Two reference frames for visual perception in two gravity conditions

The processing and storage of visual information concerning the orientation of objects in space is carried out in anisotropic reference frames in which all orientations are not treated equally. The perceptual anisotropies, and the implicit reference frames that they define, are evidenced by the observation of 'oblique effects' in which performance on a given perceptual task is better for horizontally and vertically oriented stimuli. The question remains how the preferred horizontal and vertical reference frames are defined. In these experiments cosmonaut subjects reproduced the remembered orientation of a visual stimulus in 1g (on the ground) and in 0g, both attached to a chair and while free-floating within the International Space Station. Results show that while the remembered orientation of a visual stimulus may be stored in a multimodal reference frame that includes gravity, an egocentric reference is sufficient to elicit the oblique effect when all gravitational and haptic cues are absent.     

Body tilt effect on the reproduction of orientations: studies on the visual oblique effect and subjective orientations

Body tilt effects on the visual reproduction of orientations and the Class 2 oblique effect (E. A. Essock, 1980) were examined. Body tilts indicate whether the oblique effect (i.e., lower performance in oblique orientations than in vertical-horizontal orientations) is defined in an egocentric or a gravitational reference frame. Results showed that the oblique effect observed in upright posture disappeared in tilted conditions, mainly due to a decrease in the precision of the vertical and horizontal settings. In tilted conditions, the subjective visual vertical proved to be the orientation reproduced the most precisely. Thus, the oblique effect seemed to be not purely gravitationally or egocentrically defined but, rather, to depend on a subjective gravitational reference frame tilted in the same direction as body tilts.     

Frame effects in visual search for line orientation

In the present study, we investigated the effects of surrounding frames on visual search for line orientation. Every line item presented in the display was surrounded by a square frame of identical size and orientation. The orientations of the frames, as well as those of the target and distractor lines, were either vertical or tilted. In six experiments, the surrounding frames caused substantial changes in search efficiency for vertical targets and for tilted targets. The search asymmetry between the two types of targets was reversed when the frame was tilted at the same angle as the tilted line. Several variations of the frames (a pair of parallel lines, squares with gaps, and squares with circular contours inside) also changed search efficiency significantly. Taken together, these results imply that three different sources contribute to frame effects: distractor roles played by the frame components, orientation contrast from the frame contour, and interference in local orientation processing (Hayward & Burke, 2000). Implications of the present findings are discussed in reference to rod-and-frame effects (Witkin & Asch, 1948) and to the effects of a large frame surrounding an entire display of lines (Marendaz, 1998; Treisman, 1985).     

The role of contextual cues in the haptic perception of orientations and the oblique effect

Blindfolded right-handed participants were asked to position, with the right hand, a frontoparallel rod to one of three orientations: vertical (0°) and left 45° and right 45° obliques. Simultaneously, three different backgrounds were explored with the left hand: smooth, congruent stripes (parallel to the orientation to be produced), or incongruent stripes (tilted relative to the orientation to be produced). The analysis of variable errors showed that the oblique effect (higher precision for the vertical orientation than for the oblique orientations) was weakened in the presence of contextual cues, because of an improvement in oblique precision. Moreover, the analysis of constant errors revealed that the perception of orientations erred in the direction of the stripes, similar to the effect that has been found with vision, where visual contextual cues (tilted frame or lines) divert the perception of the vertical. These results are discussed in relation to a patterncentric frame of reference hypothesis or as a congruency effect.     

美感对西方绘画无意识加工的影响

采用连续闪烁抑制范式(Continuous Flash Suppression, CFS), 通过比较不同美感的图片的突破抑制时间,考察了美感对西方绘画无意识加工的影响。实验1使用黑白噪音图片, 通过单因素被试内设计考察了高、中、低三种美感等级的彩色西方绘画的突破抑制时间。结果发现, 美感高和美感中等的西方绘画比美感低的西方绘画能更快突破噪音图片的抑制进入意识。实验2考察在彩色噪音图片的抑制下, 美感是否依然影响彩色西方绘画突破抑制的时间。结果发现, 美感不影响西方绘画突破抑制时间, 且突破抑制时间显著长于实验1。这些结果表明美感对西方绘画无意识加工的影响受到双眼竞争的眼间抑制过程的限制, 只有在黑白噪音图抑制的情况下, 美感会影响西方绘画进入意识的速度。与黑白噪音图片相比, 彩色噪音图片可能对颜色信息的抑制更强, 干扰了美感对西方绘画无意识加工的影响。     

