Visual and haptic perception of the horizontal-vertical illusion

The horizontal-vertical illusion consists of two lines of the same length (one horizontal and the other vertical) at a 90 degree angle from one another forming either an inverted-T or an L-shape. The illusion occurs when the length of a vertical line is perceived as longer than the horizontal line even though they are the same physical length. The illusion has been shown both visually and haptically. The present purpose was to assess differences between the visual or haptic perception of the illusions and also whether differences occur between the inverted-T and the L-shape illusions. The current study showed a greater effect in the haptic perception of the horizontal-vertical illusion than in visual perception. There is also greater illusory susceptibility of the inverted-T than the L-shape.     

Spatial factors of brightness illusion in the Ehrenstein figure

The strength of brightness illusion in an Ehrenstein figure has been examined as a function of two variables--inducing line length and gap size--by a two-alternative forced-choice procedure. The results show an interaction between the two variables; the length of the inducers and gap size are both involved in the formation of the brightness illusion, with gap size as the stronger factor. A spatial limit (corresponding to a gap size of 2.4 deg) was found, below which the illusion is always present regardless of the length of the inducers. An area ratio, defined as the ratio of the area of the ring formed by the four inducing lines of an Ehrenstein figure to the area of the illusory surface, takes into account the different spatial factors studied in the experiment and the global size of the Ehrenstein figure. The strength of the illusion was found to increase linearly with increasing values of the area ratio.     

An illusion of movement complementary to the horizontal-vertical illusion

Blindfolded subjects moved a stylus held in the hand over a standard distance of 4.5 ins. in a given direction. They then attempted to move the same distance in a direction at right angles to the first. Eight combinations of movements were investigated. The results reveal an illusion such that the extent of movements to left or right across the body is underestimated, while the extent of movements towards or away from the body in the mid-line is overestimated. The illusion applies to speed as well as extent of movement. Movement up or down in a vertical plane is equivalent to movement towards or away from the body in a horizontal plane.

The interaction of this illusion with the well-known horizontal-vertical illusion of visual perception explains a failure to find any net illusory effect where lines visually displayed in different orientations were matched for length by unseen movements in similar orientations.

Whether the visual and movement illusions simply co-exist or whether they are functionally related is not yet clear.     

Structural alterations of an ambiguous musical figure: the scale illusion revisited.

The scale illusion (Deutsch, 1975) shows the importance of frequency range in the perceptual organization of a sequence of notes. This paper includes three experiments on the scale illusion. Experiments 1 and 2 demonstrated that if the structure of the pattern of notes used in the original scale illusion study is altered slightly, by adding or subtracting a pair of notes from the ends of the sequence, there is a significant decrease in the rate of frequency-based responses, suggesting a weaker illusion. Experiment 3 investigated two features of the note patterns that may have led to this change. Specifically, it asked whether the decrease in the strength of the illusion is due to (1) the nature of the notes at the extremes of the frequency range and/or (2) the nature of the notes at the crossing point of the two scales. While both sources were found to affect the strength of the scale illusion, the former had a greater influence.     

Auditory illusion analogous to the Baldwin figure in vision

An auditory illusion was demonstrated in which there was perceptual shortening of the temporal interval contiguous to a low frequency (large) tone and/or perceptual lengthening of the temporal interval contiguous to a high frequency (small) tone. This auditory analogy to the Baldwin figure was demonstrated after first determining that there was a symmetrical expansion of perceived time during the auditory filled-duration illusion.     

Objects, raised lines, and the haptic horizontal-vertical illusion

Experiments were conducted to determine whether the haptic horizontal-vertical illusion occurs with solid, three-dimensional objects as well as with tangible lines. The objects consisted of round or square bases, with dowel rods projecting above them at heights equal to the widths of the horizontal bases. A negative illusion, with overestimation of horizontals, was found with free haptic exploration, but not with tracing with the fingertip. The negative illusion occurred when subjects felt wooden Ls and inverted Ts with a grasping, pincers motion of the index finger and thumb. The presence or absence of illusory misperception was dependent upon exploration strategy, since the negative illusion vanished with finger tracing. A negative illusion was also found when subjects adjusted a vertical dowel so that it was judged to be equal in extent to a round or square base. A general overestimation of judged size derived from the pincers response measure, but was not found with the use of a tangible ruler. Comparable illusory results are most likely when drawings and objects promote similar haptic scanning methods. The results were consistent with the idea that the orientation of an edge or line is more important than whether one explores a tangible line or a three-dimensional object.     

