DOCSLIB.ORG

Examining Optical Illusions in VR

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Examining Optical Illusions in VR MASARYK UNIVERSITY FACULTY OF INFORMATICS Examining Optical Illusions in VR MASTER’S THESIS Roman Gluszny Brno, 2018 Declaration I hereby declare that this thesis is a presentation of my original research work and that no other sources were used other than what is cited. I furthermore declare that wherever contributions of others are involved, this contribution is indicated, clearly acknowledged and due reference is given to the author and source. Brno 9.12. 2018 Supervisor: Fotis Liarokapis, Ph.D. ii Acknowledgment I want to express big thanks to my supervisor Fotis Liarokapis, Ph.D. for his professional guidance and support on this work. Another great thanks to RNDr. Filip Škola for teaching me the basics of electroencephalography recording and evaluation. Finally, I thank my family for their enduring support and to all my friends who helped me with the participation in the experiment. iii Abstract: The aim of this thesis was to examine optical illusions in three-dimensional space and the way they are perceived by human’s brain. In the beginning, a Unity application with several scenes was created, after which a user-study with 30 healthy participants took place using EEG device to collect data from brain waves. Received neurofeedback was subsequently analyzed to find possible correlations in reception using different media such as computer screen and virtual reality, and to determine scope and nature of changes on brain wave frequencies between different intervals while perceiving the illusions. Keywords: optical illusions, virtual reality, electroencephalography, oscillatory patterns, brain-computer interfaced, iv Table of Contents List of Figures ......................................................................................................................... viii 1 Introduction ......................................................................................................................... 1 2 Optical Illusions .................................................................................................................. 3 2.1 Introduction to visual illusions .................................................................................... 3 2.1.1 Physical illusions .................................................................................................. 3 2.1.2 Physiological illusions .......................................................................................... 3 2.1.3 Cognitive illusions ................................................................................................ 3 2.2 The Eye ........................................................................................................................ 4 2.2.1 Structure ............................................................................................................... 5 2.2.2 Vision ................................................................................................................... 5 2.3 3D optical illusions ...................................................................................................... 6 2.3.1. Ambiguous cylinders ............................................................................................ 6 2.3.2 Ames room ........................................................................................................... 7 2.3.3 Magnetic slopes .................................................................................................... 8 2.3.4 Following eyes ..................................................................................................... 9 2.3.5 Rubin’s vase ambiguous figure ............................................................................ 9 2.3.6 Penrose triangle .................................................................................................. 10 2.3.7 Ambiguous sculptures ........................................................................................ 11 3 Brain-Computer Interfaces ................................................................................................ 12 3.1 Significance of BCI ................................................................................................... 12 3.2 BCI Classification...................................................................................................... 13 3.3 EEG ........................................................................................................................... 13 3.3.1 Noise and Artifacts ............................................................................................. 15 3.4 Brain Waves .............................................................................................................. 16 3.4.1 Alpha waves ....................................................................................................... 16 3.4.2 Beta waves .......................................................................................................... 16 v 3.4.3 Gamma waves .................................................................................................... 16 3.4.4 Delta waves ........................................................................................................ 16 3.4.5 Theta waves ........................................................................................................ 17 3.6 Enobio ........................................................................................................................ 17 4 Virtual Reality ................................................................................................................... 19 4.1 Introduction to VR ..................................................................................................... 19 4.2 Brief history of VR .................................................................................................... 20 4.3 Visualization in VR ................................................................................................... 22 4.4 HTC Vive .................................................................................................................. 23 4.5 Unity .......................................................................................................................... 23 5 Implementation ................................................................................................................. 25 5.1 Analysis and Design .................................................................................................. 25 5.2 Scene Implementation ............................................................................................... 26 5.2.1 Scene 1: Ambiguous Cylinders .......................................................................... 26 5.2.2 Scene 2: Ames Room ......................................................................................... 26 5.2.3 Scene 3: Following Eyes .................................................................................... 27 5.2.4 Scene 4: Magnetic Slopes .................................................................................. 27 5.2.5 Scene 5: Ambiguous Statues .............................................................................. 27 5.2.6 Scene 6: Impossible Objects .............................................................................. 28 5.2.7 Scene 7: Ambiguous Shapes .............................................................................. 28 5.3 Used Assets..................................................................................................................... 28 5.4 Technical Solution ..................................................................................................... 28 5.3.1 VR build vs FPS build ........................................................................................ 30 6 User Study ......................................................................................................................... 31 6.1 Testing Stages ............................................................................................................ 31 6.1.1 Setup ................................................................................................................... 31 6.1.2 EEG recording .................................................................................................... 32 vi 6.1.3 Receiving feedback ............................................................................................ 32 7 Data Analysis Result ......................................................................................................... 34 7.1 Demographics ............................................................................................................ 34 7.2 Qualitative Feedback ................................................................................................. 34 7.3 NASA TLX................................................................................................................ 35 7.4 Scene rating ............................................................................................................... 36 7.5 EEG data .................................................................................................................... 37 7.5.1 Expected results .................................................................................................. 37 7.5.2 Preprocessing ..................................................................................................... 37 7.5.3 Ambiguous cylinders .........................................................................................
