Visiting a museum and seeing an original artwork can be a special experience. We use a survey and a set of hypothetical questions to explore how such experience would be affected by changes in how the artwork is seen. In a first study, participants imagined that they had travelled to see a painting that they particularly like. They discover that it is impossible to directly see the original painting. Three alternatives are offered: seeing an optical reflection (using a mirror), seeing (...) a video screening (a closed-circuit camera) or seeing a reproduction. In all cases it is made clear that the size, brightness, and resolution will match that of the original. In addition, these options could be within the same room as the original, in the room next door, or in a different building. Results show that physical distance did not affect significantly the responses. However, there was an overall preference for seeing a reproduction as opposed to an optical or digital image. Contrary to the idea that the original is always superior to a copy, many people felt that a direct view of a copy is a preferable experience than an indirect view. The second study was focused directly on the comparison between a mirror and a monitor. Here we highlighted the fact that for the mirror light coming from the mirror originated from the painting. Data were collected in Britain and in China. In both cases there was a clear preference for the mirror over the monitor. (shrink)

We investigate two issues about the subjective experience of one's body: first, is the experience of owning a full-body fundamentally different from the experience of owning a body-part?Second, when I experience a bodily sensation, does it guarantee that I cannot be wrong about whether it is me who feels it? To address these issues, we conducted a series of experiments that combined the rubber hand illusion (RHI) and the “body swap illusion.” The subject wore a head mounted display (HMD) connected (...) with a stereo camera set on the experimenter's head. Sitting face to face, they used their right hand holding a paintbrush to brush each other's left hand. Through the HMD, the subject adopted the experimenter's first-person perspective (1PP) as if it was his/her own 1PP: the subject watched either the experimenter's hand from the adopted 1PP, and/or the subject's own hand from the adopted third-person perspective (3PP) in the opposite direction (180°), or the subject's full body from the adopted 3PP (180°, with or without face). The synchronous full-body conditions generate a “self-touching illusion”: many participants felt that “I was brushing my own hand!” We found that (1) the sense of body-part ownership and the sense of full-body ownership are not fundamentally different from each other; and (2) our data present a strong case against the mainstream philosophical view called the immunity principle (IEM). We argue that it is possible for misrepresentation to occur in the subject's sense of “experiential ownership” (the sense that I am the one who is having this bodily experience). We discuss these findings and conclude that not only the sense of body ownership but also the sense of experiential ownership call for further interdisciplinary studies. (shrink)

Since 2016, my embodied avatar performance (EAP) has explored healing rituals and life review at the intersection of arts, health and virtual reality (VR) for a variety of individuals, including older adults and cancer patients. EAP established a format in which the avatar mirrors the participant’s behaviours and speech, facing them during the life review process. The aspect of mirroring and facing is crucial in EAP for facilitating engagement, embodiment and empathy and a symbiotic relationship between avatar and human. This (...) article outlines the symbiosis between humans and avatars within the EAP process, focusing on the interactions where participants face and mirror their avatars. The avatars are presented as if participants are looking into a mirror. As the avatars face the participants and mimic their movements, they create an illusion similar to seeing one’s reflection in a virtual setting. The article discusses a range of mirroring aspects, including virtual mirrors in VR, echoing techniques in drama and movement therapy, and broader concepts like empathy, embodiment, we-ness and the Korean emotional concept of Cheong. Early EAP avatars, especially in the case of technical failures, will be discussed as examples. (shrink)