Photopic visual phantom illusion: its common and unique characteristics as a completion effect

An illusion similar to the stationary visual phantom illusion presented earlier by Gyoba (1983, Vision Research 23 205-211) is reported. This illusion is visible in photopic vision and we have tentatively named it the 'photopic phantom illusion'. A typical example of this illusion is a white and light-gray square-wave grating occluded by a black region. In this figure, a phantom grating running across the occluder with clear contours but less contrast, is seen. The critical spatial frequencies of photopic phantoms have been measured and compared with those of scotopic phantoms that have been reported previously, revealing a great resemblance between them. We discuss the characteristics of this illusion in terms of transparency, stereoscopic viewing, and perceptual completion.     

Luminance gradient can break background-independent lightness constancy

A display with a luminance gradient was shown to induce a strong lightness illusion (Logvinenko, 1999 Perception 28 803-816). However, a 3-D cardboard model of this display was found to produce a much weaker illusion (less than half that in the pictorial version) despite the fact that its retinal image is practically the same. This is in line with the hypothesis that simultaneous lightness contrast is solely a phenomenon of pictorial perception (Logvinenko et al, 2002 Perception 31 73-82). The residual lightness illusion in the 3-D model can be accounted for by the fact that this model is a hybrid display. Specifically, while it is a real object, a pictorial representation (of the illumination gradient) is superimposed on it. Thus, lightness in the 3-D display is a compromise between two opposite tendencies: the background-independent lightness constancy and the lightness illusory shift induced by the luminance gradient.     

Lightness induction revisited

Lightness induction is the classical visual phenomenon whereby the lightness of an object is shown to depend on its immediate surround. Despite the long history of its study, lightness induction has not yet been coherently and satisfactorily explained in all its variety. The two main theories that compete to explain it descend (i) from H von Helmholtz, who believed that lightness induction originates from some central mechanisms that take into account the whole viewing situation, with particular stress upon the apparent illumination of the object; and (ii) E Hering who argued in favour of more peripheral sensory mechanisms based on local luminance contrast. The balance between these theories has recently been shifted towards Helmholtz's position by E H Adelson who has provided additional evidence that lightness induction depends on perceptual interpretation and, particularly, on apparent transparency. I challenge Adelson's conclusions by introducing modified versions of his tile pattern that use luminance gradients. In the first of these new demonstrations there is a strong lightness induction even though no apparent transparency is experienced. In the second there is a clear impression of transparent strips, yet no lightness induction is present. And the third shows that breaking up the Adelson tile pattern, while it affects neither the impression of transparency nor the type of grey-level junctions, makes the lightness-induction effect vanish. This implies that Adelson's illusion can be accounted for by neither local contrast, nor the apparent transparency, nor the type of grey-level junctions. Presented here is an alternative look at lightness induction as a phenomenon of the pictorial (as contrasted to natural) vision, which rests on the lightness-shadow invariance, much as Gregory's 'inappropriate constancy scaling' theory of geometrical illusions rests on the apparent size-distance invariance.     

The Relationship Between Visual Illusion and Aesthetic Preference – an Attempt to Unify Experimental Phenomenology and Empirical Aesthetics

Experimental phenomenology has demonstrated that perception is much richer than stimulus. As is seen in color perception, one and the same stimulus provides more than several modes of appearance or perceptual dimensions. Similarly, there are various perceptual dimensions in form perception. Even a simple geometrical figure inducing visual illusion gives not only perceptual impressions of size, shape, slant, depth, and orientation, but also affective or aesthetic impressions. The present study reviews our experimental phenomenological work on visual illusion and experimental aesthetics, and examines how aesthetic preference is influenced by stimulus factors determining visual illusions including anomalous surface and transparency as well as geometrical illusion. Along with line figures producing geometrical illusions, illusory surface figures inducing neon color spreading and transparency effects were used as test patterns. Participants made both of psychophysical judgments and of aesthetic judgments for the same test pattern. Both of geometrical illusions and aesthetic preferences were found to change similarly as a function of stimulus variables such as the number of filling lines and the size ratio of the inner and outer figural components. Also, following specific stimulus variables such as lightness contrast ratio and spatial interval between inducing figural elements (so called ``packmen''), strong effects of color spreading and transparency were accompanied with strong preferences. It seems that the paradigm to investigate aesthetic phenomena along with perceptual dimensions is useful to bridge the gap between experimental phenomenology and experimental aesthetics.     

