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Hans-Joachim Maempel, and Michael Horn, Audiovisual perception of real and virtual rooms. Journal of Virtual Reality and Broadcasting, 14(2017), no. 5. (urn:nbn:de:0009-6-46683)

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%0 Journal Article
%T Audiovisual perception of real and virtual rooms
%A Maempel, Hans-Joachim
%A Horn, Michael
%J Journal of Virtual Reality and Broadcasting
%D 2018
%V 14(2017)
%N 5
%@ 1860-2037
%F maempel2018
%X Virtual environments utilized in experimental perception research are normally required to provide rich physical cues if they are to yield externally valid perceptual results. We investigated the perceptual difference between a real environment and a virtual environment under optical, acoustic, and optoacoustic conditions by conducting a 2 x 3 mixed design, with environment as a between-subjects factor and domain as a within-subjects factor. The dependent variables comprised auditory, visual, and audiovisual features including geometric estimates, aesthetic judgments, and sense of spatial presence. The real environment consisted of four visible loudspeakers in a small concert hall, playing back an anechoic multichannel recording of a string quartet. In the virtual environment, deemed the Virtual Concert Hall, the scene was reproduced three-dimensionally by applying dynamic binaural synthesis and stereoscopic projection on a 160° cylindrical screen. Most unimodal features were rated almost equally across the environments under both the optical/acoustic and the optoacoustic conditions. Estimates of geometric dimensions were lower (though not necessarily less accurate) in the virtual than in the real environment. Aesthetic features were rated almost equally across the environments under the acoustic condition, but not the optical, and similarly under the optoacoustic condition. Further results indicate that unimodal features of room perception might be subject to cognitive reconstruction due to both information acquired from another stimulus domain and abstract experiential knowledge of rooms. In conclusion, the validity of the Virtual Concert Hall for certain experimental applications is discussed.
%L 004
%K audiovisual perception
%K binaural synthesis
%K concert hall
%K room acoustics
%K simulation
%K stereoscopy
%K virtual reality
%R 10.20385/1860-2037/14.2017.5
%U http://nbn-resolving.de/urn:nbn:de:0009-6-46683
%U http://dx.doi.org/10.20385/1860-2037/14.2017.5
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@Article{maempel2018,
  author = 	"Maempel, Hans-Joachim
		and Horn, Michael",
  title = 	"Audiovisual perception of real and virtual rooms",
  journal = 	"Journal of Virtual Reality and Broadcasting",
  year = 	"2018",
  volume = 	"14(2017)",
  number = 	"5",
  keywords = 	"audiovisual perception; binaural synthesis; concert hall; room acoustics; simulation; stereoscopy; virtual reality",
  abstract = 	"Virtual environments utilized in experimental perception research are normally required to provide rich physical cues if they are to yield externally valid perceptual results. We investigated the perceptual difference between a real environment and a virtual environment under optical, acoustic, and optoacoustic conditions by conducting a 2 x 3 mixed design, with environment as a between-subjects factor and domain as a within-subjects factor. The dependent variables comprised auditory, visual, and audiovisual features including geometric estimates, aesthetic judgments, and sense of spatial presence. The real environment consisted of four visible loudspeakers in a small concert hall, playing back an anechoic multichannel recording of a string quartet. In the virtual environment, deemed the Virtual Concert Hall, the scene was reproduced three-dimensionally by applying dynamic binaural synthesis and stereoscopic projection on a 160{\textdegree} cylindrical screen. Most unimodal features were rated almost equally across the environments under both the optical/acoustic and the optoacoustic conditions. Estimates of geometric dimensions were lower (though not necessarily less accurate) in the virtual than in the real environment. Aesthetic features were rated almost equally across the environments under the acoustic condition, but not the optical, and similarly under the optoacoustic condition. Further results indicate that unimodal features of room perception might be subject to cognitive reconstruction due to both information acquired from another stimulus domain and abstract experiential knowledge of rooms. In conclusion, the validity of the Virtual Concert Hall for certain experimental applications is discussed.",
  issn = 	"1860-2037",
  doi = 	"10.20385/1860-2037/14.2017.5",
  url = 	"http://nbn-resolving.de/urn:nbn:de:0009-6-46683"
}
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RIS

TY  - JOUR
AU  - Maempel, Hans-Joachim
AU  - Horn, Michael
PY  - 2018
DA  - 2018//
TI  - Audiovisual perception of real and virtual rooms
JO  - Journal of Virtual Reality and Broadcasting
VL  - 14(2017)
IS  - 5
KW  - audiovisual perception
KW  - binaural synthesis
KW  - concert hall
KW  - room acoustics
KW  - simulation
KW  - stereoscopy
KW  - virtual reality
AB  - Virtual environments utilized in experimental perception research are normally required to provide rich physical cues if they are to yield externally valid perceptual results. We investigated the perceptual difference between a real environment and a virtual environment under optical, acoustic, and optoacoustic conditions by conducting a 2 x 3 mixed design, with environment as a between-subjects factor and domain as a within-subjects factor. The dependent variables comprised auditory, visual, and audiovisual features including geometric estimates, aesthetic judgments, and sense of spatial presence. The real environment consisted of four visible loudspeakers in a small concert hall, playing back an anechoic multichannel recording of a string quartet. In the virtual environment, deemed the Virtual Concert Hall, the scene was reproduced three-dimensionally by applying dynamic binaural synthesis and stereoscopic projection on a 160° cylindrical screen. Most unimodal features were rated almost equally across the environments under both the optical/acoustic and the optoacoustic conditions. Estimates of geometric dimensions were lower (though not necessarily less accurate) in the virtual than in the real environment. Aesthetic features were rated almost equally across the environments under the acoustic condition, but not the optical, and similarly under the optoacoustic condition. Further results indicate that unimodal features of room perception might be subject to cognitive reconstruction due to both information acquired from another stimulus domain and abstract experiential knowledge of rooms. In conclusion, the validity of the Virtual Concert Hall for certain experimental applications is discussed.
SN  - 1860-2037
UR  - http://nbn-resolving.de/urn:nbn:de:0009-6-46683
DO  - 10.20385/1860-2037/14.2017.5
ID  - maempel2018
ER  -
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ISI

