The ceiling of the Church of St Ignatius and the perception of concave surfaces.

This research describes two hitherto unobserved phenomena in the frescoes of the seventeenth century architect and painter, Andrea Pozzo, painted on the vaulted ceiling of the central nave of the Church of St Ignatius in Rome. The present research also reports the results of two experimental studies on the problem of the perception of shapes projected on concave surfaces. A quantitative evaluation of the phenomena perceived from various points of observation is made by means of stimuli projected at various angles on a semicylindrical surface. The validity of the assumption of invariance, and in particular of the projective invariant called the cross-ratio, is discussed within the framework of ecological theories on perception.     

Perceived direction of rotation of simulated three-dimensional patterns

Direction of rotation judgments were obtained from 72 subjects for computer-generated dot patterns simulating points randomly distributed in a sphere rotating about a vertical axis. The displays were produced either with normal polar projections or with perspective effects limited to the horizontal or to the vertical dimension of the projection. The simulated viewing distance used in the projections and the visual angle subtended by the projected displays were also varied. Accuracy of direction judgments was about the same with perspective effects limited to the vertical dimension as with normal polar projections but did not exceed chance expectations with perspective effects limited to the horizontal dimension. Accuracy was lower at the greater simulated viewing distance and at the greater visual angle.     

The Rorschach: projective technique or psychometric test?

Various approaches to the Rorschach Technique are described in terms of the idiographic-nomothetic axis and the perceptual-content axis. It is suggested that it is most productive to view the Rorschach as a projective tool, with perceptual scoring a secondary factor. Current efforts at objectification of the Rorschach are not seen as useful as efforts to enhance its projective qualities. Some possible ways are discussed in which the projective value of the instrument can be maximized.     

Movement perception in computer-driven visual displays

Computer-driven visual displays (CDVDs), like television and movies, produce stroboscopic rather than continuous physical movement. The success with which the perception of motion is produced depends or. factors such as the fineness of the raster and the temporal and spatiai reiationships of the stimulus points. For a given velocity, the more points there are on the movement trajectory, and the closer their spacing, the better is the perceived movement. Moderately slow retinal velocities (on the order of .4 to .8 deg/sec) produce the highest quality of perceived movement. One can discriminate among possible subclasses of movement detectors by presenting a complex sequence of intensities at two or more points and varying their cross correlation. Motion between two areas can be perceived even when there is zero correlation between the spatial patterns in each location. Perceived motion can be of rotation, as well as of translation. The two-dimensional shadow of a rotating three-dimensional wire figure is perceived as a rotating, rigid, three-dimensional wire figure (the kinetic depth effect). A three-dimensional “shadow” of a hypothetical four-dimensional wire figure also has been produced; it was not seen as rigid.     

Wobble cones and wobble holes: the stereokinetic effect revisited

It is well-known that patterns of eccentric circles when slowly rotated give rise to compelling three-dimensional impressions of cones or conical holes which can 'wobble' as the pattern rotates. The wobble can be considered as part of the overall phenomenon of depth elicited from a rotating display, the 'stereokinetic' effect (SKE). This paper considers the three-dimensional appearance as being the result of the sliding of contours and thus it imitates the motion parallax found in real three-dimensional objects in motion. New variants of SK figures are used to examine these points. An analogy with computer programs is proposed which questions earlier views on the location of perceptual invariance.     

Evidence for an attentional component of the perceptual misalignment between moving and flashing stimuli

