Some varieties of shadow illusions: split shadows, occluded shadows, stolen shadows, and shadows of shadows

Shadows are visual objects and as such are subject to preference rules for segmenting the visual scene (such as Gestalt laws). These rules govern shadows along two dimensions: their general unity and individuation (eg they describe a certain area as a unitary shadow as opposed to a set of two distinct shadows), and their being the shadow of a given object, as opposed to being the shadow of any other object in the scene (the shadow correspondence problem Mamassian, 2004 Perception 33 1279-1290). I describe a few phenomena that indicate the interplay of preferences in determining the final visual aspect of scenes in which shadows are present.     

Shape from shadows

The colors, textures, and shapes of shadows are physically constrained in several ways in natural scenes. The visual system appears to ignore these constraints, however, and to accept many patterns as shadows even though they could not occur naturally. In the stimuli that we have studied, the only requirements for the perception of depth due to shadows were that shadow regions be darker than the surrounding, nonshadow regions and that there be consistent contrast polarity along the shadow border. Three-dimensional shape due to shadows was perceived when shadow areas were filled with colors or textures that could not occur in natural scenes, when shadow and nonshadow regions had textures that moved in different directions, or when they were presented on different depth planes. The results suggest that the interpretation of shadows begins with the identification of acceptable shadow borders by a cooperative process that requires consistent contrast polarity across a range of scales at each point along the border. Finally, we discuss how the identification of a shadow region can help the visual system to patch together areas that are separated by shadow boundaries, to identify directions of surface curvature, and to select a preferred three-dimensional interpretation while rejecting others.     

The perception of cast shadows

When an object casts its shadow on a background surface, the shadow can be informative about the shape of the object, the shape of the background surface and the spatial arrangement of the object relative to the background. Among all these roles, we found that cast shadows were perceptually most relevant for the recovery of spatial arrangement, especially when the shadow is in motion. This finding is intriguing when one considers the ambiguities in the possible ways that shadow motion can be interpreted. We reasoned that the visual system must use a priori constraints to disambiguate the cast shadow motion. One of these constraints is that the light source is stationary. Though simple, the stationary-light-source constraint supports rich, reliable inferences about the qualitative motions of objects in three dimensions.     

Impossible shadows and lightness constancy

The intersection between an illumination and a reflectance edge is characterised by the 'ratio-invariant' property, that is the luminance ratio of the regions under different illumination remains the same. In a CRT experiment, we shaped two areas, one surrounding the other, and simulated an illumination edge dividing them in two frames of illumination. The portion of the illumination edge standing on the surrounding area (labelled contextual background) was the contextual edge, while the portion standing on the enclosed area (labelled mediating background) was the mediating edge. On the mediating background, there were two patches, one per illumination frame. Observers were asked to adjust the luminance of the patch in bright illumination to equate the lightness of the other. We compared conditions in which the luminance ratio at the contextual edge could be (i) equal (possible shadow), or (ii) larger (impossible shadow) than that at the mediating edge. In addition, we manipulated the reflectance of the backgrounds. It could be higher for the contextual than for the mediating background; or, vice versa, lower for the contextual than for the mediating background. Results reveal that lightness constancy significantly increases when: (i) the luminance ratio at the contextual edge is larger than that at the mediating edge creating an impossible shadow, and (ii) the reflectance of the contextual background is lower than that of the mediating one. We interpret our results according to the albedo hypothesis, and suggest that the scission process is facilitated when the luminance ratio at the contextual edge is larger than that at the mediating edge and/or the reflectance of the including area is lower than that of the included one. This occurs even if the ratio-invariant property is violated.     