A scaling analysis of the snake lightness illusion

Logvinenko and Maloney (2006) measured perceived dissimilarities between achromatic surfaces placed in two scenes illuminated by neutral lights that could differ in intensity. Using a novel scaling method, they found that dissimilarities between light surface pairs could be represented as a weighted linear combination of two dimensions, "surface lightness" (a perceptual correlate of the difference in the logarithm of surface albedo) and "surface brightness" (which corresponded to the differences of the logarithms of light intensity across the scenes). Here we attempt to measure the contributions of these dimensions to a compelling lightness illusion (the "snake illusion"). It is commonly assumed that this illusion is a result of erroneous segmentation of the snake pattern into regions of unequal illumination. We find that the illusory shift in the snake pattern occurs along the surface lightness dimension, with no contribution from surface brightness. Thus, even if an erroneous segmentation of the snake pattern into strips of unequal illumination does happen, it reveals itself, paradoxically, as illusory changes in surface lightness rather than as surface brightness. We conjecture that the illusion strength depends on the balance between two groups of illumination cues signaling the true (uniform) illumination and the pictorial (uneven) illumination.     

Perceptual organization and White's illusion

The apparent lightness of a surface can be strongly modulated by the spatial context in which it is embedded. Early theories of such context dependence emphasized the role of low-level mechanisms that sense border contrast, whereas a number of recent authors have emphasized the role of perceptual organization in determining perceived lightness. One of the simplest and most theoretically challenging lightness illusions was described by White. This illusion has been explained with a variety of different models, ranging from low-level filter outputs to computations underlying the extraction of mid-level representations of surfaces. Here, I present a new method for determining the organizational forces that shape this illusion. I show that the spatial context of White's pattern not only transforms the apparent lightness of homogeneous target patches. but can also induce dramatic inversions of figure-ground relationships of textured target regions. These phenomena provide new evidence for the role of scission in causing the lightness illusion experienced in White's effect.     

Relative influences of lightness and facial morphology on perceived race

In a recent study (Brooks and Gwinn, 2010 Perception 39 1142-1145), the lightness contrast illusion was employed to study the influences of skin tone and facial morphology on race perception. The findings were rather counterintuitive: they suggested that skin tone does not play a major role in racial categorisation. To investigate this further, we used a parametric paradigm including five lightness levels, five morphing levels, and two face orientations. In accordance with Brooks and Gwinn, we found that race categorisation of African-American and Caucasian faces by Caucasian participants relied mainly on morphological cues. However, the relative influence of lightness increased when morphological information was ambiguous and when the faces were upside down. Overall, the results point to a flexible multicue-based mechanism underlying race perception.     

Capturing lightness between contours

Homogeneously coloured bars may exhibit lightness differences at the intersections. A well-known example is the Hermann grid illusion, where crossing white bars on a black background show dark patches at the crossings. Jung (1973, Handbook of Sensory Physiology volume VII/3, pp 1-152) found that the dark patches persist when thin outlines are drawn at the intersections, and are even visible in foveal vision. Recently, it has been shown that making distortions to the contours of a Hermann grid-like configuration results in the disappearance of the illusory dark spots (Geier et al, 2008 Perception 37 651 665). We show that thin outlines at the crossings of the distorted Hermann grid induce lightness differences in the same direction as in the original Hermann grid illusion, even in foveal vision and in displays consisting of two crossing bars. Our experiments reveal that the induced lightness differences are independent of the luminance polarity and shape of the contours at the intersection. We suggest that the effect results from lateral inhibition and an additional spreading and capturing of these differences between luminance contours. A similar capturing between collinear contours may play a role in peripheral vision in the original Hermann grid.     

Perceptual restoration in toddlers

Perception by adults is a constant interaction between the top-down effects of prior knowledge and the effects of bottom-up perceptual information. One obvious example of this interaction is the perceptual restoration effect, in which adult listeners have the illusion that a word is complete when a portion of it has been replaced by a masking noise. In four experiments, we demonstrate that toddlers fail to show the illusion of perceptual restoration, even in constrained situations with words they know quite well. Not only do toddlers have less prior knowledge than do adults, but they also appear to place less reliance on the knowledge that they do have, at least in the paradigm tested here. Instead, toddlers appear to be more tied to the perceptual information they receive than are adults.     