Reference frames and haptic perception of orientation: Body and head tilt effects on the oblique effect

The aim of this study was to examine the effect of body and head tilts on the haptic oblique effect. This effect reflects the more accurate processing of vertical and horizontal orientations, relative to oblique orientations. Body or head tilts lead to a mismatch between egocentric and gravitational axes and indicate whether the haptic oblique effect is defined in an egocentric or a gravitational reference frame. The ability to reproduce principal (vertical and horizontal) and oblique orientations was studied in upright and tilted postures. Moreover, by controlling the deviation of the haptic subjective vertical provoked by postural tilt, the possible role of a subjective gravitational reference frame was tested. Results showed that the haptic reproduction of orientations was strongly affected by both the position of the body (Experiment 1) and the position of the head (Experiment 2). In particular, the classical haptic oblique effect observed in the upright posture disappeared in tilted conditions, mainly because of a decrease in the accuracy of the vertical and horizontal settings. The subjective vertical appeared to be the orientation reproduced the most accurately. These results suggest that the haptic oblique effect is not purely gravitationally or egocentrically defined but, rather, depends on a subjective gravitational reference frame that is tilted in a direction opposite to that of the head in tilted postures (Experiment 3).     

Reference frames and haptic perception of orientation: body and head tilt effects on the oblique effect.

The aim of this study was to examine the effect of body and head tilts on the haptic oblique effect. This effect reflects the more accurate processing of vertical and horizontal orientations, relative to oblique orientations. Body or head tilts lead to a mismatch between egocentric and gravitational axes and indicate whether the haptic oblique effect is defined in an egocentric or a gravitational reference frame. The ability to reproduce principal (vertical and horizontal) and oblique orientations was studied in upright and tilted postures. Moreover, by controlling the deviation of the haptic subjective vertical provoked by postural tilt, the possible role of a subjective gravitational reference frame was tested. Results showed that the haptic reproduction of orientations was strongly affected by both the position of the body (Experiment 1) and the position of the head (Experiment 2). In particular, the classical haptic oblique effect observed in the upright posture disappeared in tilted conditions, mainly because of a decrease in the accuracy of the vertical and horizontal settings. The subjective vertical appeared to be the orientation reproduced the most accurately. These results suggest that the haptic oblique effect is not purely gravitationally or egocentrically defined but, rather, depends on a subjective gravitational reference frame that is tilted in a direction opposite to that of the head in tilted postures (Experiment 3).     

Pattern and orientation effects on afterimage duration

Patterns composed of a pair of lines: vertical + horizontal, vertical + oblique, horizontal + oblique, and oblique + oblique, either centrally-aligned or edge-aligned, were shown at two positions of rotation. After a 1-s exposure to the pattern observers timed the duration of afterimages consisting of individual lines (fragmentary state) and the pattern as a whole (unitary state) for the ensuring 60 s. Summing unitary and fragmentary afterimage durations yielded the total afterimage duration for each pattern. Three hypotheses were confirmed by the results: (i) total afterimage duration is constant for all patterns when integrated spatiotemporal luminances are equal; (ii) unitary afterimage duration is also constant; (iii) fragmentary afterimages of vertically oriented lines have longer durations than either their horizontal or oblique pair members, regardless of alignment and, with one exception, rotation. For all patterns, the durations of the unitary and the fragmentary state represent a fixed portion of the total afterimage duration. The difference between afterimage duration for differently oriented lines in patterns which include a vertical is discussed in relation to the vertical-horizontal illusion, the function and structure of cortical orientation processes, and perceptual development.     

Reference frame preferences in haptics differ for the blind and sighted in the horizontal but not in the vertical plane

We investigated which reference frames are preferred when matching spatial language to the haptic domain. Sighted, low-vision, and blind participants were tested on a haptic-sentence-verification task where participants had to haptically explore different configurations of a ball and a shoe and judge the relation between them. Results from the spatial relation "above", in the vertical plane, showed that various reference frames are available after haptic inspection of a configuration. Moreover, the pattern of results was similar for all three groups and resembled patterns found for the sighted on visual sentence-verification tasks. In contrast, when judging the spatial relation "in front", in the horizontal plane, the blind showed a markedly different response pattern. The sighted and low-vision participants did not show a clear preference for either the absolute/relative or the intrinsic reference frame when these frames were dissociated. The blind, on the other hand, showed a clear preference for the intrinsic reference frame. In the absence of a dominant cue, such as gravity in the vertical plane, the blind might emphasise the functional relationship between the objects owing to enhanced experience with haptic exploration of objects.     

