Dimensions in the perception of architecture:I. Identification and interpretation of dimensions of similarity

Pairwise similarity-dissimilarity ratings of 20 slides of buildings representing major architectural styles were subjected to an INDSCAL analysis. Four major similarity dimensions were identified. Subsequently, the stimuli were rated on two batteries of scales: (1) collative and affective ratings, and (2) stylistic and technical ratings. Canonical correlations and redundancy indices revealed close relations between the multidimensional stimulus locations and the scale and factor spaces. The findings of the three experiments suggest that the four principal dimensions in the perception of architecture appear to be (1)Clarity, (2)Hedonic Tone/Arousal, (3) Uncertainty, and (4) Familiarity.     

Individual differences in perceived similarity and preference for visual art: A multidimensional scaling analysis

Previous studies have shown that individuals may attend to different dimensions in making an overall judgment of similarity between complex stimuli. The present study investigated the nature of differences in the perceived similarity of reproductions of paintings by the use of multidimensional scaling techniques. Using the INDSCAL model, a group of art-trained students are shown to differ significantly from a group of nonart students in terms of their differential weighing of a set of common dimensions. The same subjects’ preferences are examined in relation to these differences by use of the PREFMAP hierarchy of models. While the simplest (vector) model was found to be appropriate for almost all subjects, large differences in vector direction and average subject ideal-point location are found. Implications for future studies of responses to art are discussed.     

A multidimensional scaling analysis of 16 complex sounds

The INDSCAL multidimensional scaling model was used to investigate the distinctive features involved in the perception of 16 complex nonspeech sounds. The signals differed along four physical dimensions: fundamental frequency, waveform, formant frequency, and number of formants. Scaling results indicated that subjects’ similarity ratings could be accounted for by three psychological or perceptual dimensions. A statistically reliable correspondence was observed between these perceptual dimensions and the physical characteristics of fundamental frequency, waveform, and a combination of the two formant parameters. These results were further explored with Johnson’s (1967) hierarchical clustering analysis. Large differences in featural saliency occurred in the group data with fundamental accounting for more variability than the remaining dimensions. Further analysis of individual subject data revealed large individual differences in featural saliency. These differences were related to past musical experience of the subject and to earlier findings using similar signals. It was concluded that (1) the INDSCAL model provides a useful method for the analysis of auditory perception in the nonspeech mode, and (2) featural saliency in such sounds is likely to be determined by an unspecified attentional mechanism.     

Comparison of perceptual dimensions uncovered from infant-cry signals using the method of pair-comparisons and the semantic differential

Since infant cry sounds may provide caregivers with information concerning an infant's needs, several studies have examined the perceptual features of cry signals. This tradition is followed in the present study, which utilises two techniques; the method of pair-comparisons (coupled to INDSCAL) and the Semantic Differential (SD). In each case 24 infant cries (six each of pain, hunger, pleasure and birth) are used as stimuli. Data were collected from mothers; 39 rated each cry on 50 SD scales, and 26 provided ratings of similarity for every possible pairwise combination of cries. The similarity of the perceptual spaces described by the two techniques is demonstrated by a canonical analysis which compared the SD factor matrix with the INDSCAL dimension-weight matrix. Two of three possible common dimensions were uncovered. This similarity is also indicated by a standard multiple regression analysis by which the INDSCAL dimensions were described in terms of the SD scales. However, it appears the SD emphasised emotional characteristics of the cry signals whereas INDSCAL emphasised physical attributes.     

Effects on indscal of non-orthogonal perceptions of object space dimensions

A general question is raised concerning the possible consequences of employing the very popular INDSCAL multidimensional scaling model in cases where the assumptions of that model may be violated. Simulated data are generated which violate the INDSCAL assumption that all individuals perceive the dimensions of the common object space to be orthogonal. INDSCAL solutions for these various sets of data are found to exhibit extremely high goodness of fit, but systematically distorted object spaces and negative subject weights. The author advises use of Tucker's three-mode model for multidimensional scaling, which can account for non-orthogonal perceptions of the object space dimensions. It is shown that the INDSCAL model is a special case of the three-mode model.     