Load more

Recommended publications
  • Somatosensory Processes Subserving Perception and Action
    BEHAVIORAL AND BRAIN SCIENCES (2007) 30, 189–239 Printed in the United States of America DOI: 10.1017/S0140525X07001392 Somatosensory processes subserving perception and action H. Chris Dijkerman Department of Experimental Psychology, Helmholtz Research Institute, Utrecht University, 3584 CS Utrecht, The Netherlands [email protected] Edward H. F. de Haan Department of Experimental Psychology, Helmholtz Research Institute, Utrecht University, 3584 CS Utrecht, The Netherlands [email protected] Abstract: The functions of the somatosensory system are multiple. We use tactile input to localize and experience the various qualities of touch, and proprioceptive information to determine the position of different parts of the body with respect to each other, which provides fundamental information for action. Further, tactile exploration of the characteristics of external objects can result in conscious perceptual experience and stimulus or object recognition. Neuroanatomical studies suggest parallel processing as well as serial processing within the cerebral somatosensory system that reflect these separate functions, with one processing stream terminating in the posterior parietal cortex (PPC), and the other terminating in the insula. We suggest that, analogously to the organisation of the visual system, somatosensory processing for the guidance of action can be dissociated from the processing that leads to perception and memory. In addition, we find a second division between tactile information processing about external targets in service of object recognition and tactile information processing related to the body itself. We suggest the posterior parietal cortex subserves both perception and action, whereas the insula principally subserves perceptual recognition and learning. Keywords: body image; body schema; crossmodal; insula; parietal; proprioception; tactile object recognition 1.
    [Show full text]
  • Optical Illusions “What You See Is Not What You Get”
    Optical Illusions “What you see is not what you get” The purpose of this lesson is to introduce students to basic principles of visual processing. Much of the lesson revolves around the use of visual illusions and interactive demonstrations with the students. The overarching theme of this lesson is that perception and sensation are not necessarily the same, and that optical illusions are a way for us to study the way that our visual system works. Furthermore, there are cells in the visual system that specifically respond to particular aspects of visual stimuli, and these cells can become fatigued. Grade Level: 3-12 Presentation time: 15-30 minutes, depending on which activities are chosen Lesson plan organization: Each lesson plan is divided into three sections: Introducing the lesson, Conducting the lesson, and Concluding the lesson. Each lesson has specific principles with associated figures, class discussion (D), and learning activities (A). This lesson plan is provided by the Neurobiology and Behavior Community Outreach Team at the University of Washington: http://students.washington.edu/watari/neuroscience/k12/LessonPlans.html 1 Materials: Computer to display some optical illusions (optional) Checkerboard illusion: Provided on page 8 or available online with explanation at http://web.mit.edu/persci/people/adelson/checkershadow_illusion.html Lilac chaser movie: http://www.scientificpsychic.com/graphics/ as an animated gif or http://www.michaelbach.de/ot/col_lilacChaser/index.html as Adobe Flash and including scientific explanation
    [Show full text]
