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During the last decades, virtual reality (VR) has been devoted to supporting research in the architecture, engineering, and construction sectors because of its ability to provide multisensory three-dimensional (3D) environments. However, the use of immersive virtual environments (IVEs) in the design of the built environment is still in its infancy, and it is limited to visually designed spaces. In addition, a fundamental challenge lies in improving the sense of hearing. The effective simulation of the built environment with an overall realistic perception will support designers when identifying the influence of design decisions and building acoustics on individuals, therefore, properly designing acoustic strategies. In this study, five disrupting sound sources were selected to create a binaural soundtrack that was integrated within a virtual office environment to evaluate the effectiveness of the model (i.e., ecological validity) and the effects of acoustics on user comfort and cognitive performance (i.e., criterion validity). Independent measure design research was employed. In total, 104 participants performed working memory, inhibition, and task-switching tests under quiet (Q) or noise (N) conditions when the indoor air temperature remained constant. The results showed that the modeled virtual office created an excellent level of presence and immersivity with no significant cybersickness disorders (i.e., ecological validity). Ambient noise disrupted work efficiency with a relevant decrease in performance in each cognitive test (i.e., criterion validity). The sound environment was assessed as uncomfortable, chaotic, and boring. In addition, it negatively impacted the subjects' thermal comfort vote (TCV). These results suggested the adequacy of IVE when providing an accurate representation of the variables measured; therefore, it supported effective user-centered design analysis and strategies. [ABSTRACT FROM AUTHOR]

In this article, I will discuss listening to binaural recordings of Helsinki metro tunnels through the concepts of digital anthropology and naftology, the philosophy of the experience of oil. The digital is understood in this context as material culture and also as a constitutive part of corporeality. By conceptualising binaural recordings both as instrument and device for sensing the sonic environments, I argue that the acoustic epistemologies within the digital material culture will produce relevant knowledge on sensing and experiencing the changing environments. [ABSTRACT FROM AUTHOR]