The influence of lateral organization on the evaluation of paintings.

This study examines the influence of directional properties of lateral organization on evaluation of paintings. Lateral organization, as defined here, has two dimensions: (1) left or right location of the principal figure; and (2) left-to-right or right-to-left sequence of figures represented by the direction of suggested movement, action, or lines. That previous studies have failed to demonstrate consistently a relationship between evaluations and directional properties is attributed to methodological shortcomings involving lack of control of stimulus properties and exposure time. Here, on the basis of a well-defined judging procedure, paintings were distinguished according to whether each dimension of lateral organization depicted one or more than one direction. Under two exposure conditions, 5 and 20 s, three evaluations (general preference, balance, and dynamics) were made for paintings which were presented simultaneously in the artist-created, original view, and the mirror-image, reversed view. It was found that evaluations were influenced by directional properties (sequence of figures) with a 5 s exposure and by more inclusive formal features with a 20 s exposure. Implications of the findings for perception and aesthetics are considered.     

An empirical comparison between some models for multidimensional scaling

Abstract.— The results of three methods for multidimensional scaling—Torgerson's metric analysis, a non-metric method (TORSCA), and a method dealing with individual differences in multidimensional scaling (INDSCAL)—were compared in experiments on rhythm experience and on perception of sound quality. The INDSCAL analysis seemed to be the most adequate method for treating the data in these experiments.     

Bilingualism and the perception of professional concepts

A selected set of professional concepts was subjected to analysis through two separate multidimensional scaling techniques, the INDSCAL and TORSCA models, to evaluate the intergroup perceptual differences of four experimental groups, made up of unilingual French, unilingual English and bilingual students. The linguistic relativism thesis provided the research hypotheses on the relationship between language access and usage and concept perception. The multidimensional scaling techniques were applied to the matrix of subjects' similarity judgments on pairs of concepts, thus enabling the identification of three dimensions. The dimensions were labelled as conjunctive, relational and disjunctive, and were assumed to be related to the criteria employed by the subjects in their similarity rankings. An analysis of variance of the individual saliences on each dimension provided evidence of linguistic relativism for both the relational and disjunctive dimensions. These findings support the contention that unilingual speakers of separate languages differ from each other and from bilingual speakers in their perception of professional concepts.     

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。     

Perception of two-component electrocutaneous stimuli

Electrocutaneous stimuli varying in strength (6, 8, 10 V) and frequency (9, 27, 81 Hzj were presented in pairs. Subjects were asked to give a numerical score to represent their perception of overall difference in a pair. To assess their ability to use numbers and their performance on unfamiliar stimuli, no guidance on the nature of the stimuli or the range or scale of the scores was given. Dimensional analysis indicated that perception of differences in one component was influenced by the absolute level of the other component, if this was constant in the pair, or by the difference. Considerable variation among subjects in the nature and extent of this interference effect was observed. Individual differences scaling (INDSCAL) enabled a satisfactory consensus model to be obtained. An empirical relationship expressing the observed twocomponent difference scores in terms of one-component scores was derived. Increasing voltage level diminished perception of frequency difference. Higher frequency levels augmented perception of voltage difference. This relationship is a modification of the combinatorial model proposed by Krantz and Tversky (1975). Individual differences in the combinatorial process are allowed for by application of the subject weightings from the INDSCAL solution.     

