Grimshaw-Aagaard Last edited by: Mark Grimshaw-Aagaard 27/09/2018, 16:27	Mat. 10/10
"presence is an emergent factor due to the interaction of many components [...] it is a result that is greater than the sum of its parts."
"Current virtual environments are primarily conceptualized as information technologies, while they should instead be considered "knowledge technologies"."
Proposes 5 dimensions to presence (dimensions come from experience design theories): sensory – sensory input and perceptions (VR: hardware and software) cognitive – mental engagement (VR: task engagement [motivation, meaningfulness, continuity]) affective – emotional state (VR: emotions in VR mimic emotions in same RW scenario?) active – personal connection, incorporation into personal narrative (VR: empathy, avatar identification etc.) relational – social aspects (VR: co-experience and collaborative experience of VR)
Collins, K. (2008). Game sound: An introduction to the history, theory, and practice of video game music and sound design. Cambridge, Massachusetts: MIT Press.
Added by: Mark Grimshaw-Aagaard 19/10/2008, 03:44
Collins, K. (2013). Playing with sound. Cambridge, Massachusetts: MIT Press.
Added by: Mark Grimshaw-Aagaard 10/03/2014, 14:35
Dickerson, J. A., & Kosko, B. (1994). Virtual worlds as fuzzy cognitive maps. Presence: Teleoperators and Virtual Environments, 3(2), 173–189.
Added by: Mark Grimshaw-Aagaard 28/02/2018, 08:18
van den Doel, K., & Pai, D. K. (1998). The sounds of physical shapes. Presence: Teleoperators and Virtual Environments, 7(4), 382–395.
Added by: Mark Grimshaw-Aagaard 31/07/2018, 11:26
Durlach, N. I., Shinn-Cunningham, B. G., & Held, R. M. (1993). Supernormal auditory localization: I. general background. Presence: Teleoperators and Virtual Environments, 2(2), 89–103.
Added by: Mark Grimshaw-Aagaard 28/02/2018, 08:21
Durlach, N., & Slater, M. (2000). Presence in shared virtual environments and virtual togetherness. Presence: Teleoperators and Virtual Environments, 9(2), 214–217.
Added by: Mark Grimshaw-Aagaard 02/08/2018, 12:05