If a pair of dots, diametrically opposed to each other, is flashed in perfect alignment with another pair of dots rotating about the visual fixation point, most observers perceive the rotating dots as being ahead of the flashing dots (flash-lag effect). This psychophysical effect was first interpreted as the result of a perceptual extrapolation of the position of the moving dots. Also, it has been conceived as the result of differential visual latencies between flashing and moving stimuli, arising from purely sensory factors and/or expressing the contribution of attentional mechanisms as well. In a series of two experiments, we had observers judge the relative position between rotating and static dots at the moment a temporal marker was presented in the visual field. In experiment 1 we manipulated the nature of the temporal marker used to prompt the alignment judgment. This resulted in three main findings: (i) the flash-lag effect was observed to depend on the visual eccentricity of the flashing dots; (ii) the magnitude of the flash-lag effect was not dependent on the offset of the flashing dot; and (iii) the moving stimulus, when suddenly turned off, was perceived as lagging behind its disappearance location. Taken altogether, these results suggest that neither visible persistence nor motion extrapolation can account for the perceptual flash-lag phenomenon. The participation of attentional mechanisms was investigated in experiment 2, where the magnitude of the flash-lag effect was measured under both higher and lower predictability of the location of the flashing dot. Since the magnitude of the flash-lag effect significantly increased with decreasing predictability, we conclude that the observer's attentional set can modulate the differential latencies determining this perceptual effect. The flash-lag phenomenon can thus be conceived as arising from differential visual latencies which are determined not only by the physical attributes of the stimulus, such as its luminance or eccentricity, but also by attentional mechanisms influencing the delays involved in the perceptual processing.     

A theory of phenomenal geometry and its applications

The geometry of perceived space (phenomenal geometry) is specified in terms of three basic factors: the perception of direction, the perception of distance or depth, and the perception of the observer's own position or motion. The apparent spatial locations of stimulus points resulting from these three factors thereupon determine the derived perceptions of size, orientation, shape, and motion. Phenomenal geometry is expected to apply to both veridical and illusory perceptions. It is applied here to explain a number of representative illusions, including the illusory rotation of an inverted mask (Gregory, 1970), a trapezoidal window (Ames, 1952), and any single or multiple point stimuli in which errors in one or more of the three basic factors are present. It is concluded from phenomenal geometry that the size-distance and motion-distance invariance hypotheses are special cases of the head motion paradigm, and that proposed explanations in terms of compensation, expectation, or logical processes often are unnecessary for predicting responses to single or multiple stimuli involving head or stimulus motion. Two hypotheses are identified in applying phenomenal geometry. It is assumed that the perceptual localization of stimulus points determines the same derived perceptions, regardless of the source of perceptual information supporting the localizations. This assumption of cue equivalence or cue substitution provides considerable parsimony to the geometry. Also, it is assumed that the perceptions specified by the geometry are internally consistent. Departures from this internal consistency, such as those which occur in the size-distance paradox, are considered to often reflect the intrusion of nonperceptual (cognitive) processes into the responses. Some theoretical implications of this analysis of phenomenal geometry are discussed.     

Perceptual saliency of points along the contour of everyday objects: a large-scale study

The aim of this large-scale study was to find out which points along the contour of a shape are most salient and why. Many subjects (N=161) were asked to mark salient points on contour stimuli, derived from a large set of line drawings of everyday objects (N=260). The database of more than 200,000 marked points was analyzed extensively to test the hypothesis, first formulated by Attneave (1954), that curvature extrema are most salient. This hypothesis was confirmed by the data: Highly salient points are usually very close to strong curvature extrema (positive maxima and negative minima). However, perceptual saliency of points along the contour is determined by more factors than just local absolute curvature. This was confirmed by an extensive correlational analysis of perceptual saliency in relation to ten different stimulus factors. A point is more salient when the two line segments connecting it with its two neighboring salient points make a sharp turning angle and when the 2-D part defined by the triplet of salient points is less compact and sticks out more.     

Object-centred orienting of attention

Abstract

In the present study two experiments are reported in which the subjects were presented on a computer screen with a two-dimensional line drawing that is perceived as a three-dimensionalobject (i.e. a cube). The cube could be seen as stationary, as rotating about the y-axis (Experiment 1A), or as rotating about the x-axis (Experiment 1B). The subject's attention was directed by a visual precue to a vertex of the cube. As the cube rotated, the precued location moved in viewer-centred co-ordinatesm, but the local feature of the cube that had been precued (i.e. a given vertex) did not move in object-centred co-ordinates. The imperative stimulus was presented at the precued location (valid trials) or at an uncued location (invalid trials). Precued and uncued locations were determined in object-centred coordinates. The subjects were required to signal detection of the imperative stimulus by pressing the space bar on the computer keyboard. There were also control conditions in which the procedure was identical, but the cube was not visible. When the cube was visible, valid trials were faster than invalid trials, regardless of whether it was seen as stationary or rotating. It was concluded that the subjects could allocate spatial attention in object-centred co-ordinates. There wer also indications that responses for invalid trials were faster when the imperative stimulus was presented on the same face as the precue than when it was presented on the opposite face.     

