Effects of visual-field inversions on the reverse-perspective illusion

The 'reverse-perspective' illusion entails the apparent motion of a stationary scene painted in relief and containing misleading depth cues. We have found that, using prism goggles to induce horizontal or vertical visual-field reversals, the illusory motion is greatly reduced or eliminated in the direction for which the goggles reverse the visual field. We argue that the illusion is a consequence of the observer's inability to reconcile changes in visual information due to body movement with implicit knowledge concerning anticipated changes. As such, the reverse-perspective illusion may prove to be useful in the study of the integration of linear perspective and motion parallax information.     

Depth perception of interfering periodic patterns: a possible contribution to disorientation on escalators.

Incongruous and illusory depth cues, arising from 'interference patterns' produced by overlapping linear grids at the edges of escalator treads, may contribute to the disorientation experienced by some escalator users, which in turn may contribute to the causes of some of the many escalator accidents which occur. The apparent depth of the interference pattern from the viewer is analysed in terms of the cues deriving from size and viewer motion. Both of these cues support the depth of the target being infinite. Preliminary observations are reported which confirm this analysis. Remedies for the problem are suggested. The possible contribution of this illusion to disorientation on escalators, due to misjudgment of depth, is compared with another recently reported factor which is due to stereoscopic miscorrespondence of periodic targets.     

Infants' distance perception from linear perspective and texture gradients

This study investigated 5- and 7-month-old infants' abilities to perceive objects' distances from pictorial depth cues, the depth cues available to a stationary, monocular viewer. Infants viewed a display in which texture gradients and linear perspective, two pictorial depth cues, created an illusion of two objects resting at different distances on a textured surface. Under monocular viewing conditions, 7-month-olds reached preferentially for the apparently nearer object, indicating that they perceived the objects' relative distances specified by pictorial depth cues. Under binocular viewing conditions, these infants showed no reaching preference. This finding rules out interpretations of the results not based on the objects' perceived distances. The 5-month-olds' reaching preferences were not significantly different in the experimental (monocular) and control (binocular) conditions. These infants, therefore, did not show clear evidence of distance perception from pictorial depth cues.     

Perspective-based illusory movement in a flat billboard--an explanation

We describe a compelling motion illusion elicited by a huge billboard placed along a street, depicting a building that contains strong perspective cues. When observers move fast along the opposite sidewalk, they perceive the depicted building as rotating in their direction of travel. This is a special case of the 'following', or 'pointing out of the picture', illusion that elicits a strong illusory motion percept. Here we discuss the cause of the illusory motion and suggest that the brain relies on the depicted perspective cues to infer a 3-D shape and a concomitant motion that is incompatible with the physical pictorial surface.     

A double neon colour illusion

A new visual illusion is presented. When two neon-coloured illusory bands overlap each other, the filling-in at the region of overlap is perceived as different from those of the overlapping bands, resulting in an additional illusory shape at the region of overlap. An experiment with ten na?ve participants was performed to measure the illusory percept. The results show that illusory surfaces may interact with each other, and, to a certain extent, create new illusory percepts.     

The horizon line, linear perspective, interposition, and background brightness as determinants of the magnitude of the pictorial moon illusion

A total of 110 undergraduate students participated in a series of three experiments that explored the magnitude of the moon illusion in pictures. Experiment 1 examined the role of the number and salience of depth cues and background brightness. Experiment 2 examined the role of the horizon line, linear perspective, interposition, and background brightness. In Experiment 3, comparative distance judgments of the moon as a function of linear perspective, interposition, and the size of the standard moon were obtained. The magnitude of the moon illusion increased as a function of the number and salience of depth cues and changes in background brightness. Experiment 2 failed to support the role of the horizon line in affecting the illusion. Experiment 3 provided additional support for the illusory distance component of the moon illusion.     

Gaze stability of observers watching Op Art pictures

It has been the matter of some debate why we can experience vivid dynamic illusions when looking at static pictures composed from simple black and white patterns. The impression of illusory motion is particularly strong when viewing some of the works of 'Op Artists, such as Bridget Riley's painting Fall. Explanations of the illusory motion have ranged from retinal to cortical mechanisms, and an important role has been attributed to eye movements. To assess the possible contribution of eye movements to the illusory-motion percept we studied the strength of the illusion under different viewing conditions, and analysed the gaze stability of observers viewing the Riley painting and control patterns that do not produce the illusion. Whereas the illusion was reduced, but not abolished, when watching the painting through a pinhole, which reduces the effects of accommodation, it was not perceived in flash afterimages, suggesting an important role for eye movements in generating the illusion for this image. Recordings of eye movements revealed an abundance of small involuntary saccades when looking at the Riley pattern, despite the fact that gaze was kept within the dedicated fixation region. The frequency and particular characteristics of these rapid eye movements can vary considerably between different observers, but, although there was a tendency for gaze stability to deteriorate while viewing a Riley painting, there was no significant difference in saccade frequency between the stimulus and control patterns. Theoretical considerations indicate that such small image displacements can generate patterns of motion signals in a motion-detector network, which may serve as a simple and sufficient, but not necessarily exclusive, explanation for the illusion. Why such image displacements lead to perceptual results with a group of Op Art and similar patterns, but remain invisible for other stimuli, is discussed.     

