From Thought to Reality

This particular entry discusses a perspective that can be had towards Virtual Reality technology, and in so describes a certain way of understanding or relating to it. The aim is to provide, if not a theory, at least a perspective that resonates with the experience of creating and experiencing a virtual world.  This perspective was first worked upon in preparation for the 2019 Christie Conference at The University of Bergen — and is here developed further in text. The perspective tries to approach an understanding of what gives the virtual its magical qualities — and how this comes to be.

The Hobgoblin, a powerful wizard that travels through realms on his black panther. Illustration by Tove Jansson.

The Experience of Virtual Reality

VR has the capability of enchanting us. It has the power to introduce us to virtual worlds — and represent our designs in ‘the format of reality’. The content appears non-mediated, something Metzinger relates to the «phenomenal transparency» of the mind — we see «through the medium» —  and so only the content of the representation is available for introspective access. As with our mind, the underlying processes are hidden to us, and to experience VR is to experience the content it presents, not what lies beneath it.

There is a certain kind of experience that is exclusive to VR.  Finding oneself in a virtual world — orienting, navigating and interacting with it — produces an experience of a certain distinct character.  There is something intriguing, stimulating and marvelously weird in experiencing virtual realities. The experiential quality is affected by the sheer virtuality, or unreality, of it — and this, in turn, may make the illusion unexpected and beautiful. The experience has a certain quality to it: the disassociation between its unreality on the one hand and feeling of reality on the other. We know that VR is a synthesized, not-naturally-occurring experience, and further that we react to these stimuli as if they were real. Due to its unique character of offering convincing illusions, and our unique quality of, on the one hand seeing through them, and on the other being totally helpless in responding to it as if it weren’t real — we get the weird, thrilling experience of VR. The clear illusion; the transparent veil — a weaving of smoke: beautiful, but not substantial.

How did this oxymoron of technology — VR — come to be? What does it represent in us as humans? And last but not least, how should we view, relate to, and approach the emerging virtual worlds that the technology will enable for us?

Origins of Virtual Reality

A central aspect we have to address as part of this investigation is the origins of VR. Why did it arise, and what does it mean to us? This will ultimately affect the way we relate to and understand the medium. To do this, we can look into what desire of ours that the technology has fulfilled. Although we have previously discussed the History of VR this does not really account for the underlying motivations or dreams, but rather their outward results in terms of the resulting technology. Thus, when we instead want to discuss the origins of the idea of VR, we are attempting to approach technology “in its essence” — through its origin. For some readers, this may not be unfamiliar, as we have discussed this somewhat lengthy and theoretically in our three-series entry on Heidegger and VR. Here we will limit his technology criticism to a brief summary of two sentences:  Heidegger’s definition of technology as “not in itself something technological” means that the origins of the technology we use, and what it is and means to us in its essence, leans more towards an underlying ideal and thought than what it does towards different physical artifacts. Technology is, essentially, a way of viewing the world.

Fingolfin, Elf and High King of the Noldor, in a duel against Morgoth Bauglir, fallen Melkor of the Valar. Fingolfin and Morgoth can each represent different ways of embracing technology (read below)

Virtual Reality as Thought

If we shall try to understand the earliest origin of VR, it is appropriate to consider VR as an idea. Essentially a thought, or even a dream. The dream of being able to define reality, creating a re-presentation: the same dream that inspired cave paintings several ten thousands of years ago. VR is a product of the creative element in humans, for good and for worse. The dream of absolute control over matter, but also, the dream of a creative medium without limitations.

Similarly to how Heidegger imagined art as the potential savior of the way technology enframes the world and ourselves, J.R.R Tolkien’s distinction of magic in the universe of The Lord of The Rings can serve as a metaphor. The Elves use their magic only for artistic purposes and are consciously aware of the difference between reality and deception — the enemy, however, uses it to deceive and control. Heidegger’s point of technology is similar — technology (techne) may separate us from a more original revealing of truth by enframing the world in a certain narrative or story, while art (poiesis) may open up reality towards new interpretations. In Tolkien’s magic for purposes of domination, there is a will that is opposed to nature and thus will have to veil nature in its bringing-forth of its ‘truth’ or end. Similarly, Heidegger’s technology, as a way of revealing-concealing, will, to achieve its success, have to enframe nature and man with it — it reduces us to mere means to ends, not ends in ourselves. Tolkien’s elves use their magic in harmony with the real world; and similarly, Heidegger’s more preferred technologies let nature be as it is, instead of enframing it as a means to an end.

How are we to think of VR according to these technology criticisms? Whether we view the potentiality of the virtual as the dream of absolute control or domination (as Morgoth would have), or rather its potential for creative revealing and enhancement of the world (Fingolfin) — we can view VR as a Technology according to Heidegger, or as Magic according to Tolkien. Readers who are interested in what or how a Heidegger or Tolkien-inspired VR-application could be can go on to read the authors position paper in one of our latest blog entries. There we discuss the concept of an existentialist design — a “controlled accident” —which does not seek to dominate the user experience, but rather open the world up to new interpretations.

Virtual Reality as Reality

The exploration of VR as thought, or essentially as an idea, have taken us thus far. This idea or thought of VR is, however, now more actualized than ever — and what was once primarily an idea, is now more than ever a reality that we can relate to. We are able to step in, and immerse ourselves, in worlds after our own design. We can actualize, externalize, and instantiate our designs.

Memory Palaces are systems of thought that utilizes visual and spatial cues to aid memorization.

An example of this that can illuminate the perspective of VR as thought, is the Virtual Reality Memory Palace. This ancient mnemonic (it is mentioned by Cicero in De Oratore as early as 55 BC) is based on thought: we are to close our eyes and visualize what we want to recall in the memory palace.

The memory palace is then, as the origins of VR, an idea or thought. It is internal and subjective. VR, however, allows the externalization of thought. In the same way that the idea of VR is now actualized, it allows the externalization of other ideas. We can use technology to immerse ourselves in the instantiated ideas of our mind. Is then akin to the works of Morgoth Bauglir, or Fingolfin son of Fëanor? This will depend on which thoughts are actualized: it depends on which levels of our inner being we want to realize as our outer world.

Conclusion

This entry has discussed a perspective on VR that compares it to the magic: through VR, we can define our external reality based on our inner thought. VR can be perceived as the materializer of form; the instantiator of the abstract. We described Heidegger’s explicit technology criticism and paralleled it to Tolkien’s implicit one. We also linked this to the authors position paper on a Heidegger-inspired VR technology.

This entry is at the core of Matrise’s interests, and if you want further reading, these previous entries are related:

1: Inner as Outer: Projecting Mental States as External Reality

2: Sensory Deprivation — Floating in Virtual Reality

3: On Mediums of Abstraction and Transparency

4: Heidegger’s Virtual Reality

5: The Mind as Medium

 

 

Existentialist Design

The term “Philosophy” can refer to a method or approach to investigate how we should relate to and understand ourselves and the world. Moreover, how we understand ourselves and the world is dependent on technology — especially in the case of mediums that present and abstract information to us. We have previously at Matrise discussed the philosophy of technology as a subfield of Philosophy. In this entry, however, we will discuss how philosophy can, concretely and directly, inform information technologies — especially within the field of Human-Computer Interaction.

Martin Heidegger by Barry Bruner.

That how we understand ourselves and the world is dependent on technology is being recognized this year at the CHI 2019 conference in May on Human Factors in Computing Systems — the premier international conference on Human-Computer Interaction (HCI). In December last year, there was issued a call for position papers to a workshop called “Standing on the Shoulders of Giants: exploring the intersection of Philosophy and HCI“, led by experienced researchers with experience in philosophically informed design or research. In the call they write:

“Philosophy has provided a vital perspective for HCI on how we navigate, experience, understand and judge the world around us and its artifacts. Lately, HCI scholars have also sought to use philosophy’s program of answering what it means to live a “good” life to investigate the ethical and moral implications of the technologies we design. As philosophy in its many forms continues to open up new influences and our relations with technology broaden, we believe it is timely to have a meta-discussion about what links philosophy and HCI. As we understand it, philosophy’s strength lies in its diversity, depth, and interpretive flexibility.”

I’m attending CHI as I am an author of a paper there and was naturally interested in submitting a position paper. In the position paper,  I present a view of design inspired by philosophical thinkers such as Kierkegaard and Heidegger, where the aim of the design is a controlled accident in which we do not want to dominate the user experience, but rather open up for new experiences that can be interpreted by the user.

The rest of the entry is best explained by the position paper itself, with its abstract, introduction, body and conclusion. The paper can also be download and read at ResearchGate.