Stereokinetic shapes and their shadows

The visual space of phenomenal appearances has a complex geometry which cannot be reduced strictly to Euclidean or projective geometry. The distinctive nature of this space and its objects is evidenced paradigmatically by stereokinetic phenomena, which are perceptual objects in actual three-dimensional coming into being. Stereokinetic phenomena produce the appearance not only of corporeality but also, in certain circumstances, of shadows. By altering certain components of his experiments on the three-dimensional appearance of a truncated cone, in fact, Musatti discovered that on its white base floats some sort of shadow obscuring stretches of the white lines. These shadows are connected to phenomena of amodal presentations successively analysed by Kanizsa. The continuity of the unfolding in visual space of stereokinetic transformations produces a diversified series of percepts coming into being, shadows included, and highlights the role of configurational movement as a factor of formal unification, thereby proposing once again the hypothesis of assimilative factors as responsible for the field organisation of past experience.     

Cast shadows in wide perspective

We investigated the apparent spatial layout of cast shadows up to very wide fields of view. We presented up to 130 degrees wide images in which two 'flat poles' were standing on a green lawn under a cloudless blue sky on a sunny day. The poles threw sharp cast shadows on the green, of which one was fixed. The observer's task was to adjust the azimuth of the shadow of the other pole such that it fitted the scene. The source elevation was kept constant. The two cast shadows are, of course, parallel in physical space, but generically not in the picture plane because of the wide perspective. We found that observers made huge systematic errors, indicating that, generically, they fail to account for these perspective effects. The systematic deviations could be well described by a weighted linear combination of the directions in the picture plane and in the physical space, with weights that depended on the positions of, and distance between, the poles.     

Infants' perception of depth from cast shadows

Five- and 7-month-old infants viewed displays in which cast shadows provided information that two objects were at different distances. The 7-month-olds reached preferentially for the apparently nearer object under monocular-viewing conditions but exhibited no reaching preference under binocular-viewing conditions. These results indicate that 7-month-old infants perceive depth on the basis of cast shadows. The 5-month-olds did not reach preferentially for the apparently nearer object and, therefore, exhibited no evidence of sensitivity to cast shadows as depth information. In a second experiment, 5-month-olds reached preferentially for the nearer of two objects that were similar to those used in the first experiment but were positioned at different distances from the infant. This result indicated that 5-month-olds have the motor skills and motivation necessary to exhibit a reaching preference under the conditions of this study. The results are consistent with the hypothesis that depth perception based on cast shadows first appears between 5 and 7 months of age.     

From body shadows to bodily attention: Automatic orienting of tactile attention driven by cast shadows

Body shadows orient attention to the body-part casting the shadow. We have investigated the automaticity of this phenomenon, by addressing its time-course and its resistance to contextual manipulations. When targets were tactile stimuli at the hands (Exp.1) or visual stimuli near the body-shadow (Exp.2), cueing effects emerged regardless of the delay between shadow and target onset (100, 600, 1200, 2400 ms). This suggests a fast and sustained attention orienting to body-shadows, that involves both the space occupied by shadows (extra-personal space) and the space the shadow refers to (own body). When target type became unpredictable (tactile or visual), shadow-cueing effects remained robust only for tactile targets, as visual stimuli showed no overall reliable effects, regardless of whether they occurred near the shadow (Exp.3) or near the body (Exp.4). We conclude that mandatory attention shifts triggered by body-shadows are limited to tactile targets and, instead, are less automatic for visual stimuli.     

Rapid processing of cast and attached shadows

We used a visual-search method to investigate the role of shadows in the rapid discrimination of scene properties. Targets and distractors were light or dark 2-D crescents of identical shape and size, on a mid-grey background. From the dark stimuli, illusory 3-D shapes can be created by blurring one arc of the crescent. If the inner arc is blurred, the stimulus is perceived as a curved surface with attached shadow. If the outer arc is blurred, the stimulus is perceived as a flat surface casting a shadow. In a series of five experiments, we used this simple stimulus to map out the shadow properties that the human visual system can rapidly detect and discriminate. To subtract out 2-D image factors, we compared search performance for dark-shadow stimuli with performance for light-shadow stimuli which generally do not elicit strong 3-D percepts. We found that the human visual system is capable of rapid discrimination based upon a number of different shadow properties, including the type of the shadow (cast or attached), the direction of the shadow, and the displacement of the shadow. While it is clear that shadows are not simply discounted in rapid search, it is unclear at this stage whether rapid discrimination is acting upon shadows per se or upon representations of 3-D object shape and position elicited by perceived shadows.     