Auditory saltation in the vertical midsagittal plane

Auditory saltation is an illusion in which a train of clicks, the first half of which is presented at one location and the other half of which is presented from a second location, is perceived as originating not only from the anchor points, but also from locations between them. That is, intermediate members of the series of clicks have their spatial locations systematically misperceived. In the present study, auditory saltation was examined for the first time in the vertical midsagittal plane. Subjects rated the perceived continuity of motion for 8-click trains systematically varied in inter-click interval (ICI), direction of motion (up, down), and trial type ('saltation' versus 'real' motion). In all listeners, saltation stimuli supported robust saltation, but only for trials with ICIs less than about 120 ms. Real motion was rated as continuous for all ICIs. These data indicate that the auditory-saltation illusion can exploit monaural stimulus cues for source location in the generation of the illusory motion percept.     

Structure-from-motion: dissociating perception, neural persistence, and sensory memory of illusory depth and illusory rotation

In the structure-from-motion paradigm, physical motion on a screen produces the vivid illusion of an object rotating in depth. Here, we show how to dissociate illusory depth and illusory rotation in a structure-from-motion stimulus using a rotationally asymmetric shape and reversals of physical motion. Reversals of physical motion create a conflict between the original illusory states and the new physical motion: Either illusory depth remains constant and illusory rotation reverses, or illusory rotation stays the same and illusory depth reverses. When physical motion reverses after the interruption in presentation, we find that illusory rotation tends to remain constant for long blank durations (T _blank ≥ 0.5 s), but illusory depth is stabilized if interruptions are short (T _blank ≤ 0.1 s). The stability of illusory depth over brief interruptions is consistent with the effect of neural persistence. When this is curtailed using a mask, stability of ambiguous vision (for either illusory depth or illusory rotation) is disrupted. We also examined the selectivity of the neural persistence of illusory depth. We found that it relies on a static representation of an interpolated illusory object, since changes to low-level display properties had little detrimental effect. We discuss our findings with respect to other types of history dependence in multistable displays (sensory stabilization memory, neural fatigue, etc.). Our results suggest that when brief interruptions are used during the presentation of multistable displays, switches in perception are likely to rely on the same neural mechanisms as spontaneous switches, rather than switches due to the initial percept choice at the stimulus onset.     

Stereoillusory motion concomitant with lateral head movements

Stationary objects in a stereogram can appear to move when viewed with lateral head movements. This illusory motion can be explained by the motion-distance invariance hypothesis, which states that illusory motion covaries with perceived depth in accordance with the geometric relationship between the position of the stereo stimuli and the head. We examined two predictions based on the hypothesis. In Experiment 1, illusory motion was studied while varying the magnitude of binocular disparity and the magnitude of lateral head movement, holding viewing distance constant. In Experiment 2, illusory motion was studied while varying binocular disparity and viewing distance, holding magnitude of head movement constant. Ancillary measures of perceived depth, perceived viewing distance, and perceived magnitude of lateral head movement were also obtained. The results from the two experiments show that the extent of illusory motion varies as a function of perceived depth, supporting the motion-distance invariance hypothesis. The results also show that the extent of illusory motion is close to that predicted from the geometry in crossed disparity conditions, whereas it is greater than the predicted motion in uncrossed disparity conditions. Furthermore, predictions based on perceptual variables were no more accurate than predictions based on geometry.     

The misperception of rotary motion

Two principles for predicting the relative frequency of illusory reversals of rotating plane objects were derived and tested empirically. Ten objects, variously’ combining valid and confounding depth cues, were used. Predictions based on the principles were confirmed in every case. The results are offered as an improved explanation of the Ames trapezoid illusion and other illusions of rotary motion.     

Introduction: A Cognitive Science Slam in Honor of Guy Van Orden

Illusory depth perception experienced in driving simulators is afforded by monocular depth information contained in visual displays. Presumably binocular convergence and binocular disparity, though useful for depth perception in real environments, may poorly contribute to illusory depth in a driving simulator. Instead, they may generate conflicting information by revealing the distance of the display screen and its flatness. Nevertheless, illusory depth induced by monocular information contained in visual displays usually produces enough immersion and realism to create the illusion of driving in a real environment.

Many authors have noted improved depth perception in paintings, photographs, and even in drawings when viewed monocularly. However, this effect, known as monocular advantage, has never been explored in driving simulation. The purpose of this experiment was to assess whether the effect might exist in driving simulation. It was expected that drivers would perceive distances in depth better and more accurately with a monocular than with a binocular viewing of the display. Distance estimates were evaluated for two types of driving maneuvers referred to as alignment and bisection. Results showed that when significant performance differences between monocular and binocular viewing conditions occurred, target cars were perceived farther in depth and more accurately using monocular vision.

Alternative viewing conditions using both eyes are discussed at the end of the article.     

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.     