Title: A Controlled Accident: Imagining VR as a Catalysator for Self-exploration

Abstract
In this position paper, I discuss an existentialist design approach towards Human-Computer Interaction (HCI). The aim of the existentialist designer is to not dominate the user experience, but rather to design for a controlled accident in which the medium itself is explored, and one’s self through the medium, where the overarching purpose is the exploration itself. This line of thinking is inspired by existential philosophers such as Kierkegaard and Heidegger, and its aim can be illustrated in how Kierkegaard discusses life not as a ‘problem to be solved, but a reality to be experienced.’ The hope is that such an approach towards technology escapes the somewhat limited view of technology as simply a tool to get from A to B, and that technology may be seen as a lens through which reality can be presented free from an otherwise culturally enframing narrative. The aim is, therefore, to design technology as a catalysator for a more original revealing of truth. The paper illustrates this with an example of the employment of Virtual Reality (VR) technology in sensory deprivation tanks.


Introduction
According to Martin Heidegger’s technology criticism, the essence of technology is not itself something technological. Put way too short, technology is rather a way that we understand the world, or in Heidegger’s words, ‘a way of revealing’ (Heidegger, 1977). What we reveal in this technological framework, that is, what we deem as true, is not necessarily the truth, but only ‘correct’ relative to the framework itself. Thus, the common correct definition of technology – that technology is a human activity and a means to an end – although correct relative to the technological narrative, is not necessarily true. For Heidegger, these two definitions must not only be combined, as in that it is a human activity to think of means to ends, we must also recursively look on how this activity impacts the way we look at the statement itself.

It is the mindset of thinking in terms of means and ends, of interpreting and enframing things within this technological framework, which is the essence of technology according to Heidegger. When Heidegger speaks of ‘revealing’, he means what is presented as true and brought forth into that way of revealing. In the case of the technological framework, what is revealed is within the narratology of ‘man versus nature’, which is a fundamental view that reveals the world as such. For Heidegger, the danger is that man himself cannot escape his enframing, and that it ‘may be denied for him to enter into a more original revealing’. Heidegger’s brief comment towards a solution to this problem – although he explicitly states that modifying technology can never be the answer – is a different kind of technology, or techne, poiesis; the Greek word for both art and technology. Here he refers to art, as art is not fixed in terms of interpretation or the straight rules of means to ends, and A’s to B’s, and may, therefore, bring a more original revealing – or at least another narrative that provides another revealing.

Martin Heidegger contributed to the existential and phenomenological tradition of Philosophy in the mid-1900s. Although he never lived to see Information Technology, his philosophy on technology is not necessarily concerned with the details of different technologies, but rather what technology is in its essence. In this way, his works may still influence the design of artifacts in Human-Computer Interaction (HCI) in the 2020s. But how can existential philosophy benefit the research of the relationship between humans and machines? How can such a critical view of technology in its essence benefit the design of technology?

Existentialism in HCI
Arguably, methods and approaches appropriate for creating usable, enjoyable, and practically useful products and services, cannot be assumed to be also appropriate for addressing the issue of how technology is related to the most fundamental aspects of human existence” (Kaptelinin, 2018).

Kaptelinin (2018) presents a broad overview of previous existential approaches to the field of HCI. The paper is further contributive and practical in that it approaches a framework compatible with where HCI is today. Kaptelinin (2018) writes that previous attempts at employing existentialism in HCI research has not been very popular, and argues this is because it is ‘too distant from traditional HCI problems and concerns, and too abstract to provide concrete support for analysis and design’ (p. 1). This is a danger for any approach inspired by an underlying ideal and something which this position paper also is subject to. For instance, Kaptelinin (2018) discusses Karlstrøm’s (2006) paper as criticizing the ‘problem-solving attitude of HCI’. As this paper will present a similar approach, it should, therefore, immediately comment on how problem-solving itself can be undesirable.

We may, therefore, begin by restating the points of Heidegger and Kierkegaard: the problem-solving can itself be a problem. In relating to the givens of existence, the solution is not necessarily to define them as problems and find strategies to eliminate them. An approach can, however, be to explore them and see them for what they are, and thus enter into a more authentic relationship with them. Problem-solving as an attitude may provide the illusion that a fix is possible by pushing through. Thus, existentialism may claim that it is not the givens of existence that is the problem, but rather how we relate to them, either as problems or something else. The standpoint, therefore, is that problem-solving may be the real problem, as it enframes the world as something that can be solved. This is correct relative to its own framework, but in cases of how we relate to the givens of existence, this need not necessarily be true. This is further coherent with the way Kaptelinin (2018) discuss existential psychotherapy: there is not one solution to it, and that may mean that we require technology that is far more open, adaptive and exploring. It may be that in these situations technology need not provide a solution, but perhaps even on the contrary be an important tool to reinstate the problem for a more clear inspection, and by means of this lay grounds for establishing a different relationship towards it.

The aim of such a technology will rather be to open up the world for new possible interpretations, than aiming for one specific function. The question that would be explored by interaction with such technologies is whether technology can help us break a certain narrative, or put in Heideggerian terms, whether technology provides us a more original revealing. In the next section, an example of a technology that can be used this way is presented.

Existentialism in HCI
In VR, presence is often defined as the degree to which the subject feels present in the virtual world. What is interesting to note, is that this naturally has to be viewed relatively to the degree that the subject feels present in the physical world as we usually receive information from both our physical and our virtual environments. There can thus be two separated approaches to designing for presence in virtual reality environments: one is to provide the sensory stimulus of the virtual environment, and the other is to block sensory stimulus from the physical environment. Both approaches work towards the same goal of immersion – the encapsulation of the user in the Virtual environment (VE).

Obviously, the principle of adding and removing sensory experience go hand in hand; by equipping a Head-Mounted Display you are blocking the physical impressions and replacing them with virtual impressions, all the while shielding for incoming light from the surroundings. Blocking light, however, is not the only way to deprive the senses of information from the physical environment. The inclusiveness of the immersion can also be achieved by sensory deprivation through floatation tanks.

Alone With Your Thoughts”, Illustration by Cole Ott

Floating in Virtual Reality
Floatation chambers, or sensory deprivation tanks, are pools of water with copious amounts of Epsom salt. The tanks are sealed for any incoming light and sound, and the air- and water temperature is equal to that of your body. When you lie down, you will feel how the salt makes you float even though the pool is very shallow. As you lie there, you notice how the ripples you created when lying down start to slowly subside as you sink down into weightlessness. After a while, because of the air- and water temperatures are the same as that of your body, you can no longer pinpoint where the water ends and the air around you begins. In fact, it gets hard to distinguish anything from anything else, including your body from the air and water. There is really nothing that is easy to grasp as isolated, save perhaps your breath. And as the minutes go, with total physical relaxation and lack of much sensory impression at all, things may start to change.

The most significant, explicit change one may notice in the tank is that after a while your bodily self-consciousness is not what it used to be. Your mental model of where your body is in relation to the world around you starts to become blurred. Normally reinforced by tactile stimuli of air and water (of varying temperatures), and visual and auditive stimuli from the environment, your body model is now lacking information on which to create it. Your sense of spaciousness has also changed – that is the feeling of your position as defined relatively to say, the walls, mountains, and the sky have disappeared. You now really experience nothing around you, but neither any edges to this lack of information about your surroundings. You may get the feeling of floating in empty space, but where are you in all of this? What, in this stream of conscious experience is matter and what is mind?

Example Experiment
To exemplify the ideas discussed in this paper, I imagine the following experiment. A user employs a VR HMD that is connected to biometric sensors, e.g. EEG, GSR, heart rate, breathing, etc. A connected computer visualizes the feedback through abstract imagery in a 3D visualization. The direct effect is that an abstraction of the user’s state is projected externally, but the application does not do a hard classification to moods in the form of emoticons. Rather, the user can meditate and explore the visualization as the floating continues and can establish a way of exploring the technology through relating to both the medium and through it themselves. It would further be interesting to use eye-tracking technology as a way of navigation in the vast, abstract visualizations. If one traveled towards where one saw, one could even be interactive while lying still in the floatation tank. This could also possibly have curious effects on which parts (perhaps the eyes), we identify with our selves âĂŤ perhaps the placement of our self could be altered by changing the agency for transportation. My interest in such a prototype or such a future experiment would be to which extent it could open us up to the direct here-and-now experience, and attempt to have experiences beyond the traditional subject-object hierarchy. It is existential in the sense that it seeks to delete the traditional narrative. 

Literature list

The Capture of Reality

When creating experiences for Immersive Virtual Reality, there are essentially two approaches. The first one of these is manual construction through Computer-Generated Imagery (CGI), and is how most games and VR experiences are made.  The second approach is far more automatic and attempts to ‘capture reality’ instead of actively generating it. It is this approach that we will discuss in this entry. In addition to presenting the technicalities of the methods of capture, we will also discuss its limitations, and provide an innovative example of how these can be solved in the future, drawn from a student project at the University of Bergen.