Implicit Representations of Political Leaders: A Multidimensional Analysis

Implicit cognitive representations of 20 salient political personalities (10 domestic, 10 foreign) were studied in two samples (N₁= 121; N₂= 129) over a 1-year interval. The aim of the study was to elaborate multidimensional models of voting preference by (a) representing the cognitive dimensions used by subjects in perceiving politicians, (b) contrasting perceptions of domestic and foreign leaders, (c) evaluating the effects of time, and (d) assessing individual differences between subjects on political perception. Judgments were analyzed by Carroll and Chang's (1970) Individual Differences Multidimensional Scaling (INDSCAL) procedure. Results showed that three implicit dimensions, evaluation, ideology , and leadership qualities, underlied perceptions of both domestic and foreign politicians. There were greater changes in perceptions of foreign and left-of-center leaders over the year than in judgments of domestic and right-of-center leaders; and individual differences such as attitudes, personality, and cognitive style were also significantly related to cognitive representations of politicians. Results were discussed in terms of their implications for predictive models of voting behavior, and the use of these methods in large-scale political surveys and polls is suggested.     

Internal representation of visual texture as the basis for the judgment of similarity

The relationship between Fourier spectra of visual textures (represented both by the actual frequency components and by the response of four hypothetical channels selectively sensitive to spatial frequency) and the perceptual appearance of the textures was investigated. Thirty textures were synthesized by combining seven spatial frequencies whose amplitudes were randomly chosen and then scaled to give an overall contrast of .9. Similarity judgments were collected using both the method of triadic comparison (two subjects, 4,060 trials each) and the method of paired comparison (six subjects, 435 trials each). The similarity judgments were subjected to MDSCAL and INDSCAL dimensions were found to be optimally oriented in terms of spatial frequency information without rotation. The seven spatial frequency components accounted for 90.6% of the variance in the 3-D INDSCAL space, while the four channels accounted for 91.8% of the variance in the first two dimensions. The data further suggest that the four channels may interact in an opponent process manner. The results support the idea that the visual internal representation of stimuli is based on spatial frequency analysis rather than feature extraction.     

Do Trompe l'oeils Look Right When Viewed from the Wrong Place?

Picture perception and ordinary perception of real objects differ in several respects. Two of their main differences are: (1) Depicted objects are not perceived as present and (2) We cannot perceive significant spatial shifts as we move with respect to them. Some special illusory pictures escape these visual effects obtained in usual picture perception. First, trompe l'oeil paintings violate (1): the depicted object looks, even momentarily, like a present object. Second, anamorphic paintings violate (2): they lead to appreciate spatial shifts resulting from movement. However, anamorphic paintings do not violate (1): they are still perceived as clearly pictorial, that is, nonpresent. What about the relation between trompe l'oeil paintings and (2)? Do trompe l'oeils allow us to perceive spatial shifts? Nobody has ever focused on this aspect of trompe l'oeil perception. I offer the first speculation about this question. I suggest that, if we follow our most recent theories in philosophy and vision science about the mechanisms of picture perception, then, the only plausible answer, in line with phenomenological intuitions, is that, differently from nonillusory, usual picture perception, and similarly to ordinary perception, trompe l'oeil perception does allow us to perceive spatial shifts resulting from movement. I also discuss the philosophical implications of this claim.     

Dimensions of Picture Identification Test need associations

To find a simple and more general structure for need association matrices obtained from Picture Identification Test (PIT) results, PIT need association matrices of eight college student groups were analyzed by INDSCAL, a multidimensional scaling technique. A common three dimensional structure was found. Based on the scale locations of the 22 needs, the dimensions were labeled the Combative, the Personal, and the Competitive dimensions. The INDSCAL model was used as a target for six other comparison groups including male and female English college students, male addicts and controls, and male delinquents and controls. There was enough similarity between the dimensional structure of the need associations of the comparison and target groups to assume that all groups shared the same basic structure of need associations. There were enough differences, however, to suggest that personality characteristics of groups may be related to deviations in the associative structure of their motivation systems. Applications of the techniques to clinical and personality evaluations of groups and individuals were discussed.     

