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.     

Ambiguous musical figures and auditory streaming

Three experiments with musicians and nonmusicians (N=338) explored variations of Deutsch’s musical scale illusion. Conditions under which the illusion occurs were elucidated and data obtained which supported Bregman’s suggestion that auditory streaming results from a competition among alternative perceptual organizations. In nExperiment 1, a series of studies showed that it is more difficult to induce the scale illusion than might be expected if it is accepted that an illusion will be present for most observers despite minor changes in stimuli and experimental conditions, The stimulus sequence seems better described as an ambiguous figure. Having discovered conditions under which the scale illusion could be reliably induced, Experiments 2 and 3 manipulated additional properties of the stimulus (timbre, loudness, and tune) to provide cues to streaming other than pitch and location. The data showed that streaming of this sequence can be altered by these properties, supporting the notion of a general parsing mechanism which follows general gestalt principles and allows streaming by many stimulus dimensions. Finally, suggestions are made as to how this mechanism might operate.     

Vertical-horizontal illusion present for sighted but not early blind humans using auditory substitution of vision

This experiment was undertaken to investigate the effect of sensory modality (vision vs. audition) and of visual status (early blind vs. sighted) on susceptibility to the vertical-horizontal illusion. Early blind volunteers and blindfolded sighted subjects explored variants of the vertical-horizontal illusion using a device that substituted audition for vision, whereas sighted subjects from an independent group inspected the same stimuli visually. Sensitivity to the vertical-horizontal illusion, including an illusion of moderate strength when using the sensory substitution device, was observed only in the two sighted groups. The existence of an illusion effect when using such a device supports the idea of a visual perception provided by sensory substitution, whereas the attenuation of the vertical-horizontal illusion strength is consistent with the visual field shape theory (Künnapas, 1955a). The absence of the illusion effect in early blind subjects suggests that the sensory experience influences the nature of perception and that the visual experience plays a crucial role in the vertical-horizontal illusion, in accordance with the size-constancy scaling theory (Gregory, 1963).     

A qualitative study of adaptation to the euro in the Republic of Ireland: I. attitudes,the ‘euro illusion’ and the perception of prices

This is the first of two reports of a study using semi‐structured, in‐depth interviews to explore the current and recollected experiences of Irish people for the period before, during, and after the introduction of euro notes and coins (1 January 2002). Twenty‐four adults, 12 males and 12 females, covering a range of ages and educational attainment, were interviewed between October 2002 and February 2003. We found that most had welcomed the new currency initially, though some had felt less positive about it, whilst current experiences were more mixed. People's explanations for their attitudes seemed to focus more on the economic and practical aspects of currency change rather than symbolic meanings. Initially, most had experienced a euro illusion (prices in euros seeming to be more expensive than in punts). However, for most, the strength of the illusion appeared to diminish quite quickly. Nonetheless, current prices were believed to be higher, and many respondents attributed this either directly or indirectly to the change of currency. Although independent evidence found that there had been price increases in certain sectors, it was concluded that perceived price rises were, in part, illusory, and driven by expectations and selective price monitoring. Copyright © 2005 John Wiley & Sons, Ltd.     

飞行错觉水平评定方法的初步研究

本文从飞行错觉发生的类型和频率出发,尝试对飞行员在实际飞行中所产生的错觉水平或空间定向能力做出基本的评定。本研究采用区间模糊统计的方法,对飞行错觉的类型（倾斜错觉、俯仰错觉、方位错觉、反旋转错觉和倒飞错觉）和频率（从无、偶尔、时有、经常、总是）做了经验的赋值工作,分别计算出了这些模糊概念（除从无外）的心理量表值和模糊度。同时我们认为,飞行错觉水平是频率与类型的函数,其数学表达式为：,并将这一表达式作为评定飞行员飞行错觉水平的基本模型。     

内源性空间注意对声音诱发闪光错觉的影响

采用经典的声音诱发闪光错觉范式,通过操纵集中和分散的空间注意的方式,考察内源性空间注意和刺激出现视野位置的交互作用对多感觉整合中听觉主导效应的影响。结果发现：(1)当空间注意处于分散状态时,下视野的裂变错觉量显著大于上视野,而集中条件下则没有差异。(2)闪光出现的位置是否随机不会影响裂变错觉。研究说明了声音诱发闪光错觉中的裂变错觉只会受到内源性空间注意和视野位置交互作用的影响。     