An early 360° camera — horisontally at least — probably the first with a synchronised shutter.

360° Video

In a previous article on Virtual Reality Journalism, we discussed how 360° 3D cameras can be used to present a user to an immersive experience. This approach has several unique benefits. First of all, it is far less time-consuming to capture and re-use already existing physical environments, instead of spending time creating it through 3D modelling. The same is perhaps especially the case when the environment involves any human actors, as it easier to avoid the uncanny valley effect and simultaneously maintain high standards of realism when using image capture equipment, than it is to create it with 3D animation.

How does it work?

360° cameras usually comprise two or more (ultra-)wide angle lenses. In the case of cameras with just two lenses, such as the GEAR 360 or Ricoh Theta V, each of these lenses then have to be able to capture 180° degrees horizontally and vertically. The recordings from these lenses, when raw straight from the camera, are separate — and need to be stitched together with software (for instance) an equirectangular view to compose a spherical view of 360° (See Illustration 2). Illustration 1 illustrates how the equirectangular format works, in the format of a world map, perhaps our most relatable example of spherical / global shapes presented in the format of rectangles.

Illustration 1: A relatable example of the equirectangular format. The furthest point west is close to the furthest point east, and as such we deal with a ‘sphere’, or more rightly globe, that is stretched out to a rectangle. The closer we get to the poles, such as Antarctica, the more the image is stretched, as the circumference of the earth is lesser at the poles.
Illustration 2: In this equirectangular photo, captured with a Ricoh Theta V, we see the same effect as in Illustration 1. My hands, which enclose the bottom of the camera, are given the same effects as Antarctica in the map. The stairs, however, which appear to be circular are straight, but it’s bending by the lenses are especially clear when viewing it ‘equirectangularly’.

When an equirectangular image is viewed through an HMD or a smartphone, the software selects only about 110° of 360° of the image, relying on the sensors in the HMD or phone on which degrees of the image to present.

3D Images

Although regular 360˚ cameras (GEAR VR; Ricoh Theta V) to a large extent cover the world as we see it in all it’s 360°, their images are still monoscopic. Essentially, this means that the same image  is presented to each eye when viewed in a HMD, and this is not the way we ordinarily see reality. As our eyes are distanced by a centimeter or two,  the visual feed slightly varies in its capture of reality. It is this which enables us to perceive the depth of the world, that is, when our eyes are not fooled by illusions exploiting this effect, such as VR itself. We discuss this in more detail in our entry on the History of VR, in which we discuss the invention of the Stereoscope, but a small introduction will also be given in this entry. Essentially, 3D 360˚ cameras utilise the same feature as human beings to capture depth, by separating the cameras similarly to that of the human eye. Such cameras are, however, more cumbersome and costly to produce, and to capture stereoscopic images one needs to double the minimum of lenses — leading to a minimum of four lenses —two for each eye for each 180˚ of capture. Unlike the  4K 360˚ monoscopic cameras available rather cheaply at the commercial market (from $200 and up), stereoscopic cameras have not entered the market at very reasonable prices yet. There is hope, however, and I can personally recommend Vuze+, a 360˚ 3D camera that deliver 4K resolution per eye, and comes with a well-designed acommpanying stitching- and editing software. The price is still a bit stiff for most non-professional use, at $1200, but it brings hope for future technology that these can soon be more affordable. We have used the Vuze+ camera in a research project at the University of Bergen, with good results. It is comparable to the quality of a Ricoh Theta V — except that it delivers the stereoscopic images rather than monoscopic ones.

Regarding Resolution

Unfortunately, a resolution of 4K per eye sounds great — and many are dissapointed when they view the recordings of a camera such as GEAR VR, Ricoh Theta, or the Vuze+. They may recall their images on their 4K TV as incredibly sharp, and yet, their recorded videos appear somewhat blurry and pixelated. The answer to why this is the case is quite simple. The 360˚ images do indeed have a 4K resolution, however, we are unable to view all the pixels at a time as they are stretched out on a sphere.  To keep matters simple, let’s say that your Head-Mounted Display has a Field of View of 90˚ (although most have 110˚). In this case, just  1/4 of the 4K image is being seen at any given time. Thus, we will have to divide the pixel count by four. This is somewhat simplified because of stretching, but it should be enough to get the point. To get an effective resolution of 4K, or something akin to 3K such as the HTC Vive Pro and Samsung Oddysey(+) can afford, one would need a far higher resolution of the cameras.

Another Step in Fidelity: Volumetric Video

At first thought, it may perhaps be hard to imagine how we can proceed to more details in immersive  360˚ 3D recordings except by increasing the resolution. As we briefly commented, however, stereoscopics in 3D movies at the cinema, or in 360˚ 3D recordings merely provide an illusion of depth — not actual depth. The same goes for our eyes, although they mostly perceive it correctly,  they are easily fooled. 360˚ 3D cameras is an example of this, they merely fool our eyes: although it seems that there is depth, we can not really move in the image — as there is no actual depth to it. Here, volumetric video acts differently, and affords positional interaction. Volumetric video attributes the recorded images in a 3D (x,y,z) space, in addition to delivering stereoscopy so that we can perceive it. Volumetric video is unfortunately very hard to create while still retaining high quality, and plug-and-play solutions still seem far off. To get an idea of how volumetric video works, we recommend to look into the concepts of photogrammetry — and perhaps even to create a 3D model yourself, using images captured with your smartphone. This YouTube tutorial shows you how to do this in Agisoft Photoscan Pro, which has a free trial available.

Limitations

Developed in an undergraduate course at the University of Bergen, the short 360 movie “Schizophrenia“, experimented with interactive 360 video.

Despite these great innovations in the capture of reality, CGI has some benefits that neither 360˚ 3D or Volumetric videos can really achieve. The most important of these is that of interactivity . As 360° videos are linear (that is, they have a predetermined beginning and end), the user can not really affect what happens in the video — except by choosing which degrees of the video to see.

In our course in VR Journalism at the University of Bergen where I taught students VR programming, 360° video and photogrammetry — we faced this exact limitation. A group that worked on providing an experience of the reality-shattering disorder of Schizophrenia, wanted hallucinations to occur when the user viewed at certain areas. The students solved this by placing transparent gifs over the video in A-Frame, edited based on the real footage, and put gaze event listeners to activate the playing of the gif. The results were extraordinary, and could well provide a new way to provide a means of simpler interaction on top of 360° videos. The experience, which voices are in Norwegian, can be viewed here (WebVR browser such as Chrome is necessary).

Sensory Deprivation — Floating in Virtual Reality

If we look to our glossary, we see Presence within Virtual Reality (VR) defined as the degree to which the subject feels present in the virtual world. What is interesting to note, is that this naturally has to be viewed relatively to the degree that the subject feels present in the physical world — as we usually receive information from both our physical and our virtual environments.

There can thus be two separated approaches to designing for presence in virtual reality environments: one is to provide sensory stimulus of the virtual environment, and the other is to block sensory stimulus from the physical environment. Both approaches work towards the same goal of immersion — the encapsulation of the user in the VE. Slater and Wilbur (1997) recognise this in their definition of Immersion, which is closely related to the notion of Presence. They define immersion in terms of four qualities the system can afford, the first one of which is called inclusiveness. Inclusiveness they define as the extent to which physical reality is shut out.

Obviously, the principle of adding and removing sensory experience go hand in hand; by equipping a Head-Mounted Display you are blocking the physical impressions and replacing them with virtual impressions, all the while shielding for incoming light from the surroundings. Blocking light, however, is not the only way to deprive the senses of information from the physical environment. In this entry, we will discuss how we can maximize the inclusiveness of the immersion by achieving sensory deprivation in floatation tanks. Floating in Virtual Reality!

Floatation Chambers

Floatation chambers, or sensory deprivation tanks — are pools of water with copious amounts of epsom salt (≈600kg). The tanks are sealed for any incoming light and sound, and the air- and water temperature is equal to that of your body. When you lie down, you will feel how the salt makes you float even though the pool is very shallow. As you lie there, you notice how the ripples you created when lying down start to slowly subside as you sink down into weightlessness. After a while, because of the air- and water temperatures are the same as that of your body, you can no longer pinpoint where the water ends and the air around you begins. In fact, it gets hard to distinguish anything from anything else, including your body from the air and water. There is really nothing that is easy to grasp as isolated, save perhaps your breath. And as the minutes go, with total physical relaxation and lack of much sensory impression at all, things start to change.