  • Table of Contents and Index
    CONTENTS 1. Thinking about Space 1 2. The Ways of Light 7 3. Sensing Our Own Shape 51 4. Brain Maps and Polka Dots 69 5. Sherlock Ears 107 6. Moving with Maps and Meters 143 7. Your Sunglasses Are in the Milky Way 161 8. Going Places 177 9. Space and Memory 189 10. Thinking about Thinking 203 Notes 219 Acknowledgments 225 Credits 231 Index 237 Color illustrations follow page 86 Groh Corrected Pages.indd 7 7/15/14 9:09 AM INDEX Italicized page numbers refer to figures and their captions acalculia, 214 aqueous humor, 22, 30, 31 action potentials, 56–59, 57, 60, 61, 71–72, 74, Aristotle, 24, 180 94–96, 140, 146; electrically stimulating, astronomy, and discoveries regarding optics, 102; and memory, 191; in MT, 99; in 26–32. See also Brahe, Tycho; Kepler, superior colliculus, 154. See also spikes, Johannes electrical in neurons axon: conduction speed along, 95; as part of active sites, of proteins, 17 neuron, 71–73; paths traveled by, 77–78, adjusting to new glasses, 192–193 86, 91, 93 akinetopsia, 100 alcohol, effects on vestibular system, 183–184 balance, sense of, 175, 180–185. See also Alhazen, 8, 11–12 vestibular system aliasing, of sound, 123–125 barn owls, and hearing, 122, 137–138, 157, analog coding, in the brain, 146–147. See also Plate 7 digital coding, in the brain; maps, as form basilar membrane, resonance gradient of, of brain code; meters, as form of brain 139–140; and sound transduction, 109, 110 code bats, and echolocation, 131–132, 132 anechoic, 127 Bergen, Edgar, 135 ants, and navigation, 185–187, Plate 9 biased random walk, and navigation, 178.
    [Show full text]
  • Oscillatory Properties of Functional Connections Between Sensory Areas Mediate Cross-Modal Illusory Perception
    The Journal of Neuroscience, July 17, 2019 • 39(29):5711–5718 • 5711 Systems/Circuits Oscillatory Properties of Functional Connections Between Sensory Areas Mediate Cross-Modal Illusory Perception Jason Cooke,1 Claudia Poch,2 Helge Gillmeister,1 Marcello Costantini,3,4 and XVincenzo Romei1,5 1Centre for Brain Science, Department of Psychology, University of Essex, Wivenhoe Park, Colchester CO4 3SQ, United Kingdom, 2Facultad de Lenguas y Educacio´n, Universidad Nebrija, 28015 Madrid, Spain, 3Department of Psychological, Health, and Territorial Sciences, 4Institute for Advanced Biomedical Technologies (ITAB), “G. d’Annunzio” University of Chieti-Pescara, 66100 Chieti, Italy, and 5Centro studi e ricerche in Neuroscienze Cognitive, Dipartimento di Psicologia, Universita’ di Bologna, Campus di Cesena, 47521 Cesena, Italy The presentation of simple auditory stimuli can significantly impact visual processing and even induce visual illusions, such as the auditory-induced double flash illusion (DFI). These cross-modal processes have been shown to be driven by occipital oscillatory activity within the alpha band. Whether this phenomenon is network specific or can be generalized to other sensory interactions remains unknown. The aim of the current study was to test whether cross-modal interactions between somatosensory-to-visual areas leading to the same (but tactile-induced) DFI share similar properties with the auditory DFI. We hypothesized that if the effects are mediated by the oscillatory properties of early visual areas per se, then the two versions of the illusion should be subtended by the same neurophysiolog- ical mechanism (i.e., the speed of the alpha frequency). Alternatively, if the oscillatory activity in visual areas predicting this phenomenon is dependent on the specific neural network involved, then it should reflect network-specific oscillatory properties.
