The Shepard-Risset Glissando: Identifying the Origins of Metaphorical Auditory Vection and Motion Sickness

Body representation drives auditory spatial perception

In contrast to the large body of findings confirming the influence of auditory cues on body perception and movement-related activity, the influence of body representation on spatial hearing remains essentially unexplored. Here, we use a disorientation task to assess whether a change in the body's orientation in space could lead to an illusory shift in the localization of a sound source. While most of the participants were initially able to locate the sound source with great precision, they all made substantial errors in judging the position of the same sound source following the body orientation-altering task. These results demonstrate that a change in body orientation can have a significant impact on the auditory processes underlying sound localization. The illusory errors not only confirm the strong connection between the auditory system and the representation of the body in space but also raise questions about the importance of hearing in determining spatial position.

Measuring vection: a review and critical evaluation of different methods for quantifying illusory self-motion

The sensation of self-motion in the absence of physical motion, known as vection, has been scientifically investigated for over a century. As objective measures of, or physiological correlates to, vection have yet to emerge, researchers have typically employed a variety of subjective methods to quantify the phenomenon of vection. These measures can be broadly categorized into the occurrence of vection (e.g., binary choice yes/no), temporal characteristics of vection (e.g., onset time/latency, duration), the quality of the vection experience (e.g., intensity rating scales, magnitude estimation), or indirect (e.g., distance travelled) measures. The present review provides an overview and critical evaluation of the most utilized vection measures to date and assesses their respective merit. Furthermore, recommendations for the selection of the most appropriate vection measures will be provided to assist with the process of vection research and to help improve the comparability of research findings across different vection studies.

A virtual reality study investigating the train illusion

The feeling of self-movement that occurs in the absence of physical motion is often referred to as vection, which is commonly exemplified using the train illusion analogy (TIA). Limited research exists on whether the TIA accurately exemplifies the experience of vection in virtual environments (VEs). Few studies complemented their vection research with participants' qualitative feedback or by recording physiological responses, and most studies used stimuli that contextually differed from the TIA. We investigated whether vection is experienced differently in a VE replicating the TIA compared to a VE depicting optic flow by recording subjective and physiological responses. Additionally, we explored participants' experience through an open question survey. We expected the TIA environment to induce enhanced vection compared to the optic flow environment. Twenty-nine participants were visually and audibly immersed in VEs that either depicted optic flow or replicated the TIA. Results showed optic flow elicited more compelling vection than the TIA environment and no consistent physiological correlates to vection were identified. The post-experiment survey revealed discrepancies between participants' quantitative and qualitative feedback. Although the dynamic content may outweigh the ecological relevance of the stimuli, it was concluded that more qualitative research is needed to understand participants' vection experience in VEs.

Something in the Sway: Effects of the Shepard-Risset Glissando on Postural Activity and Vection

This study investigated claims of disrupted equilibrium when listening to the Shepard-Risset glissando (which creates an auditory illusion of perpetually ascending/descending pitch). During each trial, 23 participants stood quietly on a force plate for 90 s with their eyes either open or closed (30 s pre-sound, 30 s of sound and 30 s post-sound). Their centre of foot pressure (CoP) was continuously recorded during the trial and a verbal measure of illusory self-motion (i.e., vection) was obtained directly afterwards. As expected, vection was stronger during Shepard-Risset glissandi than during white noise or phase-scrambled auditory control stimuli. Individual differences in auditorily evoked postural sway (observed during sound) were also found to predict the strength of this vection. Importantly, the patterns of sway induced by Shepard-Risset glissandi differed significantly from those during our auditory control stimuli - but only in terms of their temporal dynamics. Since significant sound type differences were not seen in terms of sway magnitude, this stresses the importance of investigating the temporal dynamics of sound-posture interactions.

Multisensory Effects on Illusory Self-Motion (Vection): the Role of Visual, Auditory, and Tactile Cues

A critical component to many immersive experiences in virtual reality (VR) is vection, defined as the illusion of self-motion. Traditionally, vection has been described as a visual phenomenon, but more recent research suggests that vection can be influenced by a variety of senses. The goal of the present study was to investigate the role of multisensory cues on vection by manipulating the availability of visual, auditory, and tactile stimuli in a VR setting. To achieve this, 24 adults (Mage = 25.04) were presented with a rotating stimulus aimed to induce circular vection. All participants completed trials that included a single sensory cue, a combination of two cues, or all three cues presented together. The size of the field of view (FOV) was manipulated across four levels (no-visuals, small, medium, full). Participants rated vection intensity and duration verbally after each trial. Results showed that all three sensory cues induced vection when presented in isolation, with visual cues eliciting the highest intensity and longest duration. The presence of auditory and tactile cues further increased vection intensity and duration compared to conditions where these cues were not presented. These findings support the idea that vection can be induced via multiple types of sensory inputs and can be intensified when multiple sensory inputs are combined.