在沉浸式媒体复制中,环绕声传播视觉注意力并增加认知努力

Catarina Mendonça, Victoria Korshunova
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引用次数: 2

摘要

本研究旨在探讨沉浸式环境中不同空间声音配置对视觉注意和认知努力的影响。为此,不同组的人被暴露在相同的沉浸式视频中,但有不同的配乐条件:单声道,立体声,5.1和7.4.1。不同的声音条件构成了对同一原声的不同艺术改编。在视频可视化过程中,参与者佩戴了眼球追踪设备,并被要求完成一项计数任务。获得凝视方向和瞳孔扩张指标,作为注意力和认知努力的衡量标准。结果表明,条件5.1和7.4.1与更大的视觉注意分布有关,受试者花更多的时间凝视屏幕上与任务无关的区域。导致更多注意力集中在任务相关区域的声音条件是单一的。空间声音配置越宽,凝视分布越大。条件7.4.1和5.1也与瞳孔扩张比单一和立体条件更大有关,表明这些条件可能导致认知需求增加,从而增加任务难度。我们的结论是,声音设计应该仔细规划,以防止视觉干扰。与分布较少的声音相比,周围空间化声音较多可能会导致更多的分心和跟随视听内容的困难。我们建议声音空间化和配乐设计应适应视听内容和手头的任务,并相应地改变沉浸感。
本文章由计算机程序翻译,如有差异,请以英文原文为准。
Surround sound spreads visual attention and increases cognitive effort in immersive media reproductions
The goal of this study was to explore the effects of different spatial sound configurations on visual attention and cognitive effort in an immersive environment. For that purpose, different groups of people were exposed to the same immersive video, but with different soundtrack conditions: mono, stereo, 5.1 and 7.4.1. The different sound conditions consisted of different artistic adaptations of the same soundtrack. During the visualization of the video, participants wore an eye-tracking device and were asked to perform a counting task. Gaze direction and pupil dilation metrics were obtained, as measures of attention and cognitive effort. Results demonstrate that the conditions 5.1 and 7.4.1 were associated with larger distributions of the visual attention, with subjects spending more time gazing at task-irrelevant areas on the screen. The sound condition which led to more concentrated attention on the task-relevant area was mono. The wider the spatial sound configuration, the greater the gaze distribution. Conditions 7.4.1 and 5.1 were also associated with larger pupil dilations than the mono and stereo conditions, showing that these conditions might lead to increased cognitive demand and therefore increased task difficulty. We conclude that sound design should be carefully planned to prevent visual distraction. More surrounding spatialized sounds may lead to more distraction and more difficulty in following audiovisual contents than less distributed sounds. We propose that sound spatialization and soundtrack design should be adapted to the audiovisual content and the task at hand, varying in immersiveness accordingly.
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