“Alone With Your Thoughts”, Illustration by Cole Ott

The most significant, explicit change one may notice in the tank  is that after a while your bodily self-consciousness is not what it used to be. Your mental model of where your body is in relation to the world around you starts to become blurred. Normally reinforced by tactile stimuli of air and water (of varying temperatures), and visual and auditive stimuli from the environment, your body model is now lacking information on which to create it. Your sense of spaciousness has also changed, that is the feeling of your position as defined relatively to say, the walls, mountains and sky has disappeared. You now really experience nothing around you, but neither any edges to this lack of information in your surroundings. You may get the feeling of floating in empty space — but where are you in all of this? What, in this stream of conscious experience is matter and what is mind?

Inner vs Outer

In our entry — ‘Inner as Outer: Projecting Mental States as External Reality‘ — we discussed the potential of using VR for meditation purposes in experimental ways. In the introduction to the entry, we discussed our feeling of Self as a duality of Inner and Outer, of which our everyday experiences usually comprise. We discussed how technology may have the power to transform our consciousness away from this traditional subject-object hierarchy and into a non-dual one, where the Inner is seen as the Outer, and the Outer as Inner. In this entry we are building further on these ideas. Similarly to visualising inner states in VR through biometrics, using VR in floatation tanks might provide illusory experiences where the conscious experience is significantly altered.

One other entry relevant to our experiments with VR in floatation tanks should be mentioned before we go on: the entry on Virtual Embodiment. In the entry, we discuss the great potential of VR to hack our consciousness; why it is possible, and what it can be used for. The research is highly relevant for floatation in VR, as both floatation tanks and VR alter our self-model, as both alter the sensory impressions necessary to maintain it.

Research on Virtual Embodiment in Floatation Tanks

Matrise partnered up with Bergen Flyt, a local company offering floatation therapy in the heart of Bergen city. We used a Samsung Gear VR with a Samsung S8 phone. We did not use a HTC Vive (Pro) as it would be more risky exposing the cable to water. Also, no room tracking or even much head orientation was needed, and in terms of resolution the HMD is quite high in ppi. We chose to first try out some abstract visualisations through the application “Fractal Lounge”, that shows varying psychedelic visuals and floating through space.

My Experience

“After I had showered, I put on the GEAR VR headset, started the application, and slowly entered the floatation pool. I held my hands towards the wall, as I did not see anything else than the visuals in the headset. When I was inside, I closed the glass door, and slowly lowered myself into the water — back first. It took a few seconds before I dared to lower my head all the way down, but very soon I was totally relaxed. As expected, the electronics in the display was kept well above water, due to the intense amount of salt in the water …”

The kind of visualisations provided from Fractal Lounge, the application that was tried in the floatation tank.

“The visualisation pulsated, floated, drifted along — and often totally changed in colours and shapes. It took probably about ten minutes before my feeling of body totally vanished, to the degree that it was a larger gap between wanting to move the body and actually being able to move it than usual. I felt like perceiving a great drama and scene, and I got engaged in the forms and ways of the visualisations, sometimes quite invested in it, as it felt close and reality-defining for me. After about twenty minutes in, I felt as if I was drifting along in space at high speed, because of the steady movement of stars away from me. At the same time, there was no sound, which made the quick travel feel peaceful and smooth. As with normal floating, about every ten minutes there is a sort of reality-check moment where you remember you are in the tank and contemplate how weird it is. This also happened in VR, and was … equally as weird”

Reflections and Future Work

My first experiment with floatation in VR lasted for about 45 minutes. Sometimes, unfortunately, the VR headset glided slightly off my face, and I had to reposition it with my wet, salty fingers. After this happened about three times, I had to leave the tank in order to save the equipment.

Thank God that we have floatation pools instead of this creepy stuff.

My first experience of floating in virtual reality was very promising. The largest surprise was the feeling of movement through space at high speed. The largest frustration was the lack of any sort of interaction with ones surroundings at all, except the possibility to open and close one’s eyes. A great experiment would be to use eye tracking technology as a way of navigation in the vast, abstract psychedelic spaces. If one travelled towards where one saw, one could even be interactive while lying still in the floatation tank. This could also possibly have curious effects on which parts (perhaps the eyes), we identify with our selves. Perhaps the placement of our self could be altered by changing the agency for transportation.

Matrise will continue the cooperation with Bergen Flyt, and both try and develop different applications. Our plan is to measure the feeling of presence and self-identification and consciousness while in the tank.

 

Literature list

Augmenting our Reality

Although Matrise usually cover the more encapsulating technologies on the Reality-Virtuality-Continuum, we are also very interested in innovative uses of all Extended Reality (XR) technologies.  In this entry we will illustrate the utility of Augmented Reality (AR) technologies with an exciting project we are presenting at this years IBC conference in Amsterdam.

Short History of AR

AR has seen a similar hype as VR have with products as Microsoft Hololens, Magic Leap and the Google Glass. The technology concept has, similarly to VR, the power to change our orientation towards reality — however, AR technology lets you see your surroundings in addition to the augmented virtual phenomena. We discussed its historically conceptual origins previously in our entry on the Camera Lucida, but apart from this case — the technology is somewhat younger than VR technology.

The first Virtual Reality Head-Mounted Display, named after the Sword of Damocles, because of its great weight hanging over the user’s head. Named after an old greek cultural symbol of Mortality — the anecdote is that the sword hung from a single horse hair over the head of Damocles after he rose to wealth.

In our History of VR we mentioned ‘The Sword of Damocles’ as the first thorough Head-Mounted Display. It should be noted, however, that this essentially also was an AR display, not just VR. The glasses, as can be seen in the illustration, were somewhat see-through, and could therefore be used to augment the physical surroundings of its wearer. Today, however, we are far more privileged, and can experience sophisticated AR that let us view virtual phenomena within the environment itself hyperlocally, with extremely room tracking with six degrees of freedom in the interaction. This enables far more sophisticated usage of the technology.

AR has yet to have a commercial launch similar to that of VR. Although mobile AR with smartphones has gained some popularity, we will have to wait some more for the non-invasive affordable Head-Mounted Displays to hit the market (the Magic Leap currently costs $2295  and the Microsoft Hololens is at about $3000 for developers). That being said, it is fun to play and develop with these technologies and be part of creating new solutions with immersive technologies. Although they are not yet fit for mass-adoption, the Microsoft Hololens is a great project that illustrates the potential of these technologies.

 

The Microsoft Hololens: an AR Head-Mounted Display released for developers. It is believed we will see the next iteration of the HoloLens in 2019.

HoloSuite: A Mobile AR Video Editing Suite

Saturday and Sunday at IBC 2018, Joakim from Matrise is joining four masters students from media- and interaction design in presenting an AR application for the broadcasting industry. The application was developed as a student project for the Bergen-based company Vimond, and is presented at Media City Bergen’s stand at IBC’18 — to represent the fruitful collaboration of the University of Bergen with the companies in the NCE Media cluster Media City Bergen.

The masters students involved; Audun Klyve Gulbrandsen; Johanne Ågotnes and Fredrik Jenssen also has lots of other interesting projects that can be read about at their website UiB MixMaster.

The presentation takes place at 12:30 at Sat&Sun, in hall 8, at booth D10 (MCB Village).

Abstract of Presentation

«Professional video editing suites of today are resource-demanding. A video editor needs great machine power in addition to multiple screens to tackle the varying formats of today’s media landscape. Effectively, this results in reduced freedom of mobility for video editors; they are dependent on their stationary office space to work. In addition to reducing flexibility, this lack of freedom may slow down the turnaround process for news agencies.

In our presentation, we describe and demonstrate an Augmented Reality (AR) cloud-based video editing suite, where up to five virtual screens are presented to the user through a Microsoft Hololens Head-Mounted Display. By employing cloud computing, the prototype can access machine power remotely through the cloud, which has benefits in terms of mobility. Effectively, the AR application is a prototype of an office for video editors that can be carried in a backpack, and utilized wherever there is network connectivity»

 

Figure illustrating the timeline and the preview screens (resolution is higher, and FOV lower in the HoloLens display itself).
Same content from a different angle, illustrating the fixed environmental position (resolution is higher, and FOV lower in the HoloLens display itself).

Do you have any great AR ideas? Matrise will soon publish a new entry on an AR product development process we are involved in — so stay tuned.