Similarity structure in visual speech perception and optical phonetic signals

A complete understanding of visual phonetic perception (lipreading) requires linking perceptual effects to physical stimulus properties. However, the talking face is a highly complex stimulus, affording innumerable possible physical measurements. In the search for isomorphism between stimulus properties and phoneticeffects, second-order isomorphism was examined between theperceptual similarities of video-recorded perceptually identified speech syllables and the physical similarities among the stimuli. Four talkers produced the stimulus syllables comprising 23 initial consonants followed by one of three vowels. Six normal-hearing participants identified the syllables in a visual-only condition. Perceptual stimulus dissimilarity was quantified using the Euclidean distances between stimuli in perceptual spaces obtained via multidimensional scaling. Physical stimulus dissimilarity was quantified using face points recorded in three dimensions by an optical motion capture system. The variance accounted for in the relationship between the perceptual and the physical dissimilarities was evaluated using both the raw dissimilarities and the weighted dissimilarities. With weighting and the full set of 3-D optical data, the variance accounted for ranged between 46% and 66% across talkers and between 49% and 64% across vowels. The robust second-order relationship between the sparse 3-D point representation of visible speech and the perceptual effects suggests that the 3-D point representation is a viable basis for controlled studies of first-order relationships between visual phonetic perception and physical stimulus attributes.     

Perceptual learning during filial imprinting: Evidence from transfer of training studies

Chicks were first imprinted by exposing them to a moving training stimulus, B or C, that was projected onto a screen at one end of an experimental cabinet. Subsequently, subjects selectively approached the stimulus to which they had been exposed. On the following day, the chicks were placed into a chilled experimental cabinet (15°C) and received trials on which two stimuli (A and B) were projected onto screens located at opposite ends of the cabinet. If the subject approached Stimulus A, a stream of warm air was delivered; if it approached B, the trial terminated, and no heat was presented. For subjects that had been imprinted with Stimulus B, those in Group B, Stimulus A was novel, and Stimulus B was familiar. For chicks that had been imprinted with Stimulus C, Group C, both A and B were novel. In two experiments, Group B acquired the discrimination more rapidly than did Group C. This observation, made using a novel training procedure, was taken to support the suggestion that imprinting results in a form of perceptual learning in which the familiar imprinting object has become more discriminable from other novel objects.     

Twisting space: are rigid and non-rigid mental transformations separate spatial skills?

Cognitive science has primarily studied the mental simulation of spatial transformations with tests that focus on rigid transformations (e.g., mental rotation). However, the events of our world are not limited to rigid body movements. Objects can undergo complex non-rigid discontinuous and continuous changes, such as bending and breaking. We developed a new task to assess mental visualization of non-rigid transformations. The Non-rigid Bending test required participants to visualize a continuous non-rigid transformation applied to an array of objects by asking simple spatial questions about the position of two forms on a bent transparent sheet of plastic. Participants were to judge the relative position of the forms when the sheet was unbent. To study the cognitive skills needed to visualize rigid and non-rigid events, we employed four tests of mental transformations—the Non-rigid Bending test (a test of continuous non-rigid mental transformation), the Paper Folding test and the Mental Brittle Transformation test (two tests of non-rigid mental transformation with local rigid transformations), and the Vandenberg and Kuse (Percept Motor Skills 47:599–604, 1978) Mental Rotation test (a test of rigid mental transformation). Performance on the Mental Brittle Transformation test and the Paper Folding test independently predicted performance on the Non-rigid Bending test and performance on the Mental Rotation test; however, mental rotation performance was not a unique predictor of mental bending performance. Results are consistent with separable skills for rigid and non-rigid mental simulation and illustrate the value of an ecological approach to the analysis of the structure of spatial thinking.     