    [Show full text]
  • The Application of Virtual Reality in Engineering Education
    applied sciences Review The Application of Virtual Reality in Engineering Education Maged Soliman 1 , Apostolos Pesyridis 2,3, Damon Dalaymani-Zad 1,*, Mohammed Gronfula 2 and Miltiadis Kourmpetis 2 1 College of Engineering, Design and Physical Sciences, Brunel University London, London UB3 3PH, UK; [email protected] 2 College of Engineering, Alasala University, King Fahad Bin Abdulaziz Rd., Dammam 31483, Saudi Arabia; [email protected] (A.P.); [email protected] (M.G.); [email protected] (M.K.) 3 Metapower Limited, Northwood, London HA6 2NP, UK * Correspondence: [email protected] Abstract: The advancement of VR technology through the increase in its processing power and decrease in its cost and form factor induced the research and market interest away from the gaming industry and towards education and training. In this paper, we argue and present evidence from vast research that VR is an excellent tool in engineering education. Through our review, we deduced that VR has positive cognitive and pedagogical benefits in engineering education, which ultimately improves the students’ understanding of the subjects, performance and grades, and education experience. In addition, the benefits extend to the university/institution in terms of reduced liability, infrastructure, and cost through the use of VR as a replacement to physical laboratories. There are added benefits of equal educational experience for the students with special needs as well as distance learning students who have no access to physical labs. Furthermore, recent reviews identified that VR applications for education currently lack learning theories and objectives integration in their design.
    [Show full text]
  • S232 Trompe L'oeil だまし絵サーカス
    Kids Plaza Science and Technology Building 2F S232 Trompe l'oeil だまし絵サーカス ■Purpose of Exhibition You can enjoy “trompe l’oeil” (tricks of the eye), an art technique that uses realistic imagery to create optical illusions of depth: for example, an optical illusion of two images embedded in the same picture, and three- dimensional images that do not exist in the real world. ■Additional Knowledge Vase is another type of ambiguous image that can be interpreted in two different ways. The image depicts a white vase in the center with a black background, allowing viewers to interpret it as either “a vase” or “the silhouettes of two faces in profile looking at each other.” However, Rubin’s Vase – in which these reversible interpretations are possible by alternatively interpreting the black areas as figure or ground – is a different type than the pictures displayed here. [Five Animals Escaping from the Circus] In the picture of a circus team, five animals are in hiding. Can you see the image of animals depicted using the contours of people and balloons? This version is relatively easy to find the animals. Some images of this type, which are often painted by artists, are more difficult. If you encounter such a challenging image, try [Clown or Old Man?] it and have fun. Rotate the disk, and you will see either a clown or an old [Lion and Tiger Climbing Stairs] man. By turning the picture upside down, a new image A lion and a tiger are climbing up different sets of stairs emerges. This type of visual illusion, called an “upside- connecting two floors.
    [Show full text]
  • Exploring 3D Stereo with Incremental Rehearsal and Partial Occlusion to Instigate and Modulate Smooth Pursuit and Saccade Responses in Baseball Batting
    Old Dominion University ODU Digital Commons Computational Modeling & Simulation Computational Modeling & Simulation Engineering Theses & Dissertations Engineering Summer 2016 Toward Simulation-Based Training Validation Protocols: Exploring 3d Stereo with Incremental Rehearsal and Partial Occlusion to Instigate and Modulate Smooth Pursuit and Saccade Responses in Baseball Batting Ricardo A. Roca Old Dominion University, [email protected] Follow this and additional works at: https://digitalcommons.odu.edu/msve_etds Part of the Engineering Commons Recommended Citation Roca, Ricardo A.. "Toward Simulation-Based Training Validation Protocols: Exploring 3d Stereo with Incremental Rehearsal and Partial Occlusion to Instigate and Modulate Smooth Pursuit and Saccade Responses in Baseball Batting" (2016). Doctor of Philosophy (PhD), Dissertation, Computational Modeling & Simulation Engineering, Old Dominion University, DOI: 10.25777/hvse-ts08 https://digitalcommons.odu.edu/msve_etds/3 This Dissertation is brought to you for free and open access by the Computational Modeling & Simulation Engineering at ODU Digital Commons. It has been accepted for inclusion in Computational Modeling & Simulation Engineering Theses & Dissertations by an authorized administrator of ODU Digital Commons. For more information, please contact [email protected]. TOWARD SIMULATION-BASED TRAINING VALIDATION PROTOCOLS: EXPLORING 3D STEREO WITH INCREMENTAL REHEARSHAL AND PARTIAL OCCLUSION TO INSTIGATE AND MODULATE SMOOTH PURSUIT AND SACCADE RESPONSES IN BASEBALL BATTING by Ricardo A. Roca B.S.E. May 1986, Tulane University M.S. January 2002, George Mason University A Dissertation Submitted to the Faculty of Old Dominion University in Partial Fulfillment of the Requirements for the Degree of DOCTOR OF PHILOSOPHY MODELING & SIMULATION OLD DOMINION UNIVERSITY August 2016 Approved by: Stacie I. Ringleb (Director) Michel A. Audette (Member) Lance M.