Why cast shadows are expendable: insensitivity of human observers and the inherent ambiguity of cast shadows in pictorial art

The kinds of visual cues artists choose to use or not use in their work can offer insight into perceptual processes. On the basis of the observed paucity of the use of cast shadow in pictorial art, we hypothesized that cast shadows might be relatively expendable as pictorial cues. In this study, we investigated two potential reasons for this expendability: first, viewers might be insensitive to much of the information that cast shadows provide; and, second, ambiguities about what is shadow and what is pigment can often be resolved only through motion-something that static media are ill-equipped to deal with. In experiment 1, we used a visual-search paradigm in which viewers had to determine if there were odd cast shadows in sets of 4, 8, 16, and 32 objects. In experiment 2, viewers had to discriminate between shadow/pigment ambiguities in both still and moving images. Our results demonstrate that viewers are neither particularly sensitive to static cast-shadow incongruities, nor are they able to disambiguate cast shadow from pigment without continuous motion information. Taken together, these results may help explain why cast shadows are relatively rare in static pictorial work.     

Colour vision brings clarity to shadows

We have revealed a new role for colour vision in visual scene analysis: colour vision facilitates shadow identification. Shadows are important features of the visual scene, providing information about the shape, depth, and movement of objects. To be useful for perception, however, shadows must be distinguished from other types of luminance variation, principally the variation in object reflectance. A potential cue for distinguishing shadows from reflectance variations is colour, since chromatic changes typically occur at object but not shadow boundaries. We tested whether colour cues were exploited by the visual system for shadow identification, by comparing the ability of human test subjects to identify simulated shadows on chromatically variegated versus achromatically variegated backgrounds with identical luminance compositions. Performance was superior with the chromatically variegated backgrounds. Furthermore, introducing random colour contrast across the shadow boundaries degraded their identification. These findings demonstrate that the visual system exploits inbuilt assumptions about the relationships between colour and luminance in the natural visual world.     

A Tribute to Two Masters

Two of Betty MacDonald's children's stories provide a focus for viewing change. The viewpoint used is that of a clinical hypnotist with a family-systems orientation. Two treatment situations are considered: one is an outpatient setting; the other involves a residential program.     

The influence of cast shadows on visual search

We show that cast shadows can have a significant influence on the speed of visual search. In particular, we find that search based on the shape of a region is affected when the region is darker than the background and corresponds to a shadow formed by lighting from above. Results support the proposal that an early-level system rapidly identifies regions as shadows and then discounts them, making their shapes more difficult to access. Several constraints used by this system are mapped out, including constraints on the luminance and texture of the shadow region, and on the nature of the item casting the shadow. Among other things, this system is found to distinguish between line elements (items containing only edges) and surface elements (items containing visible surfaces), with only the latter deemed capable of casting a shadow.     

A solid-state device for presenting moving shadows

The use of luminescent panels controlled by solid-state circuitry to produce moving shadows is described. Advantages include lack of vibration, noise, and heat.     

Impossible shadows and the shadow correspondence problem

Shadows cast by objects contain potentially useful information about the location of these objects in the scene as well as their surface reflectance. However, before the visual system can use this information, it has to solve the shadow correspondence problem, that is to match the objects with their respective shadows. In the first experiment, it is shown that the estimate of the light source position is affected by a gradual luminance ramp added to the image. In the second experiment, it is shown that observers process impossible shadow images as if they ignored the local features of the objects. All together, the results suggest that the visual system solves the shadow correspondence problem by relying on a coarse representation of the scene.     

五台山最早的《华严》论师灵辩

灵辩法师是北魏五台山清凉寺著名的《华严》论师,其《华严经论》中的《如来光明觉品》是现存最早的华严论著.