Converging operations revisited: Assessing what infants perceive using discrimination measures

In four experiments, we explored the perception of facial distortions seen in pictures viewed from the side or from above or below. In all four, however, we disguised the slant of the picture surface by using a double-projection technique that removed binocular and monocular cues: Faces were digitized, distorted to mimic a particular slant behind the image plane, cropped to a frame, and presented to viewers for their judgments. In the first experiment, we found that simulated rotations around a horizontal axis (pictures seen as if from above or below) created more noticeable distortions in faces than did simulated rotations around a vertical axis (pictures seen as if from the left or right). In the second experiment, pursuing a result from the first but with a between-subjects design, we found that pictured faces with a slant around a vertical axis of 22° were seen as having no more distortion than unslanted faces. In the third experiment, we placed each image within a frame slanted either in the same way as or differently from the picture, and found no effect of frame. In the fourth experiment, we determined that viewers had little ability to match appropriately slanted frames with slanted pictures. Thus, we claim that part of the reason why one can look at moderately slanted pictures without perceptual interference is that the distortions in the image are subthreshold, or perhaps within the bounds of acceptability. These results contrast with the generally accepted theory that viewers mentally compensate for distortions in moderately slanted pictures.     

The oblique effect and three-dimensional shape

The classical oblique effect refers to the finding that observers are faster and more accurate in discriminating the orientation of a line or edge when it is at or near vertical or horizontal than when it is at an oblique orientation (Appelle, 1972; Mach, 1861). Based on the finding that observer sensitivity to orientation of simple symmetric shapes like an ellipse or the letter "X" also exhibits an oblique effect, Li and Westheimer (1997) suggested that the effect does not arise solely from inequality of simple orientation-tuned receptors in early visual processing, but also involves later orientation processing that can encompass more complex inputs such as shape axes. In this work, we examined how the oblique effect impacts three-dimensional shapes defined by texture cues.     

The visual perception coordinate system uses axes defined by the earth, trunk, and vision

Eight young adults adjusted a line located on one side of a computer display parallel to internally specified Earth-fixed vertical (display in frontal plane), to the horizontal trunk-fixed anterior-posterior axis (display in horizontal plane), and to an oblique line (display in horizontal and vertical planes). All tasks were completed in a dark room with the head and trunk in both a standard erect posture and varied postures. Errors were lowest when setting the line to internally specified vertical in the frontal plane and to an oblique line in the horizontal plane when head and trunk orientations were varied. Constant errors for setting one line parallel to a second line were in opposite directions when the second line was located on the left versus right side of the display, but did not differ in direction when setting the line parallel to internally specified axes. Also, the oblique effect was preserved when the head and trunk were tilted to various orientations, suggesting that it results from integration of an internally specified gravitational reference with visual input. We conclude that the visual perceptual coordinate system uses internally specified vertical and, when available, a visually specified horizontal reference axis to define object orientation.     

Spatial coding and oblique discrimination by children

Children from five to eight years of age learned to discriminate between mirrorimage oblique lines more readily when cards bearing the obliques were presented vertically than when they were presented horizontally. The difference in performance between the vertical and horizontal planes could not be accounted for by differences in either the external visual context or the availability of asymmetrical body information (e.g., left vs right hand). The superiority of the vertical plane was attributed to the congruence of objective, bodily, and retinal vertical axes for the vertical, but not the horizontal plane, It was concluded, on this basis, that at least part of children's difficulty discriminating between mirror-image obliques is due to their difficulty establishing the internalized vertical axis necessary for the left-right spatial coding of the obliques.     

The oblique effect in a vernier acuity situation

Observers viewed either vertical or obliquely oriented vernier targets from either an upright position or with their heads tilted. Vernier acuity was consistently better for retinally vertical than for gravitationally vertical targets, even when presented against a background context of vertical stripes designed to aid veridical perception of gravitational orientation. These results indicate that vernier acuity depends on retinal image orientation rather than on perceived orientation. The high contrast of the vernier lines ensures that their gravitational orientation is clearly perceived. Thus the present results provide a stronger basis for ruling out the effects of perceptual orientation than previous studies involving grating contrast-threshold measurements. Since the vernier targets were presented as brief flashes, it is unlikely that the measured oblique effect is attributable to differences in eye-movement patterns.     