    [Show full text]
  • Design Architecture in Virtual Reality
    Design Architecture in Virtual Reality by Anisha Sankar A thesis presented to the University of Waterloo in fulfillment of the thesis requirement for the degree of Master of Architecture Waterloo, Ontario, Canada, 2019 © Anisha Sankar 2019 Author’s Declaration I hereby declare that I am the sole author of this thesis. This is a true copy of the thesis, including any required final revisions, as accepted by my examiners. I understand that my thesis may be made electronically available to the public. - iii - Abstract Architectural representation has newly been introduced to Virtual Real- ity (VR) technology, which provides architects with a medium to show- case unbuilt designs as immersive experiences. Designers can use specialized VR headsets and equipment to provide a client or member of their design team with the illusion of being within the digital space they are presented on screen. This mode of representation is unprec- edented to the architectural field, as VR is able to create the sensation of being encompassed in an environment at full scale, potentially elic- iting a visceral response from users, similar to the response physical architecture produces. While this premise makes the technology highly applicable towards the architectural practice, it might not be the most practical medium to communicate design intent. Since VR’s conception, the primary software to facilitate VR content creation has been geared towards programmers rather than architects. The practicality of inte- grating virtual reality within a traditional architectural design workflow is often overlooked in the discussion surrounding the use of VR to rep- resent design projects. This thesis aims to investigate the practicality of VR as part of a de- sign methodology, through the assessment of efficacy and efficiency, while studying the integration of VR into the architectural workflow.
    [Show full text]
  • Learn More: Windows Mixed Reality Platform + Steamvr
    NOT FOR USE IN INDIA FAQ HP REVERB VR HEADSET PROFESSIONAL EDITION, STEAMVR & WINDOWS MIXED REALITY 2 1.0 STEAMVR 3 2.0 HP REVERB VR HEADSET PRO EDITION 6 3.0 WINDOWS MIXED REALITY 7 LEARN MORE: WINDOWS MIXED 4.0 GENERAL VR REALITY PLATFORM + STEAMVR Frequently asked questions about HP’s professional head-mounted display (HMD) - built on the Windows Mixed Reality (WMR) platform - and integration with SteamVR. The HP Reverb Virtual Reality Headset - Professional Edition offers stunning immersive computing with significant ease of setup and use in a cost effective solution. This solution is well suited for Engineering Product Dev and design reviews, AEC (Architecture, Engineering & Construction) reviews, location-based entertainment, and MRO (Maintenance, Repair and Overhaul) training use environments. HIGHLIGHT: Take advantage of the complete Windows 10 Mixed Reality and SteamVR ecosystems. The HP Reverb VR Headset Pro HP Reverb Virtual Reality Headset - Professional Edition is not recommended for children under the age of Edition is built on the Windows IMPORTANT NOTE: 13. All users should read the HP Reverb Virtual Reality Headset - Professional Edition User Guide to reduce the risk of personal Mixed Reality platform. injury, discomfort, property damage, and other potential hazards and for important information related to your health and Integration with SteamVR safety when using the headset. Windows Mixed Reality requires Windows 10 October 2018 Update installed on the workstation requires the Windows Mixed or PC. Features may require software or other 3rd-party applications to provide the described functionality. To minimize the Reality bridge app. possibility of experiencing discomfort using a VR application, ensure that the PC system is equipped with the appropriate graphics and CPU for the VR application.