Structural alterations of an ambiguous musical figure: The scale illusion revisited

The scale illusion (Deutsch, 1975) shows the importance of frequency range in the perceptual organization of a sequence of notes. This paper includes three experiments on the scale illusion. Experiments 1 and 2 demonstrated that if the structure of the pattern of notes used in the original scale illusion study is altered slightly, by adding or subtracting a pair of notes from the ends of the sequence, there is a significant decrease in the rate of frequency-based responses, suggesting a weaker illusion. Experiment 3 investigated two features of the note patterns that may have led to this change. Specifically, it asked whether the decrease in the strength of the illusion is due to (1) the nature of the notes at the extremes of the frequency range and/or (2) the nature of the notes at the crossing point of the two scales. While both sources were found to affect the strength of the scale illusion, the former had a greater influence.     

The role of haptic versus visual volume cues in the size-weight illusion

Three experiments establish the size-weight illusion as a primarily haptic phenomenon, despite its having been more traditionally considered an example of vision influencing haptic processing. Experiment 1 documents, across a broad range of stimulus weights and volumes, the existence of a purely haptic size-weight illusion, equal in strength to the traditional illusion. Experiment 2 demonstrates that haptic volume cues are both sufficient and necessary-for a full-strength illusion. In contrast, visual volume cues are merely sufficient, and produce a relatively weaker effect. Experiment 3 establishes that congenitally blind subjects experience an effect as powerful as that Of blindfolded sighted observers, thus demonstrating that visual imagery is also unnecessary for a robust size-weight illusion. The results are discussed in terms of their implications for both sensory and cognitive theories of the size-weight illusion. Applications of this work to a human factors design and to sensor-based systems for robotic manipulation are also briefly considered.     

Mechanisms in the haptic horizontal-vertical illusion: Evidence from sighted and blind subjects

The haptic horizontal-vertical illusion was studied in two experiments. In Experiment 1, the illusion was relatively weak in sighted subjects and depended on stimulus size and the nature of the figure, that is, whether the pattern was an inverted-T or L shape. Experiment 2 compared early blind and late blind subjects. The illusion was present for an inverted-T figure but absent for an L figure in late blind subjects. However, the early blind subjects treated both the L and T figures as similar and showed the illusion to both. These results support the idea that visual experience may alter haptic judgments in sighted and late blind subjects.     

Skill-set,success outcome,and mania as determinants of the illusion of control

The illusion of control, the tendency for individuals to approach chance tasks with skill-appropriate strategies, was studied. Subjects premeasured on a mania scale were classified as either high (HM) or low (LM) in mania. In the first phase of the study, HM and LM subjects performed 30 trials on either a skill (verbal associates) or chance (coin-toss) task and were given either 20, 50, or 80% success feedback. After Task 1 was completed, subjects filled out an attribution questionnaire. In the final phase of the study, subjects anticipated 30 more trials either on a skill or chance task. Subjects' predicted successes were measured. It was hypothesized that predicted successes on anticipated skill and chance tasks would be affected more by outcomes on a previous skill task than by outcomes on a previous chance task. The results for the anticipated skill task directly supported the hypothesis. On the anticipated chance task, the hypothesis was confirmed for HM subjects only. The results are discussed in terms of how previous skill experiences may induce a set to control ungovernable situations for individuals with manic reactions.     

Audiovisual beat induction in complex auditory rhythms: Point-light figure movement as an effective visual beat

This study investigated whether explicit beat induction in the auditory, visual, and audiovisual (bimodal) modalities aided the perception of weakly metrical auditory rhythms, and whether it reinforced attentional entrainment to the beat of these rhythms. The visual beat-inducer was a periodically bouncing point-light figure, which aimed to examine whether an observed rhythmic human movement could induce a beat that would influence auditory rhythm perception. In two tasks, participants listened to three repetitions of an auditory rhythm that were preceded and accompanied by (1) an auditory beat, (2) a bouncing point-light figure, (3) a combination of (1) and (2) synchronously, or (4) a combination of (1) and (2), with the figure moving in anti-phase to the auditory beat. Participants reproduced the auditory rhythm subsequently (Experiment 1), or detected a possible temporal change in the third repetition (Experiment 2). While an explicit beat did not improve rhythm reproduction, possibly due to the syncopated rhythms when a beat was imposed, bimodal beat induction yielded greater sensitivity to a temporal deviant in on-beat than in off-beat positions. Moreover, the beat phase of the figure movement determined where on-beat accents were perceived during bimodal induction. Results are discussed with regard to constrained beat induction in complex auditory rhythms, visual modulation of auditory beat perception, and possible mechanisms underlying the preferred visual beat consisting of rhythmic human motions.     