Reply to “Reconsidering evidence for the suppression model of the octave illusion,” by C. D. Chambers,J. B. Mattingley,and S. A. Moss

Chambers, Mattingley, and Moss (2004) present a review of research and theory concerning the octave illusion, a phenomenon that was originally reported by Deutsch (1974). The authors argue against the two-channel model proposed by Deutsch (1975a) to explain the illusory percept that was most commonly obtained and propose, instead, that the illusion results from binaural fusion and diplacusis. This article replies to the arguments raised by Chambers et al. (2004) and argues that the octave illusion and the two-channel model proposed to explain it are in accordance with growing evidence for what-where dissociations in the auditory system and for illusory conjunctions in hearing.     

A variant of the anomalous motion illusion based upon contrast and visual latency

We examined a variant of the anomalous motion illusion. In a series of experiments, we ascertained luminance contrast to be the critical factor. Low-contrast random dots showed longer latency than high-contrast ones, irrespective of whether they were dark or light (experiments 1 -3). We conjecture that this illusion may share the same mechanism with the Hess effect, which is characterised by visual delay of a low-contrast, dark stimulus in a moving situation. Since the Hess effect is known as the monocular version of the Pulfrich effect, we examined whether illusory motion in depth could be observed if a high-contrast pattern was projected to one eye and the same pattern of low-contrast was presented to the other eye, and they were binocularly fused and swayed horizontally. Observers then reported illusory motion in depth when the low-contrast pattern was dark, but they did not when it was bright (experiment 4). Possible explanations of this inconsistency are discussed.     

Distortions of perceived length in the frontoparallel plane: tests of perspective theories

The perceived length of a line segment in a frontoparallel plane is sometimes affected by the presence of other line segments in the visual field. Perspective theories attribute such interactions to size-constancy scaling: The configuration of line segments present in the visual field includes depth cues that trigger size scaling of each line segment. In three experiments, we test this claim for a range of simple configurations composed of two line segments joined at a point. These configurations include the inverted T configuration of the bisection illusion, as well as the L configuration of the horizontal-vertical illusion. We conclude that the available depth cues, even when supplemented by known biases in perspective interpretations, do not account for observed distortions in judgments of relative length.     

Illusory contour figures are perceived as occluding surfaces by 8‐month‐old infants

Infants have been demonstrated to be able to perceive illusory contours in Kanizsa figures. This study tested whether they also perceive these illusory figures as having the properties of real objects, such as depth and capability of occluding other objects. Eight‐ and five‐month‐old infants were presented with scenes that included a Kanizsa square and further depth cues provided by the deletion and accretion pattern of a moving duck. The 8‐month‐old infants looked significantly longer at the scene when the two types of occlusion cues were inconsistent than when they were consistent with each other, which provides evidence that they interpreted the Kanizsa square as a depth cue. In contrast, 5‐month‐olds did not show this difference. This finding demonstrates that 8‐month‐olds perceive the figure formed by the illusory contours as having properties of a real object that can act as an occluder.     

Effects of Perceived Space on Spatial Attention

Abstract—This study demonstrates that a perceptual illusion that alters the perceived length of two lines also affects spatial attention. We used a cuing method that was introduced to study space- versus object-based attention. Two parallel lines of equal length were placed so that the distance between them was equal to the length of the lines. We then added a scene with depth cues to produce a strong illusion that one line was longer than the other. The results showed that spatial attention is distributed in space as it is perceived and altered by perceptual organization. These data have implications for assumptions concerning the spatial medium that guides attention and the role of depth and distance cues in spatial orienting, as well as for understanding attentional systems related to neuropsychological functions that respond to space and objects.     

Angle illusion in a straight road

We report a new angle illusion observed when viewing a real scene involving a straight road. The scene portrays two white lines which outline a traffic lane on a road and converge to a vanishing point. In experiment 1, observers estimated the angle created by these converging lines in this scene or in its image projected onto a screen. Results showed strong underestimation of the angle, ie over 50% for observations of both the real scene and its projected image. Experiment 2 assessed how depth cues in projected images influence the angle illusion. Results showed that this angle illusion disappeared when scene information surrounding convergent lines was removed. In addition, the illusion was attenuated with projection of an inverted scene image. These findings are interpreted in terms of a misadoption of depth information in the processing of angle perception in a flat image; in turn, this induces a massive angle illusion.     

Properties of long-range illusory contours produced by offset-arcs

Researchers have used several different types of illusory contours to investigate properties of human perception. One rarely used illusory contour is a combination of the abutting grating and Kanizsa illusions. We call this the offset-arcs illusion and provide an empirical investigation of the illusion. Through a series of four experiments, using different methods of measurement, we show that changes to the phase of the abutting-grating part of the inducing stimulus can dramatically change the perceived strength and clarity of the long-range illusory contour. The easy manipulation of illusion strength should make the offset-arcs illusion applicable to a wide range of studies that utilize long-range illusory contours. The lack of a brightness component to the illusion should allow the offset-arcs illusion to help separate perceptual grouping from surface brightness effects that are often confounded in other illusory contours.