Using a map in an unfamiliar environment requires identifying correspondences between elements of the map's allocentric representation and elements in egocentric views. Aligning the map with the environment can be challenging. Virtual reality (VR) allows learning about unfamiliar environments in a sequence of egocentric views that correspond closely to the perspectives and views that are experienced in the actual environment. We compared three methods to prepare for localization and navigation tasks performed by teleoperating a robot in an office building: studying a floor plan of the building and two forms of VR exploration. One group of participants studied a building plan, a second group explored a faithful VR reconstruction of the building from a normal-sized avatar's perspective, and a third group explored the VR from a giant-sized avatar's perspective. All methods contained marked checkpoints. The subsequent tasks were identical for all groups. The self-localization task required indication of the approximate location of the robot in the environment. The navigation task required navigation between checkpoints. Participants took less time to learn with the giant VR perspective and with the floorplan than with the normal VR perspective. Both VR learning methods significantly outperformed the floorplan in the orientation task. Navigation was performed quicker after learning in the giant perspective compared to the normal perspective and the building plan. We conclude that the normal perspective and especially the giant perspective in VR are viable options for preparing for teleoperation in unfamiliar environments when a virtual model of the environment is available.

When we move through a real environment, egocentric location representations are effortlessly and automatically updated. While moving in synthetic environments, this effortless, continuous spatial updating is often disrupted or incomplete due to a lack of sensory, especially body-based, movement information. To prevent disorientation in virtual reality caused by missing body-based information, the support of spatial updating via other sensory movement cues is necessary. In the presented experiment, participants performed a spatial updating task in a sparse virtual scene presented inside a CAVE (Cave Automatic Virtual Environment). The task was to navigate back to a starting position after simulated movements with either no orientation cues, three visible distant landmarks or one continuous auditory cue present. The focus was not to compare visual and auditory cues but to explore the viability of auditory cueing with visual cues as a reference. Overall, the data showed improved task performance when an orientation cue was present, with auditory cues providing at least as much improvement as visual cues. Our results indicate that auditory cues in virtual environments can support spatial updating when body-based information is missing.

Many sound sources can only be recognised from the pattern of sounds they emit, and not from the individual sound events that make up their emission sequences. Auditory scene analysis addresses the difficult task of interpreting the sound world in terms of an unknown number of discrete sound sources (causes) with possibly overlapping signals, and therefore of associating each event with the appropriate source. There are potentially many different ways in which incoming events can be assigned to different causes, which means that the auditory system has to choose between them. This problem has been studied for many years using the auditory streaming paradigm, and recently it has become apparent that instead of making one fixed perceptual decision, given sufficient time, auditory perception switches back and forth between the alternatives-a phenomenon known as perceptual bi- or multi-stability. We propose a new model of auditory scene analysis at the core of which is a process that seeks to discover predictable patterns in the ongoing sound sequence. Representations of predictable fragments are created on the fly, and are maintained, strengthened or weakened on the basis of their predictive success, and conflict with other representations. Auditory perceptual organisation emerges spontaneously from the nature of the competition between these representations. We present detailed comparisons between the model simulations and data from an auditory streaming experiment, and show that the model accounts for many important findings, including: the emergence of, and switching between, alternative organisations; the influence of stimulus parameters on perceptual dominance, switching rate and perceptual phase durations; and the build-up of auditory streaming. The principal contribution of the model is to show that a two-stage process of pattern discovery and competition between incompatible patterns can account for both the contents (perceptual organisations) and the dynamics of human perception in auditory streaming.