Illusory temporal order for stimuli at different depth positions

We used four experiments to examine how the perceived temporal order of two visual stimuli depends on the depth position of the stimuli specified by a binocular disparity cue. When two stimuli were presented simultaneously at different depth positions in front of or around a fixation point, the observer perceived the more distant stimulus before the nearer stimulus (Experiments 1 and 2). This illusory temporal order was found only for sudden stimulus presentation (Experiment 3). These results suggest that a common processing, which is triggered by sudden luminance change, underlies this illusion. The strength of the illusion increased with the disparity gradient and the disparity size (Experiment 4). We propose that this illusion has a basis in the processing of motion in depth, which would alert the observer to a potential collision with an object that suddenly emerges in front of the observer.     

Preferences for scale structure in melodic sequences

Most Western music is tonal; that is, pitch organization can largely be described in terms of scales or keys. A considerable amount of research has been conducted on the role played by scale in perceiving notes and melodies. The present article points out a potentially important distinction between scale structure (the set permitted pitch intervals between notes) and mode (the assignment of a special salience or centrality to particular notes within the scale structure). Four experiments are described that investigated the judgment of adult Western listeners for melodies that approximated to scale structure in differing degrees but that were random in other respects. We found that musicians and nonmusicians gave higher ratings of preference and adjudged musicality to melodies containing increased numbers of consecutive notes conforming to scale structure. A significant exception to this rule was the least scalar type of sequence, which received ratings as high as the fully scalar sequences. This exception occurred because subjects identified scale structure not only in groups of contiguous notes but also in groups of discontiguous notes that formed a coherent "stream" as long as the number of notes intervening corresponded to a standard temporal grouping, or meter, such as is commonly found in Western music.     

Relative size and spatial separation: effects on the parallel-lines illusion

The parallel-lines illusion provides a prototypical example of visual-size assimilation, where the size of a test element is phenomenally skewed towards (or "averaged with") that of a context element. Most assimilation theories predict that distortion should decrease with spatial separation between context and test lengths. However, there is some disagreement about the nature of the function relating sizes of context and test elements and magnitude of assimilation. The present study tests the limits of assimilation in the parallel-lines configurations by observing the effects of a wide range of context/test size ratios, repeated over two disparate levels of spatial separation. The results replicate and extend 1979 findings by Brigell and Uhlarik, confirming that assimilation rises to a peak at midrange size ratios, only to decrease continuously as the ratios become more extreme. The functions were nonmonotonic and similar in shape for both levels of spatial separation, with an over-all decrease in distortion for configurations with the larger separation.     

Forward association, backward association, and the false-memory illusion

In the Deese-Roediger-McDermott false-memory illusion, forward associative strength (FAS) is unrelated to the strength of the illusion; this is puzzling, because high-FAS lists ought to share more semantic features with critical unpresented words than should low-FAS lists. The authors show that this null result is probably a truncated range artifact. When FAS and its complement, backward associative strength (BAS), were independently manipulated in factorial designs, they both affected illusion strength. Moreover, their effects did not interact and were of comparable magnitude. Conjoint-recognition analyses were used to pinpoint the influence of BAS and FAS on retrieval processes that support or suppress false-memory responses. Although the variables affected both types of processes, their effects on suppressive processes were larger and more consistent. This research also provided the first clear evidence that subjects often use suppressive processes inappropriately to reject studied items that preserve the gist of experience.     

The hollow-face illusion: object-specific knowledge, general assumptions or properties of the stimulus?

