Neural correlates of object indeterminacy in art compositions

Indeterminate art invokes a perceptual dilemma in which apparently detailed and vivid images resist identification. We used event-related fMRI to study visual perception of representational, indeterminate and abstract paintings. We hypothesized increased activation along a gradient of posterior-to-anterior ventral visual areas with increased object resolution, and postulated that object resolution would be associated with visual imagery. Behaviorally, subjects were faster to recognize familiar objects in representational than in both indeterminate and abstract paintings. We found activation within a distributed cortical network that includes visual, parietal, limbic and prefrontal regions. Representational paintings, which depict scenes cluttered with familiar objects, evoked stronger activation than indeterminate and abstract paintings in higher-tier visual areas. Perception of scrambled paintings was associated with imagery-related activation in the precuneus and prefrontal cortex. Finally, representational paintings evoked stronger activation than indeterminate paintings in the temporoparietal junction. Our results suggest that perception of familiar content in art works is mediated by object recognition, memory recall and mental imagery, cognitive processes that evoke activation within a distributed cortical network.     

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.     

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。     

An oblique effect in aesthetics: homage to Mondrian (1872-1944)

The effect of the orientation of Mondrian's paintings on their aesthetic appeal was examined. Eight paintings, four with horizontal/vertical frames in the original and four with oblique frames, were presented in eight different orientations and rated for aesthetic appeal on a 7-point scale. There was a stronger preference for pictures presented so that their component lines were horizontal and vertical than for pictures presented with their component lines in an oblique orientation. In addition, subjects showed a preference for the original orientation, perhaps because rotation changes the lateral balance of the paintings as well as the orientation of the component lines. There was no overall preference for one frame orientation over another, but there was an interaction between frame orientation and component orientation, resulting in a preference for paintings where the components were parallel to the surrounding frame. It is suggested that the aesthetic oblique effect reported here is related to the oblique effect in orientation perception and the privileged access which horizontal and vertical lines have to the visual system. This offers a possible mechanism for aesthetic judgments of abstract patterns: we find pleasing those stimuli which are closely tuned to the properties of the human visual system.     

Viewing artworks: Contributions of cognitive control and perceptual facilitation to aesthetic experience

When we view visual images in everyday life, our perception is oriented toward object identification. In contrast, when viewing visual images as artworks, we also tend to experience subjective reactions to their stylistic and structural properties. This experiment sought to determine how cognitive control and perceptual facilitation contribute to aesthetic perception along with the experience of emotion. Using functional MRI, we show that aesthetic perception activated bilateral insula which we attribute to the experience of emotion. Moreover, while adopting the aesthetic orientation activated the left lateral prefrontal cortex, paintings that facilitated visuospatial exploration activated the left superior parietal lobule. The results suggest that aesthetic experience is a function of the interaction between top-down orienting of attention and bottom-up perceptual facilitation.     

Neural correlates of viewing paintings: Evidence from a quantitative meta-analysis of functional magnetic resonance imaging data

Many studies involving functional magnetic resonance imaging (fMRI) have exposed participants to paintings under varying task demands. To isolate neural systems that are activated reliably across fMRI studies in response to viewing paintings regardless of variation in task demands, a quantitative meta-analysis of fifteen experiments using the activation likelihood estimation (ALE) method was conducted. As predicted, viewing paintings was correlated with activation in a distributed system including the occipital lobes, temporal lobe structures in the ventral stream involved in object (fusiform gyrus) and scene (parahippocampal gyrus) perception, and the anterior insula—a key structure in experience of emotion. In addition, we also observed activation in the posterior cingulate cortex bilaterally—part of the brain’s default network. These results suggest that viewing paintings engages not only systems involved in visual representation and object recognition, but also structures underlying emotions and internalized cognitions.     

Detection of a change in photorealism1

The perceived degree of photorealism is interpreted as reflecting the artificialness or naturalness of images. Natural images (real‐scene photographs) are images with high degrees of naturalness, while artificial images (e.g., paintings) are images with low degrees of naturalness. Alternatively, natural images are images with low degrees of artificialness, while artificial images are images with high degrees of artificialness. We attempted to disambiguate these two interpretations of the perception of photorealism by using a change‐blindness paradigm. Participants observed an image sequence showing a gradual transformation from a natural image to an artificial image or vice versa, and reported changes they noticed. More participants reported noticing changes in photorealism for the natural‐to‐artificial transformations than for the opposite transformations. This asymmetry indicates that disappearing naturalness was detected more readily than emerging naturalness, or alternatively, emerging artificialness was detected more readily than disappearing artificialness. The results for the control conditions showed that the emergence of visual information was detected more readily than the disappearance. These results suggest that the perception of photorealism should be considered as the perception of artificialness.     

Perceiving binocular depth with reference to a common surface

A common surface is a spatial regularity of our terrestrial environment. For instance, we walk on the common ground surface, lay a variety of objects on the table top, and display our favorite paintings on the wall. It has been proposed that the visual system utilizes this regularity as a reference frame for coding objects' distances. Presumably, by treating the common surface as such--i.e. an anticipated constant--the visual system can reduce its coding redundancy, and divert its resources to representing other information. For intermediate-distance space perception, it has been found that absolute distance judgment is most accurate when a common ground surface is available. Here we explored if the common surface also serves as the reference frame for the processing of binocular-disparity information, which is a predominant cue for near-distance space perception. We capitalized on an established observation where the perceived slant of a surface with linear binocular-disparity gradient is underestimated. Clearly, if the visual system utilizes this incorrectly represented slant surface as a reference frame for coding the objects' locations, the perceived depth separation between the objects will be adversely affected. Our results confirm this, by showing that the depth judgment of objects (two laterally separated vertical lines) on, or in the vicinity of, the surface is underestimated. Furthermore, we show that the impact of the common surface on perceived depth separation most likely occurs at the surface-representation level where the visual surface has been explicitly delineated, rather than at the earlier disparity-processing level.     