Shape constancy and a perceptual bias towards symmetry

In attempting to judge whether a briefly presented rotated figure was symmetrical (circle or square) or asymmetrical (ellipse or rectangle), a bias towards perceiving symmetry was evident. This bias appears to be perceptual rather than judgmental in origin in that it was affected neither by variations in the probability of occurrence of symmetrical figures nor by familiarization with the stimuli. A characterization of the stimulus similarity space based on the shape-slant invariance hypothesis is presented, and a model which incorporates both the similarity space and the symmetry bias is proposed. The model can account for our paradoxical finding that the more asymmetrical some projected images, the more likely they will be perceived as symmetrical. This model can also account for Massaro’s (1973, 1975) results on shape constancy. However, Massaro’s theory was not supported in that extension in depth did not account for increased difficulty of shape judgments.     

Effects of similarity on apparent motion and perceptual grouping

Effects of similarity in colour, luminance, size, and shape on apparent motion and perceptual grouping were examined in part 1 in two parallel experiments on the same seven subjects. In both experiments, the effect of similarity was compared with that of proximity in competitive, bistable stimulus situations. A combination of a larger horizontal separation between the homogeneous stimulus elements and a smaller constant vertical separation between heterogeneous stimulus elements produced two kinds of apparent motion (or perceptual grouping) with equal probabilities. Such matched separations between homogeneous stimulus elements were obtained by the double staircase method in various stimulus conditions. In both experiments on apparent motion and perceptual grouping matched separation was found to increase as the difference between the heterogeneous stimulus elements increased. High correlations (0.71 to 0.94) of matched separations were found between apparent motion and perceptual grouping in four stimulus series: colour, luminance, size, and shape. Six of the seven subjects were also tested in part 2. Here, the effects of differences were found to work additively across different perceptual attributes in both phenomena, when multiple differences were combined in heterogeneous elements. The experimental results are discussed from the point of view that apparent motion is an example of perceptual constancy.     

Movement direction or change in distance? Self- and object-related approach-avoidance motions

Based on the conceptualization of approach as a decrease in distance and avoidance as an increase in distance, we predicted that stimuli with positive valence facilitate behavior for either approaching the stimulus (object as reference point) or for bringing the stimulus closer (self as reference point) and that stimuli with negative valence facilitate behavior for withdrawing from the stimulus or for pushing the stimulus away. In Study 1, we found that motions to and from a computer screen where positive and negative words were presented lead to compatibility effects indicative of an object-related frame of reference. In Study 2, we replicated this finding using social stimuli with different evaluative associations (young vs. old persons). Finally, we present evidence that self vs. object reference points can be induced through instruction and thus lead to opposite compatibility effects even when participants make the same objective motion (Study 3).     

Technical clarification to Silbert and Thomas (2013): “Decisional separability,model identification,and statistical inference in the general recognition theory framework”

We offer a minor technical correction to the published proof of part (ii) of the main theorem in Silbert and Thomas (Psychonomic Bulletin & Review, 20, 1–20, 2013) that somewhat limits the scope of the equivalence observed in that work. Specifically, in order for a mean shift integrality with decisional separability to be mimicked by a perceptually separable but nondecisionally separable configuration, one needs to assume stimulus invariance. This holds when all of the covariance matrices in the stimulus configuration are equal to each other. We note that part (i) of the theorem is unaffected by this modification; an empirical finding of perceptual separability and the failure of decisional separability can be mimicked by a perceptually nonseparable, decisionally separable configuration without restricting the covariance matrices to be equal. We also note that stimulus invariance is often assumed in simple designs (e.g., Macmillan & Ornstein in Journal of the Acoustical Society of America, 97, 1261–1285, 1998), due to the implausibility of different perceptual correlations being present within stimuli perched very closely in perceptual space.     