 

Virtual Embodiment

The most praised ability of Virtual Reality is its capability to immerse the user in a Virtual Environment — to the degree that the subject feels present in it. The magic is to be fooled by the system so that one feels present where one actually does not physically reside. This effect can, however, turn even more magical. A deeper step into the effects of technological immersion is found in the concept of Virtual Embodiment. If a subject is embodied virtually,  not only is the virtual environment accepted as such; the subject also identifies with a virtual body or avatar inside the virtual environment. This differs from realizing which character you control in a game — within Virtual Embodiment it is the same processes that make you identify with your real body that makes you identify with a virtual one. This is a key point, as it is why research into virtual embodiment is important.

Peeling layers of the onion: VR can be a tool to discover who we are, through investigation of what and how we identify with our bodies. Illustration: “Mask of Day by Day” by Paulo Zerbato.

Hacking and Experimenting with Consciousness

What is fascinating about both of these possibilities of illusion, then — is how, and that, they are possible at all. Knowledge on how to achieve such immersion is obviously relevant for all VR developers, but the knowledge that can be obtained by researching these phenomena goes far beyond knowing how to apply it in VR technology. By creating experiments in VR, we can generate, and investigate, phenomenas of the mind under various experimental conditions. Exploring Virtual Embodiment, for instance, can enable us with a better understanding of our self-consciousness and the relationship between body and mind. Because of this wider span, research on Virtual Embodiment attracts neuroscience researchers, psychologists, information scientists and philosopher’s alike.

The Rubber Hand Illusion

The Rubber Hand Illusion (RHI) is an excellent example of the kind of ‘brain hacks’ that can be achieved by sensory manipulation. The illusion, as illustrated below, is a perfectly simple experiment that does not even require the use of VR technology to perform.  The RHI was introduced by Ehrson, Spence & Passingham (2004) and has been an ingenious way to illustrate how we identify with our bodies. More importantly for this entry, the results of the experiment has inspired further research on Virtual Embodiment.

Illustration from Thomas Metzinger’s book “The Ego Tunnel: The Science of The Mind and The Myth of the Self”

In the RHI, the hand of the subject is replaced by a rubber hand, while the normal hand is blocked from sight by a separating wall. When the subject is sitting as such, a researcher will stroke each hand, both the rubber and the physical hand, simultaneously. Now, the question is what happens when experiencing the sensory impression of stroking, all the while seeing a corresponding stroke on the rubber hand?

Put very simply, the brain does a ‘reasonable guess’ that this hand is indeed the correct physical hand attached to your body.  You feel that the rubber hand is yours, with nerve-endings and all — and you couple your physical feelings to the vision of the hand. This means that in your subjective experience, the rubber hand is the hand that has the sensation. Ehrson et. al write that their results suggested that “multisensory integration in the premotor cortex provides a mechanism for bodily self-attribution”. When our brains receive sensory information from two differing sensory inputs (sight+feel), these are coupled: the brain is coupling the stroking-sensation with imagery of a nearby-hand being stroked, and this is enough for the brain to attribute its self with the hand, to acknowledge it as its own.

This simple experiment share a lot of principles with the concept of Virtual Embodiment, and has inspired research in the field that we will present in this entry.

Some experience out of body experiences (OBEs) on the onset of sleep or waking up. Often they may feel that they are floating over their bodies. VR may help to study such states of consciousness by systematically inducing them.

Virtual Body Illusion

In a later experiment by Lenggenhager et.al (2007), not only the hands of the subjects — but their whole bodies were replaced with virtual representations. Moreover, in the experiment they present, the bodies are seen from behind. In effect, they were simulating out-of-body experiences, with very interesting results.

The experiment was conducted as such: the subjects wore a Head-Mounted Display which projected imagery from a camera located behind the subjects. As such, the subjects could see a representation of their bodies “live”, but from behind. Of course, this is deviating slightly from how we normally experience life. Although the subjects saw their body responding and performing actions in real time as under normal conditions — there is a logical dissonance due to the mismatch between the location of the subjects’ eyes in the virtual environment, and what these eyes see. Effectively, the user is seeing inside a pair of “portal” binoculars (HMD), which display the light from, if not another dimension, then at least a few feet away. And this will be a part of the point.

What is interesting about this experiment is not necessarily simply that the users feel present where they do not reside physically, but how the distance is only a few feet off. The users feel present right outside of their bodies. The situation is similar, the body and the environment is there, but everything is a bit off. What is interesting to investigate then, is how the body adapts to this. Will it accept that it now controls its body from a third person perspective, similarly to how Stratton’s subjects got used to seeing the world upside down?

What they studied was basically whether this change of perspective had an impact on where the users felt embodied. To investigate this, the researchers stroked the subjects as they did in the Rubber Hand Illusion, except at their backs — so that it was perceivable by them. The question is then where this physical feeling will be attributed to — how will the phenomena of the subjective experience present themselves to the subjects?

Out of Body experiences can be achieved virtually by using sensory impressions from other locations, for instance five meters behind you as in the experiment by Ehrson (2007). You can then effectively look at yourself from the outside.

First of all, to be clear on this — the sensory data of being stroked will initially be provided by the nerves in the physical shoulder of the user. The problem of the brain, however, is that the shoulder is out of sight — blocked by the Head-Mounted Display. There is, however, the visual impression of a shoulder on a person standing in front — being scratched in exactly the same way. Although the nerve-endings definitely feel the stroking, the problem is that where this feeling will be placed in our subjective experience is not the responsibility of the shoulder, but rather the brain. And, as the placement of the physical feeling in the bodily self-consciousness is largely dependent on vision for coordinates, what will happen? How will the brain fix this sensory discord?

In this beautifully written article by The New Yorker, its author Rothman describes one of the co-authors of the research paper, Thomas Metzinger’s, own experience undergoing the experimental conditions:

Metzinger could feel the stroking, but the body to which it was happening seemed to be situated in front of him. He felt a strange sensation, as though he were drifting in space, or being stretched between the two bodies. He wanted to jump entirely into the body before him, but couldn’t. He seemed marooned outside of himself. It wasn’t quite an out-of-body experience, but it was proof that, using computer technology, the self-model could easily be manipulated. A new area of research had been created: virtual embodiment.”

Are We Already Living in Virtual Reality?” — The New Yorker has a brilliant, long, read on Virtual Embodiment that features interviews with VR and Consciousness researchers Prof. Mel Slater and Prof. Thomas Metzinger.

Phantom Pain

Another curious potential effect of Virtual Embodiment, is the possibility of phantom sensory impressions as well. Handling virtual objects while being embodied, for instance, may convince your body to expect pain or touch — and so this is, somehow, actively generated. Because of this, VR may be a way to study how phantom pain is created, and further how it can be alleviated. For instance, several studies show how VR can embody a subject missing a leg in a body with two legs, similarly to traditional mirror therapy treatment, which is effective in reducing phantom pain. Again — what may be most interesting here is the possibility of systematically creating the phenomena and studying it afterwards. For instance, as Metzinger is quoted on in The New Yorker’s article, it may be supposed that phantom pain is created by a body model not corresponding to the physical reality. This will be the case for phantom pain in VR: it is not based on the physical reality, you are only relating to a virtual reality instead. Similarly, those those with real phantom pain may also be relating to a certain kind of “virtual reality”, but rather one in the format of their skewed narratives — maintained by their minds instead of a computer.

That the narrative, worldview and consciousness that our brain’s experience and generate is often not the best match with reality is not something new. As for Matrise, these concepts reminds us of the conclusion from our three-series entry towards a metaphysical standpoint on VR, in which we discussed VR as rather examplifying of our abstracting tendencies of mind. These entries can be read at Matrise, and were called: 1) On Mediums of Abstraction and Transparency, 2) Heidegger’s Virtual Reality, and 3) The Mind as Medium.

Virtual Embodiment for Social Good

Now that we have discussed the concept of Virtual Embodiment, it may be natural to discuss what this knowledge can be used for. As discussed already, generating experiments in VR that hacks our self models, may provide useful knowledge on the structure of our self-consciousness. Apart from this general knowledge, some may also have practical utilisation in applied VR for specific scenarios.

Racial Bias

A very exciting paper that describes work utilizing virtual embodiment, is one by Banakou, Hanumanthu and Slater. In the project, they embodied White people in Black bodies, and found that this significantly reduced their implicit racial bias! The article can be found and read in its entirety here (abstract available for all).

Domestic Violence

Another interesting project by Seinfeld et. al, is one in which male offenders of domestic violence became embodied in the role of a female victim in a virtual scenario. At first in the experiment, the male subject is familiarized with his new, female, virtual body and the new virtual environment. When the body ownership illusion, or virtual embodiment, has been achieved, a virtual male enters the room and becomes verbally abusive. All this time, the subject can see his own female body reflected in a mirror, with all his actions corresponding to his. After a while, the virtual male starts to physically throw around things and start to appear violent. Eventually it escalates and he gets closer into what feels like the subjects personal space, and appear threatening.

