In order to take advantage of the potential offered by the medium of virtual reality (VR), it will be essential to develop an understanding of how to maximize the desirable experience of “presence” in a virtual space (“being there”), and how to minimize the undesirable feeling of “cybersickness” (a constellation of discomfort symptoms experienced in VR). Although there have been frequent reports of a possible link between the observer’s sense of presence and the experience of bodily discomfort in VR, the amount of literature that discusses the nature of the relationship is limited. Recent research has underlined the possibility that these variables have shared causes, and that both factors may be manipulated with a single approach. This review paper summarizes the concepts of presence and cybersickness and highlights the strengths and gaps in our understanding about their relationship. We review studies that have measured the association between presence and cybersickness, and conclude that the balance of evidence favors a negative relationship between the two factors which is driven principally by sensory integration processes. We also discuss how system immersiveness might play a role in modulating both presence and cybersickness. However, we identify a serious absence of high-powered studies that aim to reveal the nature of this relationship. Based on this evidence we propose recommendations for future studies investigating presence, cybersickness, and other related factors.

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Research has established a link between presence and cybersickness in virtual environments, but there is significant disagreement regarding the directionality of the relationship (positive or negative) between the two factors, and if the relationship is modulated by other top-down influences. Several studies have revealed a negative association between the factors, highlighting the prospect that manipulating one factor might affect the other. Here we examined if a top-down factor (narrative context) enhances presence, and whether this effect is associated with a decrease in cybersickness. We analyzed the association between responses to questionnaire measures of cybersickness and presence, as well as the degree to which their relationship was affected by the administration of an 'enriched' or 'minimal' verbal narrative context. The results of the first experiment, conducted in a controlled laboratory environment, revealed that enriched narrative was associated with increased presence, but that the reductive effect of narrative on cybersickness depended on video gaming experience. We also observed the expected negative association between presence and cybersickness, but only in the enriched narrative group. In a second experiment, conducted with a diverse sample at a public museum, we confirmed our previous finding that presence and cybersickness are negatively correlated, specifically when participants experienced an enriched narrative. We also confirmed the interaction between narrative and gaming experience with respect to cybersickness. These results highlight the complexity of the presence-cybersickness relationship, and confirm that both factors can be modulated in a beneficial manner for virtual reality users by means of top-down interventions.

Orthographically projected biological motion point-light displays are generally ambiguous with respect to their orientation in depth, yet observers consistently prefer the facing-the-viewer interpretation. There has been discussion as to whether this bias can be attributed to the social relevance of biological motion stimuli or relates to local, low-level stimulus properties. In the present study we address this question. In Experiment 1, we compared the facing-the-viewer bias produced by a series of four stick figures and three human silhouettes that differed in posture, gender, and the presence versus absence of walking motion. Using a paradigm in which we asked observers to indicate the spinning direction of these figures, we found no bias when participants observed silhouettes, whereas a pronounced degree of bias was elicited by most stick figures. We hypothesized that the ambiguous surface normals on the lines and dots that comprise stick figures are prone to a visual bias that assumes surfaces to be convex. The local surface orientations of the occluding contours of silhouettes are unambiguous, and as such the convexity bias does not apply. In Experiment 2, we tested the role of local features in ambiguous surface perception by adding dots to the elbows and knees of silhouettes. We found biases consistent with the facing directions implied by a convex body surface. The results unify a number of findings regarding the facing-the-viewer bias. We conclude that the facing-the-viewer bias is established at the level of surface reconstruction from local image features rather than on a semantic level.

When participants read a text while searching for a target letter, they are more likely to miss the target letter embedded in frequent function words than in less frequent content words. This effect is usually observed with a text displayed normally, for which it has been found that frequent function words are fixated for a smaller amount of time than less frequent content words. However, similar pattern of omissions have been observed with a rapid serial visual presentation procedure in which words appear one at a time. These parallel results would demonstrate that fixation duration per se is not the proximal cause of the missing-letter effect only if eye movements are not made during the rapid serial visual presentation procedure. Therefore, the authors performed eye monitoring during the rapid serial visual presentation procedure. Results revealed that, with a rapid serial visual presentation procedure, participants fixated function and content words for almost the entire presentation duration. It is concluded that eye movements are not the proximal cause of the missing-letter effect.

Large-field optic flow generates the illusory percept of self-motion, termed 'vection'. Smoother visual motion displays generate a more compelling subjective sense of vection and objective postural responses, as well as a greater sense of immersiveness for the user observing the visual display. Research suggests that the function linking frame rate and vection asymptotes at 60 frames per second (FPS), but previous studies have used only moderate frame rates that do not approach the limits of human perception. Here, we measure vection using subjective and objective (mean frequency and path length of postural centre-ofpressure (COP) excursions) responses following the presentation of high-contrast optic flow stimuli at slow and fast speeds and low and ultra-high frame rates. We achieve this using a novel rendering method implemented with a projector capable of sub-millisecond temporal resolution in order to simulate refresh rates ranging from very low (15 FPS) to ultra-high frame rates (480 FPS). The results suggest that subjective vection was experienced most strongly at 60 FPS. Below and above 60 FPS, subjective vection is generally weaker, shorter, and starts later, although this pattern varied slightly according to the speed of stimuli. For objective measures, while the frequency of postural sway was unaffected by frame rate, COP path length was greatest for 480 FPS stimuli. Together, our results support diminishing returns for vection above 60 FPS and provide insight into the use of high frame rate for enhancing the user experience in visual displays.

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The individual shape of the human body, including the geometry of its articulated structure and the distribution of weight over that structure, influences the kinematics of a person's movements. How sensitive is the visual system to inconsistencies between shape and motion introduced by retargeting motion from one person onto the shape of another? We used optical motion capture to record five pairs of male performers with large differences in body weight, while they pushed, lifted, and threw objects. From these data, we estimated both the kinematics of the actions as well as the performer's individual body shape. To obtain consistent and inconsistent stimuli, we created animated avatars by combining the shape and motion estimates from either a single performer or from different performers. Using these stimuli we conducted three experiments in an immersive virtual reality environment. First, a group of participants detected which of two stimuli was inconsistent. Performance was very low, and results were only marginally significant. Next, a second group of participants rated perceived attractiveness, eeriness, and humanness of consistent and inconsistent stimuli, but these judgements of animation characteristics were not affected by consistency of the stimuli. Finally, a third group of participants rated properties of the objects rather than of the performers. Here, we found strong influences of shape-motion inconsistency on perceived weight and thrown distance of objects. This suggests that the visual system relies on its knowledge of shape and motion and that these components are assimilated into an altered perception of the action outcome. We propose that the visual system attempts to resist inconsistent interpretations of human animations. Actions involving object manipulations present an opportunity for the visual system to reinterpret the introduced inconsistencies as a change in the dynamics of an object rather than as an unexpected combination of body shape and body motion.