    [Show full text]
  • The Role of Selective Attention in Perceptual Switching By
    The Role of Selective Attention in Perceptual Switching By Brenda Marie Stoesz A Thesis Submitted to the Faculty of Graduate Studies In Partial Fulfillment of the Requirements For the Degree of Master of Arts Department of Psychology University of Manitoba Winnipeg, Manitoba © Stoesz, Brenda M.; 2008 Perceptual Switching ii Abstract When viewing ambiguous figures, individuals can exert selective attentional control over their perceptual reversibility behaviour (e.g., Strüber & Stadler, 1999). In the current study, we replicated this finding but we also found that ambiguous figures containing faces are processed quite differently from those containing objects. Furthermore, inverting an ambiguous figure containing faces (i.e., Rubin’s vase-face) resulted in an “inversion effect”. These findings highlight the importance of considering how we attend to faces in addition to how we perceive and process faces. Describing the perceptual reversal patterns of individuals in the general population allowed us to draw comparisons to behaviours exhibited by individuals with Asperger Syndrome (AS). The group data suggested that these individuals were less affected by figure type or stimulus inversion. Examination of individual scores, moreover, revealed that the majority of participants with AS showed an atypical reversal pattern, particularly with ambiguous figures containing faces, and an atypical inversion effect. Together, our results show that ambiguous figures can be a very valuable tool for examining face processing mechanisms in the general population and other distinct groups of individuals, particularly those diagnosed with AS. Perceptual Switching iii Acknowledgements I would like to deeply thank my mentor, Dr. Lorna S. Jakobson, who, over the year that I have worked on this particular research project, provided me with much support and guidance.
    [Show full text]
  • Bridget Riley Valentine Op Art Heart
    Op Art: Lesson Bridget Riley 6 Valentine Op Art Heart • How do 2D geometric shapes invoke movement? • How can the manipulation of geometric shapes and patterns create dimension in 2D art? LESSON OVERVIEW/OBJECTIVES Students will learn about the artist Bridget Riley and her work in Optical Art (Op Art). Riley (1931-present) is a British artist known for bringing about the Op Art movement. Op Art is a style of visual art that uses precise patterns and color to create optical illusions. Op art works are abstract, with many better known pieces created in black and white. Typically, they give the viewer the impression of movement, hidden images, flashing and vibrating patterns, or of swelling or warping. After learning about Bridget Rily and the Op Art movement, students will create an Op Art heart and background for Valentine’s Day. KEY IDEAS THAT CONNECT TO VISUAL ARTS CORE CURRICULUM: Based on Utah State Visual Arts Core Curriculum Requirements (3rd Grade) Strand: CREATE (3.V.CR.) Students will generate artistic work by conceptualizing, organizing, and completing their artistic ideas. They will refine original work through persistence, reflection, and evaluation. Standard 3.V.CR.1: Elaborate on an imaginative idea and apply knowledge of available resources, tools, and technologies to investigate personal ideas through the art-making process. Standard 3.V.CR.2: Create a personally satisfying artwork using a variety of artistic processes and materials. Standard 3.V.CR.3: Demonstrate an understanding of the safe and proficient use of materials, tools and equipment for a variety of artistic processes.
    [Show full text]
  • In This Research Report We Will Explore the Gestalt Principles and Their Implications and How Human’S Perception Can Be Tricked
    The Gestalt Principles and there role in the effectiveness of Optical Illusions. By Brendan Mc Kinney Abstract Illusion are created in human perception in relation to how the mind process information, in this regard on to speculate that the Gestalt Principles are a key process in the success of optical illusions. To understand this principle the research paper will examine several optical illusions in the hopes that they exhibit similar traits used in the Gestalt Principles. In this research report we will explore the Gestalt Principles and their implications and how human’s perception can be tricked. The Gestalt Principles are the guiding principles of perception developed from testing on perception and how human beings perceive their surroundings. Human perception can however be tricked by understanding the Gestalt principles and using them to fool the human perception. The goal of this paper is to ask how illusions can be created to fool human’s perception using the gestalt principles as a basis for human’s perception. To examine the supposed, effect the Gestalt Principles in illusions we will look at three, the first being Rubin’s Vase, followed by the Penrose Stairs and the Kanizsa Triangle to understand the Gestalt Principles in play. In this context we will be looking at Optical Illusion rather than illusions using sound to understand the Gestalt Principles influence on human’s perception of reality. Illusions are described as a perception of something that is inconsistent with the actual reality (dictionary.com, 2015). How the human mind examines the world around them can be different from the actuality before them, this is due to the Gestalt principles influencing people’s perception.
    [Show full text]