Perception while watching movies: Effects of physical screen size and scene type

Narrative predicts cardiac synchrony in audiences

Audio-visual media possesses a remarkable ability to synchronise audiences' neural, behavioural, and physiological responses. This synchronisation is considered to reflect some dimension of collective attention or engagement with the stimulus. But what is it about these stimuli that drives such strong engagement? There are several properties of media stimuli which may lead to synchronous audience response: from low-level audio-visual features, to the story itself. Here, we present a study which separates low-level features from narrative by presenting participants with the same content but in separate modalities. In this way, the presentations shared no low-level features, but participants experienced the same narrative. We show that synchrony in participants' heart rate can be driven by the narrative information alone. We computed both visual and auditory perceptual saliency for the content and found that narrative was approximately 10 times as predictive of heart rate as low-level saliency, but that low-level audio-visual saliency has a small additive effect towards heart rate. Further, heart rate synchrony was related to a separate cohorts' continuous ratings of immersion, and that synchrony is likely to be higher at moments of increased narrative importance. Our findings demonstrate that high-level narrative dominates in the alignment of physiology across viewers.

Implementing virtual reality technology to teach medical college systemic anatomy: A pilot study

It can be difficult for some students to learn three-dimensional anatomical structure concepts. While virtual reality (VR) systems have been reported as helpful for learning, there has been scarce research on either VR teaching strategies or the influence of visually induced motion sickness (VIMS) in the context of large anatomy classes (i.e., over 100 students). The study thus aimed to (1) establish a VR anatomy instruction video for a large class; (2) determine how many students experience VIMS when watching a VR anatomy instruction video; (3) evaluate the influence of VIMS on VR anatomy video-based learning; and (4) examine whether a small screen size alleviates VIMS. Laboratory course students viewing a VR anatomy instruction video about the vascular system were invited to participate in the questionnaire survey. Anatomy faculty and staff participated in an experimental trial to determine whether small screen size could alleviate VIMS. The Likert scale survey revealed that students reported the VR strategy as advantageous and appropriate for large classes, but that it cannot replace practical dissection. Of the total participants, 32% reported experiencing VIMS, and 40% of those experiencing VIMS agreed that this could negatively impact their learning through a VR anatomy instruction video. Adjusting the screen size from large to small significantly delayed the onset of VIMS. In conclusion, the VR anatomy instruction video strategy is feasible and helpful for large classes, but educators should consider VIMS when planning their use of this teaching approach.

Audience immersion: validating attentional and physiological measures against self-report

When an audience member becomes immersed, their attention shifts towards the media and story, and they allocate cognitive resources to represent events and characters. Here, we investigate whether it is possible to measure immersion using continuous behavioural and physiological measures. Using television and film clips, we validated dual-task reaction times, heart rate, and skin conductance against self-reported narrative engagement. We find that reaction times to a secondary task were strongly positively correlated with self-reported immersion: slower reaction times were indicative of greater immersion, particularly emotional engagement. Synchrony in heart rate across participants was associated with self-reported attentional and emotional engagement with the story, although we found no such relationship with skin conductance. These results establish both dual-task reaction times and heart rate as candidate measures for the real-time, continuous, assessment of audience immersion.

The Effects of Smartphone Spectatorship on Attention, Arousal, Engagement, and Comprehension

The popularity of watching movies and videos on handheld devices is rising, yet little attention has been paid to its impact on viewer behaviour. Smartphone spectatorship is characterized by the small handheld screen as well as the viewing environment where various unrelated stimuli can occur, providing possible distractions from viewing. Previous research suggests that screen size, handheld control, and external stimuli can affect viewing experience; however, no prior studies have combined these factors or applied them for the specific case of smartphones. In the present study, we compared smartphone and large-screen viewing of feature films in the presence and absence of external distractors. Using a combination of eye tracking, electrodermal activity measures, self-reports, and recollection accuracy tests, we measured smartphone-accustomed viewers' attention, arousal, engagement, and comprehension. The results revealed the impact of viewing conditions on eye movements, gaze dispersion, electrodermal activity, self-reports of engagement, as well as comprehension. These findings show that smartphone viewing is more effective when there are no distractions, and smartphone viewers are more likely to be affected by external stimuli. In addition, watching large stationary screens in designated viewing environments increases engagement with a movie.

Does narrative drive dynamic attention to a prolonged stimulus?