They write:

Our results revealed that offenders have a significantly lower ability to recognize fear in female faces compared to controls, with a bias towards classifying fearful faces as happy. After being embodied in a female victim, offenders improved their ability to recognize fearful female faces and reduced their bias towards recognizing fearful faces as happy”

The article can be read in its entirety at ResearchGate.

Staying Updated in the field of Virtual Embodiment

Research on Virtual Embodiment is happening continuously. To stay updated on this area of VR research, I enjoy following Mel Slater, Mavi Sanches-Vives and Thomas Metzinger on Twitter. Last but not least, I would stay updated on Virtual Bodyworks at Twitter, of which both Sanchez-Vives and Slater are co-founders of.


N.B: This entry lies at the centre of Matrise’s interests, and we are planning on writing several entries on this topic further in philosophical directions. Have any ideas or want to contribute? Please contact us.

Literature list

 

 

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Apple, Mac and Virtual Reality

N.B: This blog entry is in Matrise’s category “Lights”, which holds more technical, often smaller posts, that concern actual and recent events. These entries stand out from other entries at Matrise, which is often more conceptual, ideal and philosophical. Lights entries need not be very related to VR, though they will always be related to computer science. You can read about Matrise here.


Apple has never created computers capable of much graphical power. Although Mac’s are often preferred by those working with media applications for video and photo editing, etc., these kind of operations rather need a good CPU rather than GPU. This means that the Mac has never been a good candidate for gamers, who require heavy graphical power to run their games. Unfortunately, this bitter ripple effect of Mac’s crappy GPUs, also extends to VR support. As the Mac has not really been a candidate for good gaming, Apple has been left out of the loop by HTC Vive, Oculus, etc., simply because none of their machines would fit the minimum requirements of running VR.

So although the choice to not try to stuff a GTX 1080 ti into a Macbook has secured its ability to look pretty and slim it has been dissapointing for developers and VR enthusiasts with a fondness for the Mac OS X.

External GPUs for Mac

Last year, Apple revealed that their new operating system MacOS High Sierra would take steps to support VR on mac. As part of this, Steam VR for Mac was released — and support for external Graphical Processing Units (eGPUs) was added as well. Mac’s had unfortunately always have had terrible GPUs relative to their PC equivalents, which has limited their use for gaming- and VR purposes. Though this has secured the Macbook’s ability to look pretty and slim, it has been dissapointing for developers with a fondness for the Mac operating system.

Thunderbolt

The latest Macbook Pro series, for instance, has four slots for Thunderbolt 3. Now, the new Thunderbolt 3 support transfer speeds up to 40Gbps, which is significantly higher than the cables connecting your Mac to your internal GPU. This has opened the possibility of using the slim, pretty laptop for lectures, meetings or writing at home — all the while being possible to augment the same laptop to a graphical beast while coupling in the eGPU. You bring the light parts, and leave the heavy ones.

The Sonnet eGFX Breakaway Box for coupling graphics card externally via a Thunderbolt 3 port. In Matrise’s eGPU, we currently host an AMD Radeon RX 580 “Sapphire”. This does a good job at supporting the HTC Vive in a Macbook Pro 15.

In the fall of 2018, on the introduction of their new eGPU support, Apple partnered up with Sonnet to sell eGPU cards with a Sonnet cooling chassis from their Apple Store. As the support for eGPUs were still in beta, Apple only sold the eGPUs to registered apple developers. Matrise bought one, obviously, as this opened up for VR development, and testing, at the Mac.

In the beginning (the beta stages), the support for this was decent, but slightly annoying. Everytime you plugged in the eGPU you had to log in and out of your account — and sometimes there were trouble to get the screens connected. For the last months, however, the support feels more solid, with an icon in the menubar that can be used to eject the eGPU. You no longer have to log out everytime to connect it, which simplifies the workflow of those who use this to power , say, one 4K screen and another WQHD display at their work station.

The Office. Apart from VR development, the eGPU is useful in giving graphical power to external monitors, at the same time as providing electricity. For this setup of two >HD screens, only one Thunderbolt cable is used.

Apple and VR

Although Mac users now have the possibilities that come with increased graphical power — this does not mean that VR and Apple is a very great match yet. They have, however, lately opened their eyes to the fact that they need to support developers of this new medium. Last month they introduced their new MacOS “Mojave”, of which “Dark Mode” we discussed in our previous “Lights” entry. What is perhaps more important, however, is that the new Mac OS Mojave would have plug-and-play support for the new HTC Vive Pro (which Mac users now luckily can actually use thanks to the eGPU support). Matrise has ordered a HTC Vive Pro Kit, and will post a performance test using an eGPU in Mojave when it arrives.

The HTC Vive Pro is to receive plug and play-support in the new Mac OS “Mojave”

Although now Apple with their Mac’s have the technical solutions that make it possible to create and view VR in the same way that normal Windows PC’s have, this does not mean that Apple’s Mac stand equal before the task. The outcome of long years where Mac’s would not really be able to play any VR games still stand, and there are therefore very few games that bring support for Mac users. Hopefully this will change in the future, now that Apple at least actually plans the road ahead to be friendlier rather than hostile towards the technologies.

Modular Computing
What is an interesting in the way we see these eGPUs work, is how this kind of modular computing may be the future for laptops. Stationary computer parts have the benefit that they can be as big as they need to be, which reduces the cost of the labour of fitting these components into thin laptops. Scenarios could be imagined where it is normal to have a strong GPU and/or even CPU at home and at work, along with some monitors, to augment your computing once you are there — while always keeping the base parts (your laptop) in your bag to go. This workflow may remind us of the new Nintendo Switch — which can change from console to portable by simply removing the necessary parts and thus “switching” to portable.

What may be even more convenient than modular computing, we can admit, may be cloud computing. When web transfer speeds finally turns good enough in the future, we could upload all our computing into a queue in the sky, to be performed by some quantum computer centres in a desert somewhere… Probably.


What do you think of Apple and VR? Could you imagine the modular computing scenario working in your everyday life? Please comment below.

Inner as Outer: Projecting Mental States as External Reality.

Introduction to Mysticism

Within Mysticism, the merging of Self and World — Inner and Outer — is seen as the utmost aim. Mysticism can be found within most of the world religions, such as Buddhism, Christianity, Hinduism and Islam — and its aim is often formulated as union with God. Depending on the religion, however, the degree to which Mysticism is the common way of practicing the religion varies. Although many religions have such contemplative practices, they are not always adopted by the religion’s followers at large.

When discussing «Union with God», it should be noted that the term «God» varies in its meaning between these religions. The contemplative practices often have significantly varying metaphysics, for instance Monotheistic (Christianity), Polytheistic (Hinduism), and relatively Atheistic or Agnostic (Buddhism). Be this as it may, their descriptions of the experience of this merging of Self and God is often strikingly similar. These states of enlightenment are often described as ecstatic, in which the conscious experience can not be placed within our normal frames of language or understanding.

What also unites the different traditions, is that such states of consciousness is usually  worked towards through contemplative practice such as yoga, meditation or other disciplines of focus or conscious attention. Other techniques for achieving these ecstasies have have been ascetic ones, such as fasting, waking, isolation — or other ways of stirring the Self to war.

The experience of seeing the Inner as Outer, and the Outer as Inner, is often described as the feeling that living itself is an experience of seeing and perceiving Oneself and/or God. Within this worldview, there is no Self relating to anything external.

Non-duality: synchronization of Inner & Outer

The concept of merging Inner and Outer, or Self and God, can each be viewed either in very material or spiritual terms. Although materiality and spirituality do not have to differ metaphysically, separating these gives us some communicative benefits — and Mysticism may be explained and spoken of from both these perspectives. Discussing the Inner as Outer purely «scientifically», if you will, makes sense in that all our perceptions of the Outer world is indeed created Inner, and as such — Reality will always be a synergy of Inner and Outer. We know that we do not see, or have ever seen, anything which we ourselves do not actively generate. As neuroscientist and consciousness researcher Anil Seth put it, “our brains are actively hallunicating our conscious reality”.

States where a subject experiences the Inner and Outer as ‘one’, is often referred to as «non-dual».  Often while speaking of Inner and Outer, we tend to implicitly reinforce the Self and the World as a duality (when pitching a solution we often have to pitch the problem first). By using the word «non-dual» instead of ‘one’, we may pinpoint the nuance that it is not a duality in separation, but neither completely “same-same”. Although it is non-dual, neither is it all same or flat — least of all static!

Although we classify and divide our reality, fundamentally what we perceive is a stream of experience, which in every sense is simply “reality” before divided, and, again, actively created by us. This is not to say that there are no external reality or world — but it definitely is to say that all which is external is perceived first and foremost, solely, internally. Experientially — externality has never been perceived, except as a subcomponent of internality.

