in a non-physical world. The perception is created by surrounding the user of

the VR system in images, sound or other stimuli that provide an engrossing total

environment. The name is a metaphoric use of the

experience of submersion applied to representation, fiction or simulation.

Immersion can also be defined as the state of consciousness where a "visitor"

or "immersant"’s awareness of physical self is transformed by being surrounded

in an artificial environment; used for describing partial or complete

suspension of disbelief, enabling action or reaction to stimulations encountered

in a virtual or artistic environment. The degree to which the virtual or

artistic environment faithfully reproduces reality determines the degree

of suspension of disbelief. The greater the suspension of disbelief, the greater

the degree of presence achieved. Types of immersion

According to Ernest W. Adams, author and consultant on game design, immersion can

be separated into three main categories: Tactical immersion

Tactical immersion is experienced when performing tactile operations that

involve skill. Players feel "in the zone" while perfecting actions that

result in success. Strategic immersion

Strategic immersion is more cerebral, and is associated with mental challenge.

Chess players experience strategic immersion when choosing a correct

solution among a broad array of possibilities.

Narrative immersion Narrative immersion occurs when players

become invested in a story, and is similar to what is experienced while

reading a book or watching a movie. Staffan Björk and Jussi Holopainen, in

Patterns In Game Design, divide immersion into similar categories, but

call them sensory-motoric immersion, cognitive immersion and emotional

immersion, respectively. In addition to these, they add a new category:

Spatial immersion Spatial immersion occurs when a player

feels the simulated world is perceptually convincing. The player

feels that he or she is really "there" and that a simulated world looks and

feels "real". Presence

Virtual reality glasses can produce a visceral feeling of being in a simulated

world, a form of spatial immersion called Presence. According to Oculus VR,

the technology requirements to achieve this visceral reaction are low-latency

and precise tracking of movements. Michael Abrash gave a talk on VR at

Steam Dev Days in 2014. According to the VR research team at Valve, all of the

following are needed to establish presence.

A wide field of view Adequate resolution

Low pixel persistence A high enough refresh rate

Global display where all pixels are illuminated simultaneously

Optics Optical calibration

Rock-solid tracking – translation with millimeter accuracy or better,

orientation with quarter degree accuracy or better, and volume of 1.5 meter or

more on a side Low latency

Immersive virtual reality Immersive virtual reality is a

hypothetical future technology that exists today as virtual reality art

projects, for the most part. It consists of immersion in an artificial

environment where the user feels just as immersed as they usually feel in

consensus reality. = Direct interaction of the nervous

system = The most considered method would be to

induce the sensations that made up the virtual reality in the nervous system

directly. In functionalism/conventional biology we interact with consensus

reality through the nervous system. Thus we receive all input from all the senses

as nerve impulses. It gives your neurons a feeling of heightened sensation. It

would involve the user receiving inputs as artificially stimulated nerve

impulses, the system would receive the CNS outputs and process them allowing

the user to interact with the virtual reality. Natural impulses between the

body and central nervous system would need to be prevented. This could be done

by blocking out natural impulses using nanorobots which attach themselves to

the brain wiring, whilst receiving the digital impulses of which describe the

virtual world, which could then be sent into the wiring of the brain. A feedback

system between the user and the computer which stores the information would also

be needed. Considering how much information would be required for such a

system, it is likely that it would be based on hypothetical forms of computer

technology. = Requirements =

Understanding of the nervous system A comprehensive understanding of which

nerve impulses correspond to which sensations, and which motor impulses

correspond to which muscle contractions will be required. This will allow the

correct sensations in the user, and actions in the virtual reality to occur.

The Blue Brain Project is the current, most promising research with the idea of

understanding how the brain works by building very large scale computer

models. Ability to manipulate CNS

The nervous system would obviously need to be manipulated. Whilst non-invasive

devices using radiation have been postulated, invasive cybernetic implants

are likely to become available sooner and be more accurate. Manipulation could

occur at any stage of the nervous system – the spinal cord is likely to be

simplest; as all nerves pass through here, this could be the only site of

manipulation. Molecular Nanotechnology is likely to provide the degree of

precision required and could allow the implant to be built inside the body

rather than be inserted by an operation. Computer hardware/software to process

inputs/outputs A very powerful computer would be

necessary for processing virtual reality complex enough to be nearly

indistinguishable from consensus reality and interacting with central nervous

system fast enough. Immersive digital environments

An immersive digital environment is an artificial, interactive,

computer-created scene or "world" within which a user can immerse themselves.