The hollow-face illusion, in which a mask appears as a convex face, is a powerful example of binocular depth inversion occurring with a real object under a wide range of viewing conditions. Explanations of the illusion are reviewed and six experiments reported. In experiment 1 the detrimental effect of figural inversion, evidence for the importance of familiarity, was found for other oriented objects. The inversion effect held for masks lit from the side (experiment 2). The illusion was stronger for a mask rotated by 90 degrees lit from its forehead than from its chin, suggesting that familiar patterns of shading enhance the illusion (experiment 2). There were no effects of light source visibility or any left/right asymmetry (experiment 3). In experiments 4-6 we used a 'virtual' hollow face, with illusion strength quantified by the proportion of noise texture needed to eliminate the illusion. Adding characteristic surface colour enhanced the illusion, consistent with the familiar face pigmentation outweighing additional bottom-up cues (experiment 4). There was no difference between perspective and orthographic projection. Photographic negation reduced, but did not eliminate, the illusion, suggesting shading is important but not essential (experiment 5). Absolute depth was not critical, although a shallower mask was given less extreme convexity ratings (experiment 6). We argue that the illusion arises owing to a convexity preference when the raw data have ambiguous interpretations. However, using a familiar object with typical orientation, shading, and pigmentation greatly enhances the effect.     

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.     

Perception of the Ponzo illusion by rhesus monkeys, chimpanzees, and humans: Similarity and difference in the three primate species

In Experiment 1, 3 rhesus monkeys and 1 chimpanzee were tested for their susceptibility to the Ponzo illusion. The subjects were first trained to report the length of the target bar presented at the center of the computer display by touching either of the two choice locations designated as “long” or “short.” When inverted-V context lines were superimposed on the target bar, the subjects tended to report “long” more often as the apex of these upward-converging lines approached the target bar. The perception of the Ponzo illusion was thus demonstrated. In Experiment 2, the same 3 rhesus monkeys and 2 new chimpanzees were tested using two types of context lines that provided different strengths of linear perspective. The subjects showed a bias similar to that found in Experiment 1, but there was no difference in the magnitude of the bias between the two types of context in either species. This failed to support the classic account for the Ponzo illusion, the perspective theory, raised by Gregory (1963). In Experiment 3, the magnitude of the illusion was compared between the inverted-V context and the context consisting of short vertical lines having the same gap as the former in the same 3 rhesus monkeys and 2 of the chimpanzees from the preceding experiments. While the chimpanzees showed the illusion for both types of stimuli, the monkeys showed no illusion for the latter. In Experiment 4, 6 humans were tested in a comparable procedure. As in the nonhuman primates, the illusion was unaffected by the strength of linear perspective. On the other hand, the humans showed considerably larger illusion for the context consisting of vertical lines than for contexts consisting of converging lines. Thus, there was a great species difference in the effect of the gap itself on the magnitude of the Ponzo illusion. Similarity found at first turned out to be no more than superficial. Possible sources of this species difference are discussed.     

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.     

集中和分散注意对多感觉整合中听觉主导效应的影响

听觉主导效应是指多感觉通道信息整合过程中,听觉通道中的信息得到优先加工,从而主导其他感觉通道的信息。研究采用经典的声音诱发闪光错觉的范式,通过两个实验操纵了注意资源的分配方式以及实验任务难度,考察了主动注意听觉通道的声音刺激对声音诱发闪光错觉产生的影响,以及任务难度对声音诱发闪光错觉的影响。结果发现:(1)裂变错觉会受到注意资源分配程度的影响,但是融合错觉则不然;(2)任务难度既不会影响裂变错觉,也不会影响融合错觉。说明了分散注意能够影响听觉主导效应中的裂变错觉,并且这种主导效应与任务难度无关。     

Stream segregation of narrow-band noise bursts

Normally hearing adults heard rapid alternations of a pair of band-limited noise bursts that had flat spectra (in terms of equal-loudness weighting of components) and sharp band edges. The bursts differed in center frequency (CF), but were matched on overall intensity, on bandwidth (BW) on a log frequency scale, and (roughly) on pitch strength. Listeners judged the ease with which the sequence could be held together perceptually in a single auditory stream (vs. forming separate high and low streams). Involuntary segregation was examined as a function of the following measures of frequency separation of the alternating noise bands: (1) the closest band edges, (2) the most remote band edges, (3) the CFs of the bands on a logarithmic scale, and (4) the BWs. Segregation was best predicted from the separation of the two CFs on a log-frequency scale (very strong effect). Increasing the BWs of the two alternating bursts (the same size, in log frequency, for both bands) also led to greater segregation (very weak effect).     

