As even the slightest signals would have impact on one's perception, Percept is executed in a dome shaped environment. The environment is constructed in a mise-en-scene manner, where the presence or absence of each object is deliberately placed. The curvatures of the dome covers the user's peripheral vision with a gradienting darkness, eliminating anything that might distract the user from what is projected in front of him.
Prior to entry, no explicit information is given about what to expect from the system. The user enters into what looks like a dark abyss through an extension arm of the dome, which acts as a transitioning space. The user goes through the rather narrow entrance. This space carries the user forward, opening up the main chamber of the dome, and exposing the kiosk with the GSR and HRMI sensors. The user would then put on the heart rate sensor and put his two fingers on the GSR sensor. As soon as contact is made, the abundance of darkness is disrupted by the seemingly random, spontaneous flashes of light. A low key unsettling sound also starts to play, with sudden breaks and flickers in synchronization with mysterious strokes of light on the screen. This is level 1 of the system.
If there are no significant changes in the user's GSR readings, or if the current level has been on display for a prolonged period of time, the system would interpret this as a sign calmness from the user. There has not been enough fear instilled within the user to trigger any major changes in the electrical resistance on his skin. Percept would then go to the next level - eerie photos of everyday places juxtaposed with the precious flickering lights and shadows.
If at one point the system recognizes a large change in the user's GSR readings, indicating sufficient ear and anxiety, the system would go down a level, pulling back the frightening factor in the visual and aural stimuli.
This cycle loops and repeats itself, until the user would find himself at the edge of his threshold for fear, engaged in a constant pull or pull.