Immersive digital environments could be thought of as synonymous with Virtual

reality, but without the implication that actual "reality" is being

simulated. An immersive digital environment could be a model of reality,

but it could also be a complete fantasy user interface or abstraction, as long

as the user of the environment is immersed within it. The definition of

immersion is wide and variable, but here it is assumed to mean simply that the

user feels like they are part of the simulated "universe". The success with

which an immersive digital environment can actually immerse the user is

dependent on many factors such as believable 3D computer graphics,

surround sound, interactive user-input and other factors such as simplicity,

functionality and potential for enjoyment. New technologies are

currently under development which claim to bring realistic environmental effects

to the players' environment – effects like wind, seat vibration and ambient

lighting. = Perception =

To create a sense of full immersion, the 5 senses must perceive the digital

environment to be physically real. Immersive technology can perceptually

fool the senses through: Panoramic 3D displays

Surround sound acoustics Haptics and force feedback

Smell replication Taste replication

= Interaction = Once the senses reach a sufficient

belief that the digital environment is real, the user must then be able to

interact with the environment in a natural, intuitive manner. Various

immersive technologies such as gestural controls, motion tracking, and computer

vision respond to the user's actions and movements. Brain control interfaces

respond to the user's brainwave activity.

= Examples and applications = Training and rehearsal simulations run

the gamut from part task procedural training through situational simulation

to full motion simulations which train pilots or soldiers and law enforcement

in scenarios that are too dangerous to train in actual equipment using live

ordinance. Computer games from simple arcade to

Massively multiplayer online game and training programs such as flight and

driving simulators. Entertainment environments such as motion simulators

that immerse the riders/players in a virtual digital environment enhanced by

motion, visual and aural cues. Reality simulators, such as one of the Virunga

Mountains in Rwanda that takes you on a trip through the jungle to meet a tribe

of Mountain Gorillas. Or training versions such as one which simulates

taking a ride through human arteries and the heart to witness the buildup of

plaque and thus learn about cholesterol and health.

In parallel with scientist, artists like Knowbotic Research, Donna Cox, Rebecca

Allen, Robbie Cooper, Maurice Benayoun, Char Davies, and Jeffrey Shaw use the

potential of immersive virtual reality to create physiologic or symbolic

experiences and situations. Other examples of immersion technology

include physical environment / immersive space with surrounding digital

projections and sound such as the CAVE, and the use of head-mounted displays for

viewing movies, with head-tracking and computer control of the image presented,

so that the viewer appears to be inside the scene.. The next generation is

VIRTSIM, which achieves total immersion through motion capture and wireless head

mounted displays for teams of up to thirteen immersants enabling natural

movement through space and interaction in both the virtual and physical space

simultaneously. The use of immersive virtual reality in

the medical care New fields of studies linked to the

immersive virtual reality emerges every day. Researchers see a great potential

in virtual reality tests serving as complementary interview methods in

psychiatric care. Immersive virtual reality have in studies also been used

as an educational tool in which the visualization of psychotic states have

been used to get increased understanding of patients with similar symptoms. New

treatment methods are available for Schizophrenia and other newly developed

research areas where immersive virtual reality is expected to achieve

melioration is in education of surgical procedures, rehabilitation program from

injuries and surgeries and reduction of phantom limb pain.

Detrimental effects Simulation sickness, or simulator

sickness, is a condition where a person exhibits symptoms similar to motion

sickness caused by playing computervideo games.

Motion sickness due to virtual reality is very similar to simulation sickness

and motion sickness due to films. In virtual reality, however, the effect is

made more acute as all external reference points are blocked from

vision, the simulated images are three-dimensional and in some cases

stereo sound that may also give a sense of motion. Studies have shown that

exposure to rotational motions in a virtual environment can cause

significant increases in nausea and other symptoms of motion sickness.

Other behavioural changes such as stress, addiction, isolation and mood

changes are also discussed to be side-effects caused by immersive virtual

reality. See also

Alternate reality game Cave automatic virtual environment

Environmental sculpture Escapism

Immersive design Immersive technology

Interactive art Motion sickness

Narrative transportation Neo-conceptual art

Simulated reality Simulation sickness

Sound art Sound installation

Video installation Virtual art

Footnotes References

External links Annual Summit on Immersive Technology

[1] pdf download of Joseph Nechvatal's text book: Immersive Ideals / Critical

Distances. LAP Lambert Academic Publishing. 2009

Audio and Game Immersion PhD thesis about game audio and immersion.

"Improvising Synesthesia: Comprovisation of Generative Graphics and Music" by

Joshua B. Mailman, in Leonardo Electronic Almanac v.19 no.3, Live

Visuals, 2013, pp. 352–84, about two immersive systems for improvising music

and graphics through dance-like motion detected by an infrared video camera and

other sensors.