Evolved navigation theory and horizontal visual illusions

Environmental perception is prerequisite to most vertebrate behavior and its modern investigation initiated the founding of experimental psychology. Navigation costs may affect environmental perception, such as overestimating distances while encumbered (Solomon, 1949). However, little is known about how this occurs in real-world navigation or how it may have evolved. We manipulated the most commonly navigated surfaces with a non-intuitive cost derived from evolved navigation theory. Observers in realistic settings unknowingly overestimated horizontal distances that contained a risk of falling and did so by the relative degree of falling risk. This manipulation produced previously unknown, large magnitude illusions in everyday vision in the environments most commonly navigated by humans. These results bear upon predictions from multiple fundamental theories of visual cognition.     

Terrestrial passage theory of the moon illusion

Theories of the celestial, or moon, illusion have neglected geometric characteristics of movement along and above the surface of the earth. The illusion occurs because the characteristics of terrestrial passage are attributed to celestial passage. In terrestrial passage, the visual angle subtended by an object changes discriminably as an essentially invariant function of elevation above the horizon. In celestial passage, by contrast, change in visual angle is indiscriminable at all elevations. If a terrestrial object gains altitude, its angular subtense fails to follow the expansion projected for an orbital course: Angular diminution or constancy is equivalent to distancing. On the basis of terrestrial projections, a similar failure of celestial objects in successive elevations is also equivalent to distancing. The illusion occurs because of retinal image constancy, not--as traditionally stated--despite it.     

A depth processing theory of the Poggendorff illusion

The Poggendorff illusion is attributed to the processing of the oblique lines of the Poggendorff figure as receding horizontal lines with their inner ends equidistant because of attachment to a frontal plane (defined by the parallel lines of the figure). Collinearity in three-dimensional space is inconsistent with such equidistance; one line must lie on a higher horizontal plane than the other. This necessarily noncollinear resolution of the lines in depth processing (which is inferred irrespective of the O’s consciousness of depth) is assumed to influence apparent projective relationships within the figure, thus accounting for the illusion. Predictions from the theory, involving manipulations of the plane defined by the parallels, were confirmed experimentally. In addition, the theory is shown to account very well for the effects of amputations and rotations of the figure, which other theories of the illusion cannot handle.     

A simple but powerful theory of the moon illusion

Modification of Restle's theory (1970) explains the moon illusion and related phenomena on the basis of three principles: (1) The apparent sizes of objects are their perceived visual angles. (2) The apparent size of the moon is determined by the ratio of the angular extent of the moon relative to the extents subtended by objects composing the surrounding context, such as the sky and things on the ground. (3) The visual extents subtended by common objects of a constant physical size decrease systematically with increasing distance from the observer. Further development of this theory requires specification of both the components of the surrounding context and their relative importance in determining the apparent size and distance of the moon.     

Modal completion in the Poggendorff illusion: support for the depth-processing theory

The Poggendorff illusion is one of the most prominent geometrical-optical illusions and has attracted enduring interest for more than a hundred years. Most modern theories explain the illusion by postulating various kinds of distortion of the "test" component of the figure by the context or the inducing component. They make no reference to the importance of processes involved in three-dimensional scene perception for understanding the illusion. We measured the strength of the Poggendorff illusion in configurations containing solid inducing surfaces as opposed to the usual parallel lines. The surface, oblique-line, and background luminances were manipulated separately to create configurations consistent with modal completion of the obliques in front of the surface. The marked decrease in the size of the illusion in conditions favoring modal completion is consistent with claims that perceived spatial layout is a major determinant of the Poggendorff illusion.     

An enlarging hole on the palm illusion and a theory of the moon on the horizon

An illustration that both the palm illusion and the moon's illusory size on the horizon are explained by the context which provides a contrast created by perceptual constancy.     

An auditory illusion predicted by a theory of brain function.

A theory of brain function has resulted in the hypothesis that dichotic auditory stimuli of differing intensities would be subjectvely heard to occur at different times if presented together. The louder of the two tones would always be heard first. The results of an experiment designed to test the hypothesis have established that the predicted illusory judgment will invariably be made. The further prediction that the magnitude of the effect would closely parallel certain reaction time data was substantiated. It seems reasonable to conclude that the same paradigm must underlie both sets of data. The theory and obtained results provide a possible neurophysiological basis for the perception of rhythm. A review of the literature has shown that results analogous to those reported here have previously been reported for the visual and tactile modalities, as would be predicted from the general considerations of the theory which gave rise to the specific hypotheses tested in this experiment.     

A test of constancy scaling theory in a modified Mueller-Lyer illusion

The center line of each of the two Mueller-Lyer figures was replaced by a rectangle whose length and width were both judged. The rectangle, bounded by wings positioned outward, was judged both longer and narrower than a standard rectangle of equal size, while the rectangle bounded by wings oriented inward was judged to be both shorter and wider than the standard rectangle. These results were considered to provide evidence against a constancy scaling explanation of geometric illusions. Other theories to account for the results were considered and found inadequate.     