Lightness from contrast: a selective integration model

As has been observed by Wallach (1948), perceived lightness is proportional to the ratio between the luminances of adjacent regions in simple disk-annulus or bipartite scenes. This psychophysical finding resonates with neurophysiological evidence that retinal mechanisms of receptor adaptation and lateral inhibition transform the incoming illuminance array into local measures of luminance contrast. In many scenic configurations, however, the perceived lightness of a region is not proportional to its ratio with immediately adjacent regions. In a particularly striking example of this phenomenon, called White's illusion, the relationship between the perceived lightnesses of two gray regions is the opposite of what is predicted by local edge ratios or contrasts. This paper offers a new treatment of how local measures of luminance contrast can be selectively integrated to simulate lightness percepts in a wide range of image configurations. Our approach builds on a tradition of edge integration models (Horn, 1974; Land & McCann, 1971) and contrast/filling-in models (Cohen & Grossberg, 1984; Gerrits & Vendrik 1970; Grossberg & Mingolla, 1985a, 1985b). Our selective integration model (SIM) extends the explanatory power of previous models, allowing simulation of a number of phenomena, including White's effect, the Benary Cross, and shading and transparency effects reported by Adelson (1993), as well as aspects of motion, depth, haploscopic, and Gelb induced contrast effects. We also include an independently derived variant of a recent depthful version of White's illusion, showing that our model can inspire new stimuli.     

Perceptual transparency in neon color spreading displays

In neon color spreading displays, both a color illusion and perceptual transparency can be seen. In this study, we investigated the color conditions for the perception of transparency in such displays. It was found that the data are very well accounted for by a generalization of Metelli's (1970) episcotister model of balanced perceptual transparency to tristimulus values. This additive model correctly predicted which combinations of colors would lead to optimal impressions of transparency. Color combinations deviating slightly from the additive model also looked transparent, but less convincingly so.     

Perceiving the intensity of light

The relationship between luminance (i.e., the photometric intensity of light) and its perception (i.e., sensations of lightness or brightness) has long been a puzzle. In addition to the mystery of why these perceptual qualities do not scale with luminance in any simple way, "illusions" such as simultaneous brightness contrast, Mach bands, Craik-O'Brien-Cornsweet edge effects, and the Chubb-Sperling-Solomon illusion have all generated much interest but no generally accepted explanation. The authors review evidence that the full range of this perceptual phenomenology can be rationalized in terms of an empirical theory of vision. The implication of these observations is that perceptions of lightness and brightness are generated according to the probability distributions of the possible sources of luminance values in stimuli that are inevitably ambiguous.     

Perception: A HyperCard stack for demonstrating visual perceptual phenomena

Perception is a HyperCard stack that allows users to explore visual illusions and other perceptual phenomena on the Apple Macintosh. The stack contains over 20 demonstrations of intersecting line illusions, size and shape illusions, subjective contours, color assimilation, and so forth. As a presentation tool for classroom or laboratory demonstrations, Perception offers three unique features for displaying visual phenomena: (1) the capability to “dissolve” the inducing elements of an illusion in order to show the objective state of affairs, (2) the ability to quickly reverse the inducing elements of an illusion and therefore the effects of the distortion, and (3) animation of the various components of an illusion to produce continuous distortions in-real time. These features are illustrated with use of the Orbison, Titchener, Hering, and Wundt illusions. Use of the stack reveals two interesting and unanticipated findings: (1) an apparent size distortion in the central square of the Orbison illusion as it moves back and forth across the background of concentric rings, and (2) perceptual aftereffects that arise when the inducing elements of the Titchener, Hering, or Wundt illusion is dissolved.     

Response priming driven by local contrast, not subjective brightness

We demonstrate qualitative dissociations of brightness processing in visuomotor priming and conscious vision. Speeded keypress responses to the brighter of two luminance targets were performed in the presence of preceding dark and bright primes (clearly visible and flanking the targets) whose apparent brightness values were enhanced or attenuated by a visual illusion. Response times to the targets were greatly affected by consistent versus inconsistent arrangements of the primes, relative to the targets (response priming). Priming effects could systematically contradict subjective brightness matches, such that one prime could appear brighter than the other but could prime as if it were darker. Systematic variation of the illusion showed that response-priming effects depended only on local flanker-background contrast, not on the subjective appearance of the flankers. Our findings suggest that speeded motor responses, as opposed to conscious perceptual judgments, access an early phase of lightness and brightness processing prior to full lightness constancy.     

