Abstract Presence, as a psychological state, is typically assessed using questionnaires. While many researchers in this field assume that these self-report instruments are standardized, the reliability of such questionnaires remains uncertain. This knowledge gap challenges the accuracy and validity of data derived from studies assessing presence. Ensuring reliable and precise data collection and reporting is essential for the credibility of findings in presence research, because inaccuracies may cause errors in conclusions, which affects theoretical understandings, methodological approaches and practical applications. To address this issue, we conducted a systematic analysis of 397 empirical quantitative studies on presence. We investigated the use of presence scales, including applications, modifications, a variety of measures and reporting practices. We found that the majority of the presence studies modify questionnaires, do not re-validate them and improperly report their methods. Based on these findings, we propose solutions to enhance transparency and validation of the presence measurements.

Although audio-augmented reality (AAR) has known applications in music, the use of wearables such as augmented reality (AR) glasses for egocentric audio data capture for music has not been investigated. Current egocentric datasets are mostly focused on speech research, neglecting music's unique demands for tasks such as real-time optimisation or assistive listening. This paper introduces EgoMusic, a multimodal dataset featuring synchronised egocentric audio-visual data captured with AR glasses during live performances, alongside studio-quality audio references. We investigate AR glasses' utility for music and baseline artificial intelligence (AI) approaches for hearing enhancement, positioning EgoMusic as the first dataset that enables research for egocentric music AAR.

Although Social Virtual Reality (SVR) affordances are designed to enable embodied social activities and interactions within virtual environments, the ways that users perceive and interpret these affordances can shape how SVR platforms are used and experienced. In this study, we examined the design and use of SVR affordances based on qualitative survey data from 100 SVR users. We observed that user practices diverge in important ways from intended designs, adding complexity to conventional interpretations of SVR platforms as embodied social environments. This research highlights dynamic user behaviour in which users interpret and reconfigure the affordances of SVR platforms, ranging from asocial use cases to actions that reflect the current limits of embodied communication. We contribute findings that may improve SVR design by revealing opportunities to foreground user needs and expectations, leveraging both the designed possibilities of SVR and the interpretations of those possibilities.

Virtual reality cinemas offer computer-generated screening environments that resemble physical-world movie theaters for avatar-based viewers. Reflecting on virtual spectatorship in the context of social isolation, the present study investigates whether VR cinemas could provide an alternative for collective movie watching and whether they could facilitate an engaging experience similar to other, physical-world co-viewing environments. To measure these effects, we designed a behavioral experiment in which participants watched a feature film sequence either in VR or a physical screening room in the presence or absence of viewing companions. After viewing, participants’ experiences—including emotional engagement, narrative empathy, presence, social experiences, and physical and mental well-being—were recorded using survey methods. We observed that VR viewing can produce an equally enjoyable film experience, as well as similar levels of emotional engagement and narrative empathy, while it leads to increased comprehension of characters’ feelings and sense of narrative engagement. In addition, social viewing may mean less engagement and more distractions depending on the screening environment. We also found that even though previous virtual reality exposure negatively correlates with comfort and well-being during viewing, early adopters of technology and VR supporters are more likely to have an enjoyable and engaging film experience.