Multidimensional scaling of individual differences for an individual person with a hand-held calculator

An extension to the INDSCAL method of individual differences scaling was developed. The method derives measures of deviation from a “standard” observer, who is defined in terms of the INDSCAL subject weights. These weights are calculated for one individual person at a time. The method is implemented in a small hand-held calculator. The calculator is used for data acquisition, and it interacts with the user in a conversational manner through an alpha-numeric display. The present implementation of the method scales 84 judgments of pair similarity among seven objects and derives subject weights on two dimensions. The method can be extended to sets of up to 16 objects and up to six dimensions. The method is a feasible, cost-effective approach to classification of individuals on complex perceptual attributes within a single 1-h session.     

Multidimensional scaling reveals two dimensions of thermal pain

The Individual Differences Scaling (INDSCAL) model of multidimensional scaling was used to explore the dimensions of thermal pain. The observers made 66 similarity judgments to all pairs of 12 different thermal stimulus intensities ranging from zero to noxious. Analysis of the data revealed a two-dimensional group stimulus space. The major dimension ordered the stimuli with respect to their intensity. This quantitative, strength-of-sensation dimension may be interpreted as indicating how weak or strong a stimulus feels, apart from any secondary qualities of warmth or pain. The second dimension was related to the qualitative aspects of the stimuli. This bipolar dimension contained two attributes: a pain attribute ranging from just detectable warmth to painful, and a warm-hot attribute running from just detectable warmth to hot. This study demonstrates the utility of the INDSCAL approach to the understanding of pain and offers a new technique for answering the age-old question concerning the number and qualities of the dimensions underlying the pain experience.     

Qualitative hemispheric differences in semantic category matching.

A unilateral category matching task with words as stimuli was employed to investigate semantic processing in the right and left hemispheres (RH, LH). An overall right visual field (RVF)/LH dominance was observed and performances were better than chance, also in the left visual field (LVF)/RH. A qualitative analysis of reaction times with individual differences multidimensional scaling (INDSCAL) revealed that LVF/RH INDSCAL solutions were significantly more differentiated in structure than RVF/LH solutions in terms of number and size of dimensions. These findings support a depth of activation hypothesis of hemispheric processing, with the LH rapidly and focally and the RH slowly and diffusely activating the semantic network.     

Dimensions in the perception of architecture: III. Multidimensional preference scaling

Ten subjects were presented with all possible pairs of 20 slides of buildings representing major architectural styles. On seeing each pair, the subject stated which one of the two was preferred and then, on a 7-point scale, by how much it was preferred. Subjects demonstrated considerable agreement in the number of choices for the buildings, but not in degree of preference judgements. The choice data were subjected to an MDPREF analysis, and the degree of preference data to an INDSCAL analysis. In both cases two-dimensional solutions were most appropriate. The locations of the buildings in the two preference spaces were highly similar. They also resemble two of the dimensions important i similarity judgements of the same stimuli. Relations between the preference dimensions and previously obtained verbal and non-verbal responses to the stimuli were discussed. the underlying variables of the preferences responses were suggested to be related to Hedonic Tone/Arousal and Familiarity.     

Shedding light on painters' implicit knowledge: The effect of lighting on recognizing expression and facial impressions of a depicted person in portraits

We aimed to verify painters' empirical rules in painting portraits from the perspective of face perception. In particular, we examined the effects of lighting on perceiving impressions and facial expressions of a depicted person by using portrait paintings with various lighting conditions of contrast (high, low) and position (left, right). Viewers rated their impressions of the people in the portraits and those people's expressions using 7‐point scales. Impressions regarding likability or attractiveness were stable regardless of the lighting conditions, while the other impressions differed among the lighting conditions. Positive emotions were perceived more strongly in paintings with low contrast, whereas negative emotions were perceived more strongly in paintings with high contrast. Overall, these results suggest that lighting has a systematic effect on face perception even in portrait paintings. We propose that the current study provides empirical evidence of painters' implicit knowledge.