The Fraser illusion: complex figures

The cause of the Fraser illusion, which occurs when a line made up of tilted segments itself appears tilted, is examined further. In this series of experiments, we used figures that resembled the original Fraser illusion; they were more complex than those reported on in our previous paper (Stuart & Day, 1988). The figures were used to explore two theories of the Fraser illusion further: that it is the result of interactions between orientation selective units, and that it is a consequence of the local, distributed processing of orientation. The presence of background elements like those used in the original illusion led to an increase in the strength of the illusion, but the shape of these elements had no differential effect on illusion strength. There was a differential effect of the background on the assimilative and contrast illusions, owing respectively to small and large tilts of the inducing elements. The illusion was markedly reduced at small visual angles when the background was absent, but it was only slightly affected when the background was present. All these findings are difficult to explain in terms of interactions between single units, either at the same or at different scales in the image. The effects of luminance contrast and isoluminance on the illusion were not consistent with either theory, but they indicated that researchers need to consider the role of figure-ground organization in this illusion.     

The octave illusion revisited: suppression or fusion between ears?

The octave illusion occurs when each ear receives a sequence of tones alternating by 1 octave but with the high and low tones in different ears. Most listeners perceive these stimuli as a high pitch in one ear alternating with a low pitch in the other ear. D. Deutsch and P. L. Roll (1976) interpreted this phenomenon as evidence for a what-where division of auditory processing caused by sequential interactions between the tones. They argued that the pitch follows the frequency presented to the dominant ear but is lateralized toward the higher frequency component. This model was examined in 4 experiments. Results indicate that the perceived pitch approximates the fundamental frequency and that the illusion does not depend on sequential interactions. The octave illusion may arise from an interaction between dichotic fusion and binaural diplacusis rather than from suppression as proposed by Deutsch.     

Reconsidering evidence for the suppression model of the octave illusion

The octave illusion is elicited by a sequence of tones presented to each ear that continuously alternate in frequency by one octave, but with high and low frequencies always in different ears. The percept for most listeners is a high pitch in one ear, alternating with a low pitch in the other ear. The influentialsuppression model of the illusion proposed by Deutsch and Roll (1976) carries three postulates: first, that listeners perceive only the pitch of the tones presented to their dominant ear; second, that this pitch is heard in whichever ear received the higher frequency tone; and third, that this apparent dissociation betweenwhat andwhere mechanisms arises from sequential interactions between the tones. In the present article, we reappraise evidence for the suppression model and demonstrate (1) the incompatibility of the theory with the existing literature on pitch perception, sound localization, and ear dominance and (2) methodological limitations in studies that have claimed to provide support for the suppression model. We conclude by proposing an alternative theory of the octave illusion that is based on established principles of fusion, rather than suppression, between ears.     

The effect of eccentricity and the adapting level on the café wall illusion

The café wall pattern is composed of rows of alternating light and dark tiles, and alternate rows are shifted by one fourth of a cycle. The rows of tiles are separated by narrow horizontal mortar lines whose luminance is between those of the dark and the light tiles. Although the mortar lines are physically parallel, they are perceived to be tilted, which is known as the café wall illusion. In this study, an energy-based model for encoding orientation is implemented in order to estimate the strength of the café wall illusion, and it is shown that the estimated orientation depends on the spatial frequency to which each orientation-encoding unit is tuned. The estimation of mortar line orientation from an orientation-encoding unit tuned to a lower spatial frequency was greater than that from a unit tuned to a higher spatial frequency. It is assumed that the perceived mortar line orientation is the result of an integration of responses from the orientation-encoding units tuned to various spatial frequencies. This leads to the prediction that under viewing conditions in which responses from orientation-encoding units tuned to a higher spatial frequency are presumably weakened, the strength of the café wall illusion increases. In agreement with this prediction, it is shown that the café wall illusion is stronger when the café wall image is presented at the periphery or is observed under low luminance levels. On the other hand, the weighted averaging of the estimated mortar orientations across spatial frequencies overestimates the perceived orientation of the mortar lines. This suggests that the final percept of the café wall illusion could be determined by some kind of nonlinear interaction, such as an inhibitory interaction, between orientation-encoding units.