Spatial limits on the nonvisual self-touch illusion and the visual rubber hand illusion: Subjective experience of the illusion and proprioceptive drift

The nonvisual self-touch rubber hand paradigm elicits the compelling illusion that one is touching one’s own hand even though the two hands are not in contact. In four experiments, we investigated spatial limits of distance (15 cm, 30 cm, 45 cm, 60 cm) and alignment (0°, 90° anti-clockwise) on the nonvisual self-touch illusion and the well-known visual rubber hand illusion. Common procedures (synchronous and asynchronous stimulation administered for 60 s with the prosthetic hand at body midline) and common assessment methods were used. Subjective experience of the illusion was assessed by agreement ratings for statements on a questionnaire and time of illusion onset. The nonvisual self-touch illusion was diminished though never abolished by distance and alignment manipulations, whereas the visual rubber hand illusion was more robust against these manipulations. We assessed proprioceptive drift, and implications of a double dissociation between subjective experience of the illusion and proprioceptive drift are discussed.     

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.     

Applying multimedia learning theory to map learning and driving navigation

The effects of multimedia instructional materials on map learning and subsequent navigation were examined. Participants studied visual and/or verbal driving directions presented simultaneously, sequentially, or exclusively. Memory recall for the studied information was tested, and participants then attempted to navigate the studied routes as well as a novel route in a driving simulator. Dual modality materials with oral narrative directions and a visual map produced significantly superior performance for recall, navigational accuracy, and number of destinations reached than presentation in either modality alone. The presence of a map facilitated route recall but not subsequent ability to navigate routes in the simulator. Map-first dual modality sequential presentation enhanced wayfinding efficiency on the novel route compared to narration-first sequential presentation. Simultaneous presentation of dual modality materials allowed more destinations to be reached compared with sequential presentation. The results demonstrate that multimedia instructional materials can facilitate map learning and driving navigation, extending the applications of multimedia learning theory to this novel domain.     

Magic and the aesthetic illusion

The aesthetic illusion is the subjective experience that the content of a work of art is reality. It has an intrinsic relation to magic, an intrapsychic maneuver oriented toward modification and control of the extraspyschic world, principally through ego functioning. Magic is ontogenetically and culturally archaic, expresses the omnipotence inherent in primary narcissism, and operates according to the logic of the primary process. Magic is a constituent of all ego functioning, usually latent in later development. It may persist as an archaic feature or may be evoked regressively in global or circumscribed ways. It causes a general disinhibition of instincts and impulses attended by a sense of confidence, exhiliration, and exuberance. The aesthetic illusion is a combination of illusions: (1) that the daydream embodied by the work of art is the beholder's own, the artist being ignored, and (2) that the artistically described protagonist is a real person with a real "world." The first illusion arises through the beholder's emotional-instinctual gratification from his or her own fantasy-memory constellations; the second comes about because the beholder, by taking the protagonist as proxy, mobilizes the subjective experience of the imaginary protagonist's "reality." The first illusion is necessary for the second to take place; the second establishes the aesthetic illusion proper. Both illusions are instances of magic. Accordingly, the aesthetic illusion is accompanied by a heady experience of excitement and euphoria. The relation among the aesthetic illusion, magic, and enthusiasm is illustrated by an analytic case, J. D. Salinger's "The Laughing Man," Woody Allen's Play It Again, Sam, Don Quixote, and the medieval Cult of the Saints.     

A static geometrical illusion contributes largely to the footsteps illusion

When a black and a white rectangle drifts across a stationary striped background with constant velocity, the rectangles appear to alternately speed up and slow down. Anstis (2001, Perception 30 785-794; 2004, Vision Research 44 2171-2178) suggested that this 'footsteps' illusion is due to confusion between contrast and velocity signaling in the motion detectors of the human visual system. To test this explanation, three experiments were carried out. In experiment 1, the magnitudes of the footsteps illusion in dynamic and static conditions was compared. If motion detectors play an important role in causing the illusion, it should be reduced in the static condition. Remarkably, however, we found that the illusory misalignment between the black and the white rectangle was even more prominent in the static condition than in the dynamic condition. In experiment 2, we measured the temporal-frequency properties of the footsteps illusion. The results showed that the footsteps illusion was tuned to low temporal frequencies. This suggests that the static illusory misalignment can contribute sufficiently to the dynamic illusory misalignment. In experiment 3, the magnitude of the illusion was measured with the rectangles drifting on a temporally modulated background instead of a spatially modulated background. If contrast affects the apparent velocity of the rectangles, temporal modulation of a uniform background should also cause the footsteps illusion. However, the results showed that the magnitude of the illusion was much reduced in this condition. Taken together, the results indicate that the footsteps illusion can be regarded as a static geometrical illusion induced by the striped background and that motion detectors play a minor role at best.