A vase, or two faces? Each defines the other, and neither exist without the other.

Experiencing and Sensing the Non-Dual

This causal explanation, however, leaves out the experiential aspects of the non-duality. Although it may make sense on paper, it matters little to us as we absolutely perceive the world as dual — as subjects relating to a World. Within Philosophy, this traditional way of adhering to and speaking of the world,  is referred to as the subject-object dichotomy. Although, between different cultures and continents, the degree to which we adhere to this way of thinking vary in its intensity, it is nevertheless definitely an essential part of the human experience which we share.

How the material explanation can be said to be different from the spiritual in this sense, is that the spiritual concern is to experience the Inner as Outer, not to understand it cognitively. As such, and towards that, meditation practices such as Mindfulness and Yoga have existed, to increase wellbeing by increasing the degree to which one feels in union with God, or for those who do not fancy the term; to the degree which one has peace with oneself and the world.

Contemplative practices such as yoga and meditation, has the last fifty years become more popular in western societies. Although they have been subject to a certain degree of metaphysical raffination the last years, these methods are nevertheless largely old and traditional. The most common of these contemplative practices we see today is adopted from the Vippassana practice, commonly known as Mindfulness. These methods are now commonly used in psychological treatment of anxiety and depression, and research has the latest years started to uncover the benefits of learning to be able to sit quietly with your mind and, well, deal with shit, or seeing it for what it is.

In the next section, we will discuss an approach utilizing Virtual Reality to aid in Mindfulness meditation — which can help to perceive the Inner as Outer.

A common belief is that the aim of contemplative practices is to empty the mind. In a sense, it can be said to be correct, in that meditation practices often seek to eradicate, dilute or cancel the self-referential narratives.

The effects of Mindfulness meditation

The essence of Mindfulness or similar contemplative practices, lie in their manipulation of identity. We stated “the problem” of Mysticism as the gap between Self and Other — and for this separation to be there, we must necessarily have a relatively thoroughly defined sense of self. For most of us, this tend to be limited to the cognitive processes that constitute our mental narrative (the personalized voice in our heads, our formulated will, and how it appears to direct our actions and plans our lives). It is actually to a far lesser extent our bodies, although this also attributes to our self-consciousness.

Mindfulness is about being present attentively in each moment to one’s state of mind. When doing such focus excercises directed at the mind, and observing these mental processes closely, the idea or view of them as solid things starts to unravel. When rather seeing them as thoughts from a distance, they appear untangled to us, and we perceive our own existence as distinct from those thoughts.

Virtual Reality Biofeedback as Meditation aid

One of the great benefits of VR is its ability to project and represent data in the format of the reality encompassing us. Within the context of this entry, we could say therefore that VR can simulate what we perceive as the Outer. The question may then be asked: how can we project our Inner in to this medium of Outer?

Although I believe we will see more work on VR biofeedback within this domain in the future, in this entry we will focus only on one research paper in particular to examplify our case. At last years CHI conference, the world leading conference on Human Computer Interaction, Joan Sol Roo and his colleagues presented their work on Inner Garden: a mixed reality sandbox for mindfulness. The artifact is a physical sandbox, which the user can shape to a given terrain. The sandbox is given generally visually augmented by a projector with colors and shapes — and physical changes to the sandbox will also alter the output of the projector, which deliver terrain information such as sea levels and green growth.

The sandbox is just not physical, however; by placing a physical avatar in the physical sandbox, you can enter into the land you created in Immersive VR. A 3D-model of the land you created physically can be seen virtually, from the viewpoint of your placed avatar.

The Sandbox, which heights of the sand have been turned into an island by the projector.

Attached, to measure your inner states, is both breathing- and heart rate sensors — which are coupled to provide visual and auditive feedback. In this way, you can synchronize your breath to control the environment and rythm and breaking of the waves. The Inner Garden represents your inner state, and. by practicising breathing techniques, the flora of your world will get greener and more animals will appear.

In this way, Inner Garden works as a great example of representing Inner phenomena as External Reality. Very conceptually interesting, and hopefully one day we will also see empirical studies on similar artifacts.

You can read more about Inner Garden, which received an honorable mention at CHI’17, here.


What do you think? Do you have any ideas for VR applications using biofeedback?  Please comment below.

Literature list

 

 

 

 

 

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Camera Obscura and the World of Illusions

A few years ago I visited the beautiful scottish city of Edinburgh. Apart from the old pubs, the whisky and its mighty castles, the city also have attractions for those interested in the art of illusion.  In a castle on one of the heights of the city, we can find an example of an ingenious yet simple optical technology, called the Camera Obscura. We have previously published an entry on the History of VR, where we discussed the invention of the Stereoscope as the first technology underpinning the VR of today. With a broader definition of VR, we could say that the Camera Obscura is an even earlier VR technology than the Stereoscope; in the mid 1600s,  by using the Camera Obscura, one could live stream a photographic segment of reality at much higher refresh rates than what we can do with information technology today.

 

Four people using a Camera Obscura, all the while remaining unseen behind closed doors.

The drawing above illustrates the workings of the Camera Obscura: In a dark room, the light from the world outside is directed by a mirror through a lens, which focuses the light on to a leveled surface. Often made of white stone, the surface functions as a canvas for the photographic reflection. As this is light straight from its source, the responsiveness is immediate and as the lens is continuously open, the pictures are moving. It is a very interesting experience to stay in the Camera Obscura of Edinburgh, and wholly undetected watch and perceive the actions of the masses of people walking the streets outside.

We should note, however, that even the mirrors and lenses are not necessary to create this effect. The camera obscura is in essence an extremely simple concept, and the simplest version of it is called a pinhole camera, which is as simple as a dark room with a hole for which the light to enter through. The light that enters through it represents what reflects it —which of course is the environment outside. As such, all light contains information, and pinhole cameras utilize this by letting the light enter through a small hole in a wall into a dark room, so the visual information can stand alone and be perceived relative to the dark background. In more complicated camera obscuras, lenses are used to strengthen and focus the light, and mirrors to redirect it.

Illustration of a Pinhole Camera, displaying an image upside down on a wall in a dark room.

As some may know, when light hits our eyes, the retina actually perceives the world upside down. Our brains, however, flips this back again — resulting in the world as you see it today. Traditional pinhole cameras or simple camera obscuras also suffer this effect, and so often the image is seen as upside down, as in the illustration above. In the Edinburgh Camera Obscura, they use lenses to maintain the normal orientation. Effectively, the image is inverted twice — once by the aperture, and further back using the lenses. For those who want to try to achieve this at home, we recommend this experiment, which highlights the workings of the lenses.

The Camera Obscura used for the art of drawing.

Another interesting use of the camera obscuras, and a source of their popularity, was for the art of drawing. By projecting directly to the canvas one is drawing on, the lines of the environment can be outlined more easily. What is becoming increasingly clear here, is the role of the camera obscura in the creation of the modern photographic camera. The technology is quite simply the same, only instead of a continuous stream of light to a canvas — we have a limited, controlled exposure to a surface that adapts to the light. It is related to this exposure where photography features make sense, such as aperture (how much light we let in); ISO (the sensitivity of the image sensor), and shutter speed (the amount of time that light should be let in). We are still playing with light and lenses.

The World of Illusions

If you visit Edinburgh to look at their old Camera Obscura from the 1850s, you will find in the same castle what they call «The World of Illusions»; five floors containing over 150 different optical illusions. Caleidoscope rooms; 3D stereoscopic mirrors; mazes of mirrors and much more. We will discuss and explain a few of these in more detail, the first being “The Ames Room”.

The Ames Room

The Ames Room, showing three men of similar size.
An overview of the Ames Room, dissolving the illusion. The illusion illustrates our lacking capability to perceive actual depth (3D).

For the illsion of the Ames Room to work, you have to see it from a certain perspective, which in the above illustration is referred to as the viewing peephole. The Ames Room in Edinburgh, unlike in our illustration, also use floor tiles as in a chessboard to further improve the illusion, which from the viewing hole appears to be of similar size. The illusion is a funny one, and an obvious photo-opportunity.

The Vortex Tunnel

Phtograph from the World of Illusion in Edinburgh.

Another illusion, which is more bodily, is their Vortex Tunnel. You are in a room, where a bridge connects the two ends. The task is to walk over the bridge (a fully stable, stationary bridge). Now, this shouldn’t necessarily be a problem, if it weren’t for the fact that the cylindric vortex walls are spinning around you. It doesn’t matter how hard you try, you simply can not walk a straight line: it is as if the gravity draws you toward the rails of the bridge. If you close your eyes, however, everything is fine.


