Going into space is a disorienting experience. Many studies have looked at sensory functioning in space but the multisensory basis of orientation has not been systematically investigated. Here, we assess how prolonged exposure to microgravity affects the relative weighting of visual, gravity, and idiotropic cues to perceived orientation. We separated visual, body, and gravity (when present) cues to perceived orientation before, during, and after long-term exposure to microgravity during the missions of seven astronauts on the International Space Station (mean duration 168 days) and measuring perceived vertical using the subjective visual vertical and the perceptual upright. The relative influence of each cue and the variance of their judgments were measured. Fourteen ground-based control participants performed comparable measurements over a similar period. The variance of astronauts’ subjective visual vertical judgments in the absence of visual cues was significantly larger immediately upon return to earth than before flight. Astronauts’ perceptual upright demonstrated a reduced reliance on visual cues upon arrival on orbit that re-appeared long after returning to earth. For earth-bound controls, the contributions of body, gravity, and vision remained constant throughout the year-long testing period. This is the first multisensory study of orientation behavior in space and the first demonstration of long-term perceptual changes that persist after returning to earth. Astronauts showed a plasticity in the weighting of perceptual cues to orientation that could form the basis for future countermeasures.

The perception of shading-defined form results from an interaction between shading cues and the frames of reference within which those cues are interpreted. In the absence of a clear source of illumination, the definition of 'up' becomes critical to deducing the perceived shape from a particular pattern of shading. In our experiments, twelve subjects adjusted the orientation of a planar disc painted with a linear luminance gradient from one side to the other, until the disc appeared maximally convex-that is, until the luminance gradient induced the maximum perception of a three-dimensional shape. The vision, gravity, and body-orientation cues were altered relative to each other. Visual cues were manipulated by the York Tilted Room facility, and body cues were altered by simply lying on one side. The orientation of the disc that appeared maximally convex varied in a systematic fashion with these manipulations. We present a model in which the direction of perceptual 'up' is determined from the sum of three weighted vectors corresponding to the vision, gravity, and body-orientation cues. The model predicts the perceived direction of 'up', contributes to our understanding of how shape-from-shading is deduced, and also predicts the confidence with which the 'up' direction is perceived.

We measured the effect of the orientation of the visual background on the perceptual upright (PU) under different levels of gravity. Brief periods of micro- and hypergravity conditions were created using two series of parabolic flights. Control measures were taken in the laboratory under normal gravity with subjects upright, right side down and supine. Participants viewed a polarized, natural scene presented at various orientations on a laptop viewed through a hood which occluded all other visual cues. Superimposed on the screen was a character the identity of which depended on its orientation. The orientations at which the character was maximally ambiguous were measured and the perceptual upright was defined as half way between these orientations. The visual background affected the orientation of the PU less when in microgravity than when upright in normal gravity and more when supine than when upright in normal gravity. A weighted vector sum model was used to quantify the relative influence of the orientations of gravity, vision and the body in determining the perceptual upright.

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