The roles of handedness and stimulus asymmetry in aesthetic preference.

When some pictures are mirror reversed, aesthetic evaluations of them change dramatically. Stimulus features that may be important in contributing to this effect are: (a) location of areas of principal interest or weight in the picture space, (b) cues that suggest a direction of motion within the picture. Dextrals and inverted sinistrals preferred paintings with cues suggesting motion proceeding from left to right over their mirror-reversed versions and also preferred those with weight concentrated in the left portions of the picture space. The explanation that best fits these data is that preference is promoted when the picture content encourages attention to its rightmost portions, thus placing a majority of the picture in the left visual field where it is directly processed by the right hemisphere.     

Line Spacing in Mondrian Paintings and Computer-Generated Modifications

Students compared computer-generated pictures of which I had line spacing and orientation proportional to that in a Mondrian picture (Mondrian-like), and 9 had divergent line spacing (divergently spaced). Preference was above average for the Mondrian-like picture compared with that for the divergently spaced pictures. However, participants did not prefer the Mondrian-like picture to divergently spaced pictures that were preselected as aesthetically pleasing by other participants. The results of the present experiments suggest that a computer algorithm can be developed to modify a picture in a way that is comparable with the way in which humans modify a picture to obtain a preferred picture. If aesthetic appeal is used in the storage and retrieval of visual information, then the algorithm could provide a better understanding of human perceptual processes. The results are related to consistency of aesthetic judgments across participants, levels of processing, and apparent contrast effects.     

Line spacing in Mondrian paintings and computer-generated modifications

Students compared computer-generated pictures of which 1 had line spacing and orientation proportional to that in a Mondrian picture (Mondrian-like), and 9 had divergent line spacing (divergently spaced). Preference was above average for the Mondrian-like picture compared with that for the divergently spaced pictures. However, participants did not prefer the Mondrian-like picture to divergently spaced pictures that were preselected as aesthetically pleasing by other participants. The results of the present experiments suggest that a computer algorithm can be developed to modify a picture in a way that is comparable with the way in which humans modify a picture to obtain a preferred picture. If aesthetic appeal is used in the storage and retrieval of visual information, then the algorithm could provide a better understanding of human perceptual processes. The results are related to consistency of aesthetic judgments across participants, levels of processing, and apparent contrast effects.     

Spatial context affects the Poggendorff illusion

The Poggendorffillusion has often been explainedas purely an interactionbetween the parallels and the transversals. The present study demonstrates that additional spatial context exerts an influence on this illusion. In Experiment 1, we examined the effects of a surrounding tilted frame (complete and degraded versions) on collinearity adjustments iatheuprightandrotatedPoggendorfffigures. The frame’s orientation was always oblique. Relative to the no-frame condition, frames decreased error in collinearity adjustments in the upright-Poggendorff figure, and increased error in the rotated Poggendorfffigure. In Experiment 2, a circumscribing circle did not cause an orientation-inhibition effect (Ebenholtz & Utrie, 1982, 1983), suggestingthat the effect ofthe frame on the Poggendorif illusion may not be closely related to the rod-and-frame effect. In Experiment 3, orientation of a central texture modulated the magnitude ofthe illusion. The results do not serve to explain the mechanisms behind the Poggendorffillusion, but they do demonstrate the importance of visual reference frames in understanding perceived misalignment.     

Contour symmetry detection: the influence of axis orientation and number of objects

Participants discriminated symmetrical from random contours connected by straight lines to form part of one- or two-objects. In experiment one, symmetrical contours were translated or reflected and presented at vertical, horizontal, and oblique axis orientations with orientation constant within blocks. Translated two-object contours were detected more easily than one, replicating a "lock-and-key" effect obtained previously for vertical orientations only [M. Bertamini, J.D. Friedenberg, M. Kubovy, Acta Psychologica, 95 (1997) 119-140]. A second experiment extended these results to a wider variety of axis orientations under mixed block conditions. The pattern of performance for translation and reflection at different orientations corresponded in both experiments, suggesting that orientation is processed similarly in the detection of these symmetries.