Do you know of any other fun illusions or old optical technologies? Please comment below!

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The History of Virtual Reality

In recent years, Virtual Reality (VR) technology has finally reached the masses. 2016 was called “The Year of VR” as several actors released their Head-Mounted Displays (HMDs) on the consumer market. While HTC, Oculus and Playstation delivered high quality HMDs that require external computers to run, the year also opened up for high quality mobile VR. Both Google with their Daydream View and Samsung/Oculus with their GEAR VR have provided an easier step for consumers to enter the world of VR. These mobile VR solutions  offer better internal measurement units than the simpler Cardboard devices, and also feature simple controllers for interaction. We now see the market spreading out both  in quality and accessibility: in 2018 we have both seen the coming of the HTC Vive Pro, a more expensive high-end HMD with increased resolution, and the Oculus Go, which is a reasonably-priced ($200) stand-alone 3DOF (3 Degrees of Freedom) HMD for the starters.

It is natural to wonder how all of this started. Why did we for instance not see much VR before 2016? When it now seems to be relatively easy for commercial actors to push out HMDs down to $200, why did it not happen sooner? Of course, we have had Oculus’ development kits since 2013 — but even this is very recent.  When Google released their Cardboard (a simple HMD made out of cardboard  and some lenses), it seemed incredilous that VR could be attainable for the smartphone for only 50 cents. This, however, only points us toward how fascinatingly simple the underlying pinciples of VR technology actually are.

In this entry, we will trace the VR tech we see today back to its roots. We will go back about two hundred years, and work ourselves jumpingly forward to the very recent innovative technologies.

Stereoscope

A drawing of the Lothian Stereoscope, released in 1895; one of many different models.

In 1838, Sir Charles Wheatstone developed what would be the first Stereoscope. Even before the camera was invented, people were seeing (drawn) images with 3D effect through stereoscopes.  Stereoscopy, that is, perceptory illusion of depth, is achieved by displaying a slightly different segment of an image to each eye. Wheatstone achieved this by separating the two images by a piece of wood, and providing a lens directing the light, between each eye and the corresponding image. While looking through the stereoscope, our brains perceive the two images as one image, with the added 3D effect due to the varying segments of the images. This effect is simply caused by an utilization of how our eyes and brain work, by combining the sensory data from each eye into one. We may, for instance, most likely be able to recall  sometimes «seeing double», when our brains have yet not our varying visual impressions.

Since Wheatstone, different stereoscopes have been produced all the way up to the Google Cardboard or other HMDs; which instead of drawn images, or later photographs,  utilizes a screen to deliver the imagery to the eyes. Actually, in the early 1900s, Stereoscopes functioned as home entertainment devices, and «stereo cards» such as the image seen below could be purchased from photography companies.

Stereo card of St. Peters Church in the Vatican. Such cards, picturing tourist attractions all over the world, could be purchased and viewed at home in a Stereoscope.

Stereoscopes and modern day Virtual Reality HMDs share the essential feature of stereoscopic depth illusion (3D). Apart from that, however,  a lot has obviously happened since 1838, which we now regard as essential for the feeling of presence and realism, and which makes the technology capable of simulating realities. The most important of these have been moving images, 3D environments, interaction, and 360 degrees of orientation. With the stereoscope, images very static in every sense.

Sensorama

In the mid 1950s, however, some people saw the opportunity to spice up their stereoscopes a bit. A bold attempt at enrichening this, was the Sensorama. In addition to providing a stereoscope with motion pictures in 3D and color,  all quite revelutionary, the device had fans for simulating wind, odor transmitters for smell of the environment, stereo sound, and even a moving chair!

The Sensorama, or «Experience Theather». Illustration from Morton Heilig’s 1962 US Patent.

Pygmalion’s Spectacles

The idea of the Sensorama, or VR in general, can as many other innovative future-defining ideas, be found in science fiction literature. Before its conception, in the 1930s, the science fiction writer Stanley G. Weinbaum introduced the idea of «Pygmalion’s Spectacles». By wearing these, the user could experience a fictional, or virtual world, with holographs, smell, taste and touch, and make the virtual come alive. Pygmalion, which «Pygmalions Spectacles» were named after, were a Greek sculptor who fell in love with his sculpture, and so begged Venus that it would come alive. The Myth sheds an interesting light on VR as an ultimate dream of humanity, to create realities for ourselves to inhibit, or to create images in the format of reality.

Pygmalion, which «Pygmalions Spectacles» were named after, were a Greek sculptor who fell in love with his sculpture. He begged Venus that it would come alive. Painting by Jean-Baptiste Regnault.

Information Technology

To take a leap towards another paradigm shift in VR tech, we must enter the land of 1s and 0s.  The Stereoscope slowly moved from drawn images, to photographs, and further to moving images with the Sensorama. None of these, however, supported spherical environments that could be perceived in all their 360˚. To achieve this,  certain sensors and further computation based on their sensory input has been necessary.  The most important and interesting of these sensors, has been the Gyroscope.

The Focault Gyroscope, created by physicist Jean Bernard León Focault.

The Gyroscope was given its name by Phycisist Jean Bernard León Focault in 1852 who used the device as a means to prove the rotation of the Earth.  The gyroscope is a device consisting of a spinning top with a pair of gimbals. Its origin can not be traced to a single invention or inventor, as tops have originated in many ancient civilizations — however, unlike the «complete» Gyroscope, these were not necessarily used as instruments.  Although Focault’s gyro were not the first that were used as a measuring instrument, its affordances work well to examplify the usefulness of gyroscopes in VR HMDs; the important feature it affords is the measure of rotation, which key lies in the Gyroscope’s tops’ possibility for free rotation.

Gyroscopes are fun artifacts to play with as they seem to defy gravity. While spinning, they can remain stable in most positions. If placed on a platform, that unlike the gyro remain stable, the position in terms of rotation can be measured relatively to the platform, and as such we can also measure the rotation of a HMD. It should be noted, however, that the gyroscopes of today are not pretty mechanical objects of brass anymore, which, although they do no longer satisfy our aesthetic appetite, at least have the benefit of fitting into our smartphones and HMDs. Today, gyroscopes have heights, widths and lengths of only millimeters, which opens the possibility for placing them inside smartphones and HMDs.

The Sword of Damocles

The Sword of Damocles, an old greek cultural symbol of Mortality — ever close to those in power. We see the sword hanging from a single horse hair over the head of Damocles.

Fifty years ago, in 1968, Ivan Sutherland and his student Bob Sproull created the first computer-driven stereoscopic (3D) Head-Mounted Graphical Display with 360˚ head-tracking. The HMD was not exactly lightweight, and was named after the «Sword of Damocles» because of the heavy stand hovering over its users head. As can be seen in the illustration below, the head-tracking was mechanical, and did not in fact use a Gyroscope. Later, however, this became a more fruitful approach, so as to avoid the massive device rotating over the users head.

The field of view and graphical fidelity of the Sword of Damocles were obviously quite low, yet the Sword of Damocles is the first widely known HMD, and has since its dawn inspired and launched further decades of VR research.

The first Virtual Reality Head-Mounted Display, named after the Sword of Damocles, because of its great weight hanging over the user’s head.

Towards the modern HMD

Since the invention by Sutherland and Sproull,  creation and use of HMDs was seen more and more within research. As computational power became faster and cheaper, the HMDs decreased in size, and increased in field of view, graphical fidelity and refresh rates. Yet — even back in the 1990s for instance, the technology was still expensive, and poor in terms of graphical realism. It often caused cybersickness due to low refresh rates, and high motion to photon latency. Of this reason, as with any really powerful computer from that time, VR was reserved for research universities that could invest into the technologies, or businesses with resources to experiment with the technology. There were some attempts at commercializing VR for gaming purposes, such as the SEGA Genesis and Nintendo Virtual Boy — however, both of these remained largely as prototypes and were later discontinued. To this day, none of these companies has since experimented with the technology, although Nintendo in 2010  released the Nintendo 3DS which utilizes a stereoscopic display that does not require any glasses.

 

Image of a 3D model of the HTC Vive Pro.

Conclusion

Since the Sword of Damocles, VR technology has undergone small incremental changes leading to where we are today, mainly as a result of general computer and graphics research, and the natural progression of Moore’s Law; today our processors are smaller and more powerful, and our screens of higher resolution.

In addition to this, however, there are certain very recent technologies that have impacted the VR as we know it today as well. In Matrise’s glossary, we briefly present and define some of these technologies. Some that can be read about is Foveated Rendering and  Low Pixel Persistence Modes.


Did we miss anything? Any thoughts are welcome in the comments section.

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