Attention in the "real world" fluctuates over time, but these fluctuations are hard to examine using a timed trial-based experimental paradigm. Here we use film to study attention. To achieve short-term engagement, filmmakers make use of low-level cinematic techniques such as color, movement and sound design to influence attention. To engage audiences over prolonged periods of time, narrative structure is used. In this experiment, participants performed a secondary auditory choice reaction time (RT) task to measure attention while watching a film. In order to explore the role of narrative on attention, we manipulated the order that film segments were presented. The influence of narrative was then compared to the contribution of low-level features (extracted using a computer-based saliency model) in a multiple regression analysis predicting choice RT. The regression model successfully predicted 28% of the variance in choice RT: 13% was due to low-level saliency, and 8% due to the narrative. This study shows the importance of narrative in determining attention and the value of studying attention with a prolonged stimulus such as film.

Effects of prolonged exposure to feedback delay on the qualitative subjective experience of virtual reality

When interacting with virtual environments, feedback delays between making a movement and seeing the visual consequences of that movement are detrimental for the subjective quality of the VR experience. Here we used standard measures of subjective experiences such as ownership, agency and presence to investigate whether prolonged exposure to the delay, and thus the possibility to adapt to it, leads to the recovery of the qualitative experience of VR. Participants performed a target-tracking task in a Virtual Reality environment. We measured the participants’ tracking performance in terms of spatial and temporal errors with respect to the target in both No-Delay and Delay conditions. Additionally, participants rated their sense of “ownership” of holding a virtual tool, agency and presence on each trial using sliding scales. These single trial ratings were compared to the results of the more traditional questionnaires for ownership and agency and presence for both No-Delay and Delay conditions. We found that the participants’ sliding scales ratings corresponded very well to the scores obtained from the traditional questionnaires. Moreover, not only did participants behaviourally adapt to the delay, their ratings of ownership and agency significantly improved with prolonged exposure to the delay. Together the results suggest a tight link between the ability to perform a behavioural task and the subjective ratings of ownership and agency in virtual reality.

The big picture: effects of surround on immersion and size perception

Despite the fear of the entertainment industry that illegal downloads of films might ruin their business, going to the movies continues to be a popular leisure activity. One reason why people prefer to watch movies in cinemas may be the surround of the movie screen or its physically huge size. To disentangle the factors that might contribute to the size impression, we tested several measures of subjective size and immersion in different viewing environments. For this purpose we built a model cinema that provided visual angle information comparable with that of a real cinema. Subjects watched identical movie clips in a real cinema, a model cinema, and on a display monitor in isolation. Whereas the isolated display monitor was inferior, the addition of a contextual model improved the viewing immersion to the extent that it was comparable with the movie theater experience, provided the viewing angle remained the same. In a further study we built an identical but even smaller model cinema to unconfound visual angle and viewing distance. Both model cinemas produced similar results. There was a trend for the larger screen to be more immersive; however, viewing angle did not play a role in how the movie was evaluated.

Empirical aesthetics, the beautiful challenge: An introduction to the special issue on Art & Perception

The i-Perception special issue Art & Perception is based on the Art & Perception Conference 2010 in Brussels. Our vision with this conference was to bring together artists and vision scientists from different backgrounds to exchange views and state-of-the-art knowledge on art perception and aesthetics. The complexity of the experience of art and of aesthetic phenomena, in general, calls for specific research approaches, for which interdisciplinarity seems to be key. Following this logic, the special issue Art & Perception contains contributions by artists and vision scientists with different methodological approaches. The contributions span a wide range of topics, but are all centred around two questions: How can one understand art perception and aesthetics from a psychological point of view, and how is this reflected in art itself?

Components of aesthetic experience: aesthetic fascination, aesthetic appraisal, and aesthetic emotion

In this paper aesthetic experience is defined as an experience qualitatively different from everyday experience and similar to other exceptional states of mind. Three crucial characteristics of aesthetic experience are discussed: fascination with an aesthetic object (high arousal and attention), appraisal of the symbolic reality of an object (high cognitive engagement), and a strong feeling of unity with the object of aesthetic fascination and aesthetic appraisal. In a proposed model, two parallel levels of aesthetic information processing are proposed. On the first level two sub-levels of narrative are processed, story (theme) and symbolism (deeper meanings). The second level includes two sub-levels, perceptual associations (implicit meanings of object's physical features) and detection of compositional regularities. Two sub-levels are defined as crucial for aesthetic experience, appraisal of symbolism and compositional regularities. These sub-levels require some specific cognitive and personality dispositions, such as expertise, creative thinking, and openness to experience. Finally, feedback of emotional processing is included in our model: appraisals of everyday emotions are specified as a matter of narrative content (eg, empathy with characters), whereas the aesthetic emotion is defined as an affective evaluation in the process of symbolism appraisal or the detection of compositional regularities.