A New Tactile Illusion: Temporal Limits on the Processing of Spatiotemporal Patterns

A novel illusion was observed when 12 tactile point-stimulators arranged in a circle were sequentially activated so that each quadrant was first traced in a clockwise manner, then counterclockwise, and again in a clockwise manner, after which the next quadrant was similarly traced. Under certain temporal conditions this stimulus pattern was experienced as a point moving through an overall circular path but looping inwardly about once per quadrant. The effects of variations in rate of presentation of such stimuli were investigated by having subjects make drawings of their perceptual experiences. Three skin surfaces were used (palm, fingers, and forearm), and all produced similar results except for lower confidence and reliability of drawings made from forearm stimulation. Pattern presentation rate, however, had a consistent and powerful effect, with the looping illusion most frequently observed at rates around 25 pattern points per s and with different perceptual organizations dominating as rates departed widely from this optimum. The illusory perceptual organizations were interpreted as compromises between past and present stimulation necessitated by the relative slowness of tactile processing of spatio-temporal patterns.     

Laterality effects in the spinning dancer illusion: The viewing‐from‐above bias is only part of the story

The ‘silhouette illusion’, representing the silhouette of a female dancer pirouetting about her vertical axis, is a bistable stimulus created by Japanese web designer Nobuyuki Kayahara. Although the dancer can be perceived as spinning either clockwise or counterclockwise, the clockwise rotation is usually preferred. Troje and McAdam (i‐Perception, 2010, 1, 143) showed that this clockwise bias can be attributed to the tendency to assume a viewpoint from above rather than from below, given that the dancer is portrayed from a vantage point that is not perpendicular to the axis of rotation. Here, we tested whether another possible factor contributing to the observers’ interpretation of this bistable stimulus might be the tendency to perceive movements of the right rather than the left foot. We confirmed both the viewing‐from‐above bias and our hypothesis. The bias to perceive movements of the right leg might be a generalization to lower limbs of a perceptual frequency effect already observed for upper limbs. Such a perceptual and attentional bias towards the right hand/foot could account for the greater ability to predict the outcome of sport actions when observing right‐ rather than left‐limbed movements, and thus the left‐handers' and left‐footers' advantage observed in a variety of interactive sports.     

A new tactile illusion: temporal limits on the processing of spatiotemporal patterns

A novel illusion was observed when 12 tactile point-stimulators arranged in a circle were sequentially activated so that each quadrant was first traced in a clockwise manner, then counterclockwise, and again in a clockwise manner, after which the next quadrant was similarly traced. Under certain temporal conditions this stimulus pattern was experienced as a point moving through an overall circular path but looping inwardly about once per quandrant. The effects of variations in rate of presentation of such stimuli were investigated by having subjects make drawings of their perceptual experiences. Three skin surfaces were used (palm, fingers, and forearm), and all produced similar results except for lower confidence and reliability of drawings made from forearm stimulation. Pattern presentation rate, however, had a consistent and powerful effect, with the looping illusion most frequently observed at rates around 25 pattern points per s and with different perceptual organizations dominating as rates departed widely from this optimum. The illusory perceptual organizations were interpreted as compromises between past and present stimulation necessitated by the relative slowness of tactile processing of spatiotemporal patterns.     

Rigidity in cinema seen from the front row, side aisle

Pictures and cinema seen at a slant present the optics of virtual objects that are distorted and inconsistent with their real counterparts. In particular, it should not be possible for moving objects on slanted film and television screens to be seen as rigid, at least according to rules of linear perspective. Previous approaches to this problem have suggested that some process (perhaps cognitive) rectifies the optics of objects in slanted pictures to derive true shape and preserve shape constancy. The means for this rectification is usually thought to be based on recovery of true screen slant. In three experiments I show that this account is unnecessary and insufficient to explain the perception of rotating, rectangular objects in slanted cinema. I present data in favor of an alternate view, one in which the information is sufficient for perceivers to determine rigidity in an object on slanted screens, at least for parallel projections. In the human visual system, local measurements of objects are apparently made according to projective geometry; in those measurements, small amounts of certain distortions in projection are tolerated. Stimuli that appear nonrigid are ones that violate certain local principles, known as Perkins's laws, of projections of rectangular solids.