Eye movement as a cue to figure motion in anorthoscopic perception

When a figure moves behind a narrow aperture in an opaque surface, if it is perceived as a figure, its shape will often appear distorted. Under such anorthoscopic conditions, the speed or direction of the object's motion is ambiguous. However, when the observer simultaneously tracks a moving target, a figure is always perceived, and its precise shape is a function of the speed or direction of tracking. The figure is seen as moving with the speed or in the direction of the target. Thus, it is argued that eye movement serves as a cue to the figure's motion, which, in turn, determines its perceived length or orientation.     

The influence of figure size and orientation on the magnitude of the horizontal-vertical illusion

Two experiments were performed to examine the effect of display size and figure orientation on the horizontal-vertical illusion. According to the visual field hypothesis of Künnapas (1957a, 1957b) if the relation of the figure components to the surrounding frame is held invariant neither experimental manipulation should exert an appreciable influence. However, both manipulations produced significant effects indicating that the visual field hypothesis is untenable as the primary determinant of the horizontal-vertical illusion. An alternative explanation was discussed.     

Movement time and velocity as determinants of movement timing accuracy

Three experiments investigated the effect of movement time (MT) and movement velocity on the accuracy and initiation of linear timing movements. MTs of 100, 200, 500, 600, and 1000 msec were examined over various distances; timing accuracy decreased with longer MTs and slower average velocities. The velocity effect was independent of MT and occurred when the velocities were above and below about 15 cm/sec. Self-paced initiation times to movement increased directly with MT and inversely as a function of movement velocity. The latency data complement the MT findings in suggesting that average velocity is a key parameter in the initiation and control of discrete timing movements and, that there is some lower velocity below which movement control breaks down.     

The role of figure orientation and apparent depth in the perception of the horizontal-vertical illusion.

An experiment was performed which examined the role of figural orientation directly, and the role of an inappropriately invoked size-constancy mechanism indirectly, in the actuation and magnitude of the horizontal-vertical illusion. When the vertical line of the stimulus figure was aligned above the horizontal line, the illusory effect was significant and positive; in contrast, when the vertical line was located below the horizontal line, the illusion was negative. Under the assumption that a vertical line can appear as a foreshortened line in depth, these findings support an explanation based on the operation of a misapplied size-constancy mechanism.     

Pigeons perceive the Ebbinghaus-Titchener circles as an assimilation illusion

A target circle surrounded by larger "inducer" circles looks smaller, and one surrounded by smaller circles looks larger than they really are. This is the Ebbinghaus-Titchener illusion, which remains one of the strongest and most robust of contrast illusions. Although there have been many studies on this illusion in humans, virtually none have addressed how nonhuman animals perceive the same figures. Here the authors show that the Ebbinghaus-Titchener figures also induce a strong illusion in pigeons but, surprisingly, in the other direction; that is, all five successfully trained pigeons judged the target circle surrounded by larger circles to be larger than it really is and vice versa. Further analyses proved that neither the gaps between target and inducer circles nor the cumulative weighted surface of these figural elements could account for the birds' responses. Pigeons are known to show similarities to humans on various cognitive and perceptual tasks including concept formation, short-term memory, and some visual illusions. Our results, taken together with pigeons' previously demonstrated failure at visual completion, provide strong evidence that pigeons may actually experience a visual world too different for us to imagine.     

The modulation of haptic line bisection by a visual illusion and optokinetic stimulation

Research has shown that a variety of different sensory manipulations, including visual illusions, transcutaneous nerve stimulation, vestibular caloric stimulation, optokinetic stimulation, and prism adaptation, can all influence people's performance on spatial tasks such as line bisection. It has been suggested that these manipulations may act upon the 'higher-order' levels of representation used to code spatial information. We investigated whether we could influence haptic line bisection in normal participants crossmodally by varying the visual background that participants viewed. In experiment 1, participants haptically bisected wooden rods while looking at a variant of the Oppel - Kundt visual illusion. Haptic-bisection judgments were influenced by the orientation of the visual illusion (in line with previous unimodal visual findings). In experiment 2, haptic-bisection judgments were also influenced by the presence of a leftward or rightward moving visual background. In experiments 3 and 4, the position of the to-be-bisected stimuli was varied with respect to the participant's body midline. The results confirmed an effect of optokinetic stimulation, but not of the Oppel -Kundt illusion, on participants' tactile-bisection errors, suggesting that the two manipulations might differentially affect haptic processing. Taken together, these results suggest that the 'higher-order' levels of spatial representation upon which perceptual judgments and/or motor responses are made may have multisensory or amodal characteristics.