At first glance, transparency enhances assimilation

We investigated the role of transparency, perceptual grouping, and presentation time on perceived lightness. Both transparency and perceptual grouping have been found to result in assimilation effects, but only for ambiguous stimulus displays and with specific attentional instructions. By varying the presentation times of displays with two partly overlapping transparent E-shaped objects, we measured assimilation in unambiguous stimulus displays and without specific attentional instructions. The task was to judge which of two simultaneously presented E-shaped objects was darker. With unrestrained presentation times, if a transparency interpretation was possible, assimilation was not found. Inhibiting a transparency interpretation by occluding the local junctions between the two E-shaped objects, did lead to assimilation. With short presentation times, if a transparency interpretation was possible, assimilation was now also found. Thus, we conclude that, although transparency appears to enhance assimilation, with unambiguous stimulus displays and without specific attentional instructions, perceptual grouping is more important for assimilation to occur.     

The line-motion illusion can be reversed by motion signals after the line disappears

In the line-motion illusion, a briefly flashed line appears to propagate from the locus of attention, despite being physically presented on the screen all at once. It has been proposed that the illusion reflects low-level visual information processing that occurs faster at the locus of attention (Hikosaka et al 1993 Vision Research 33 1219-1240; Perception 22 517-526). Such an explanation implicitly embeds the assumption that speeding or slowing of neural signals will map directly onto perceptual timing. This 'online' hypothesis presupposes that signals which arrive first are perceived first. However, other evidence suggests that events in a window of time after the disappearance of a visual stimulus can influence the brain's interpretation of that stimulus (Eagleman and Sejnowski 2000 Science 287 2036-2038; 289 1107a; 290 1051a; 2002 Trends in Neuroscience 25 293). If the online hypothesis were true, we should expect that events occurring after the flashing of the line would not change the illusion. Consistent with our hypothesis that awareness is an a posteriori reconstruction, we demonstrate that the perceived direction of illusory line-motion can be reversed by manipulating stimuli after the line has disappeared.     

The illusion of transparency and chromatic subjective contours

Subjective contours can be produced that include an illusion of edge and an extension of color throughout the area of the illusion. The phenomenological appearance is of a transparent colored shape in front of the background. Two explanations of this illusion are proposed. The first is that there is an assimilation of color analogous to brightness assimilation. The second is a variant of the stratification of depth theory of subjective contours. In it, the pattern elements lead to the illusion of a surface in front of the pattern elements. We thus predicted that an illusion of transparency would enhance the subjective contour, Metelli’s model of transparency was used to quantify our prediction, and it was found that the possibility of transparency was a powerful predictor of the chromatic subjective contour.     

On the minimal relative motion principle—the oscillating tilted bar

Beghi, Xausa, Tomat, and Zanforlin (J. Math. Psychol. 41(1997) 11) present a visual stereokinetic illusion. In the image plane, one end of an oblique bar moves horizontally back and forth, while the other end is stationary. Perceptually, this becomes a bar of a constant length rotating in depth around a vertical axis that passes through the stationary end of the bar. Beghi et al. (1997) provide a mathematical model of minimal relative motion to account for this percept. Here we show that the minimal relative motion principle cannot explain the perceptual phenomenon. Specifically, we raise two objections. (1) It is necessary to consider not only the length, but also the direction, of a vector when comparing vector fields. In fact, when directions are taken into consideration, Beghi et al.'s mathematical result diverges from their perceptual experimental result. (2) There is a mathematical inconsistency in Beghi et al. (1997): mixing absolute and relative velocities in their minimization is unwarranted, and does not lead to correct minimization.     

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.     

PERCEPTUAL PROCESS AND THE EBBINGHAUS ILLUSION

Perception is shown in a block diagram which includes the instrumental errors in the sensing device, the transmission distortion in the nerves and the perceptual misjudgment in the high center. The perceptual misjudgment originates from the variation of comparison standards and the method of comparison, and would correspond to the mis-programming of the computer. A general mathematical formula for perception under the influence of various background stimuli is presented. The mechanism and equation for predicting the Ebbinghaus illusion are also presented.