PT Journal
AU Maempel, H
   Horn, M
TI Audiovisual perception of real and virtual rooms
SO Journal of Virtual Reality and Broadcasting
PY 2018
VL 14(2017)
IS 5
DI 10.20385/1860-2037/14.2017.5
DE audiovisual perception; binaural synthesis; concert hall; room acoustics; simulation; stereoscopy; virtual reality
AB Virtual environments utilized in experimental perception research are normally required to provide rich physical cues if they are to yield externally valid perceptual results. We investigated the perceptual difference between a real environment and a virtual environment under optical, acoustic, and optoacoustic conditions by conducting a 2 x 3 mixed design, with environment as a between-subjects factor and domain as a within-subjects factor. The dependent variables comprised auditory, visual, and audiovisual features including geometric estimates, aesthetic judgments, and sense of spatial presence. The real environment consisted of four visible loudspeakers in a small concert hall, playing back an anechoic multichannel recording of a string quartet. In the virtual environment, deemed the Virtual Concert Hall, the scene was reproduced three-dimensionally by applying dynamic binaural synthesis and stereoscopic projection on a 160° cylindrical screen. Most unimodal features were rated almost equally across the environments under both the optical/acoustic and the optoacoustic conditions. Estimates of geometric dimensions were lower (though not necessarily less accurate) in the virtual than in the real environment. Aesthetic features were rated almost equally across the environments under the acoustic condition, but not the optical, and similarly under the optoacoustic condition. Further results indicate that unimodal features of room perception might be subject to cognitive reconstruction due to both information acquired from another stimulus domain and abstract experiential knowledge of rooms. In conclusion, the validity of the Virtual Concert Hall for certain experimental applications is discussed.
ER
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  <abstract>Virtual environments utilized in experimental perception research are normally required to provide rich physical cues if they are to yield externally valid perceptual results. We investigated the perceptual difference between a real environment and a virtual environment under optical, acoustic, and optoacoustic conditions by conducting a 2 x 3 mixed design, with environment as a between-subjects factor and domain as a within-subjects factor. The dependent variables comprised auditory, visual, and audiovisual features including geometric estimates, aesthetic judgments, and sense of spatial presence. The real environment consisted of four visible loudspeakers in a small concert hall, playing back an anechoic multichannel recording of a string quartet. In the virtual environment, deemed the Virtual Concert Hall, the scene was reproduced three-dimensionally by applying dynamic binaural synthesis and stereoscopic projection on a 160° cylindrical screen. Most unimodal features were rated almost equally across the environments under both the optical/acoustic and the optoacoustic conditions. Estimates of geometric dimensions were lower (though not necessarily less accurate) in the virtual than in the real environment. Aesthetic features were rated almost equally across the environments under the acoustic condition, but not the optical, and similarly under the optoacoustic condition. Further results indicate that unimodal features of room perception might be subject to cognitive reconstruction due to both information acquired from another stimulus domain and abstract experiential knowledge of rooms. In conclusion, the validity of the Virtual Concert Hall for certain experimental applications is discussed.</abstract>
  <subject>
    <topic>audiovisual perception</topic>
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    <topic>concert hall</topic>
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    <topic>stereoscopy</topic>
    <topic>virtual reality</topic>
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Full Metadata

Bibliographic Citation JVRB, 14(2017), no. 5.
Title

Audiovisual perception of real and virtual rooms (ger)
Author Hans-Joachim Maempel, Michael Horn
Language ger
Abstract Virtual environments utilized in experimental perception research are normally required to provide rich physical cues if they are to yield externally valid perceptual results. We investigated the perceptual difference between a real environment and a virtual environment under optical, acoustic, and optoacoustic conditions by conducting a 2 x 3 mixed design, with environment as a between-subjects factor and domain as a within-subjects factor. The dependent variables comprised auditory, visual, and audiovisual features including geometric estimates, aesthetic judgments, and sense of spatial presence. The real environment consisted of four visible loudspeakers in a small concert hall, playing back an anechoic multichannel recording of a string quartet. In the virtual environment, deemed the Virtual Concert Hall, the scene was reproduced three-dimensionally by applying dynamic binaural synthesis and stereoscopic projection on a 160° cylindrical screen. Most unimodal features were rated almost equally across the environments under both the optical/acoustic and the optoacoustic conditions. Estimates of geometric dimensions were lower (though not necessarily less accurate) in the virtual than in the real environment. Aesthetic features were rated almost equally across the environments under the acoustic condition, but not the optical, and similarly under the optoacoustic condition. Further results indicate that unimodal features of room perception might be subject to cognitive reconstruction due to both information acquired from another stimulus domain and abstract experiential knowledge of rooms. In conclusion, the validity of the Virtual Concert Hall for certain experimental applications is discussed.
Subject audiovisual perception, binaural synthesis, concert hall, room acoustics, simulation, stereoscopy, virtual reality
Classified Subjects
swd
  • 4399931-1, Virtuelle Realität
  • 4048567-5, Raumakustik
DDC 004
Rights DPPL
URN: urn:nbn:de:0009-6-46683
DOI https://doi.org/10.20385/1860-2037/14.2017.5