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.     

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.     

任务信息通达对视觉表象眼动的影响

通过两个实验探讨了视觉表象任务信息的通达对表象加工眼动的影响。结果表明, 在低通达条件下, 表象任务的眼动复制了知觉任务的眼动; 随着表象任务信息通达水平的提高, 眼动的注视点平均持续时间、平均眼跳距离和平均眼跳时间会发生规律性变化; 眼动控制与任务信息通达水平对表象眼动的影响存在不同的机制。实验结果佐证了眼动在视觉表象中起机能性作用的观点。     

The perception of collative properties in visual stimuli

Two experiments were conducted to determine how quickly subjects respond to collative properties (e. g., Complexity, Uncertainty) of visual stimuli. In Experiment 1 subjects were presented with reproductions of paintings and artificial patterns which varied in collative properties (e. g., Uncertainty, Redundancy). Subjects were able to discriminate these properties on related verbal scales after only a single glance (50 msec) as well as after multiple glances (500 and 5000 msec). In Experiment 2 subjects were presented with pairs of paintings and patterns differing along collative dimensions (e. g., High versus Low Uncertainty) in an exploratory choice paradigm. The results show that for exploratory choice subjects were particularly sensitive to unity or order after only a single glance (50 msec) and to diversity or complexity after multiple glances (500 and 5 000 msec). In general, the data for the single glance condition are consistent with theories which attribute holistic processing to the initial phase of perception.     

Van Gogh, Chagall and pigeons: picture discrimination in pigeons and humans

The author has previously reported that pigeons can discriminate paintings by different artists. Here, I replicated the previous findings, carried out additional tests and compared discrimination by pigeons with that of humans. In Experiment 1, pigeons were trained to discriminate between paintings by Van Gogh and Chagall. After training, the subjects were tested with different paintings by the same artists. The subjects showed generalization to these paintings. The subjects maintained their discriminative ability for black-and-white paintings and partially occluded paintings. When they were tested with mosaic paintings, the number of correct responses decreased, depending on the level of processing needed. In Experiment 2, human subjects were tested with the same paintings. The subjects showed generalization and decrement of correct responses depending on the degree of mosaic processing. These observations suggest that the visual cognitive function of pigeons is comparable to that of humans. The convergence of higher visual cognition between the two species may stem from similar selection pressures on avian ancestors and our ancestors through their evolution. Accepted after revision: 19 August 2001 Electronic Publication     

For the mind’s eye the world is two-dimensional

The nature of visual mental images is a topic that has puzzled neuroscientists, psychologists, and philosophers alike. On the one hand, mental images might preserve the 3-D properties of our perceptual world. On the other hand, they might be akin to 2-D pictures, such as photographs, paintings, or drawings. In the present study, 16 observers judged where real objects (Experiment 1) or photographs thereof (Experiment 2) were pointing. Both experiments contained a perception condition and an imagery condition. In Experiment 1, there was a significant difference between the pointing errors in the perception and the imagery conditions, whereas there was no such difference in Experiment 2. In imagined objects, actual photographs, and imagined photographs, the direction in which the objects pointed followed the observer, regardless of his or her vantage point. The results from this study extend the rotation effect, typically found in pictures, to the domain of mental imagery. We found the rotation effect in pictures and mental images alike, but not in direct perception of 3-D objects; thus, we provide evidence that mental images share main characteristics of 2-D pictures.     

Scopophilia and object loss.

The study of a case of voyeuristic perversion and of some previously published cases of simple scopophilia suggests that fear of object loss early in life may be an important factor predisposing one to a propensity for voyeurism. The increased need to maintain visual contact with the object and to incorporate it visually leads to a hypercathexis of the visual function which is at the base of voyeurism. This need later becomes sexualized, while still retaining its pregenital connotations. Although object loss was apparently significant in the case of the patient described in this paper, it is not necessarily a factor in all cases of perverse voyeurism and, when present, may be considered as only one element in its pathogenesis.     

Dimensions of the perception of art: verbal scales and similarity judgements

Abstract.— An INDSCAL analysis was performed on subjects' similarity judgements of all pairs of 12 landscape paintings. Three principal INDSCAL dimensions were identified by analysing responses to 24 unidimensional rating scales derived from previous experiments. The present findings, together with those of previously published studies, suggest that three of the principal dimensions of perception of art appear to be (1) Hedonic-Representational, (2) Clarity, (3) A Dynamic factor involving activity, balance and symmetry. It is suggested that although Complexity may be an important factor influencing responses to simple stimuli, its rôle in the perception of paintings is small, and has frequently been over-emphasised.     

Discriminative and reinforcing properties of paintings in Java sparrows (<Emphasis Type="Italic">Padda oryzivora</Emphasis>)

Previous studies suggest that non-human animals can discriminate two different artworks (such as music or paintings) that were created by humans. However, such studies rarely examined whether those animals were reinforced by one artwork more than another. It has been shown that music composed by humans has both discriminative and reinforcing properties when played for Java sparrows. Here, we investigated the effects of another artistic medium in Java sparrows, namely paintings. The first experiment tested the reinforcing properties. Staying time at three painting categories—Japanese, cubist, and impressionist—was measured as an index of their reinforcing properties. The second experiment used operant conditioning to reveal the discriminative properties of the different artistic styles of such paintings. Results suggest that the paintings have both discriminative and reinforcing properties for Java sparrows. However, the reinforcing properties vary from individual to individual. This is the first report demonstrating reinforcing properties of visual artworks in non-human animals.     

An empirical investigation of the visual rightness theory of picture perception

This research subjected the visual rightness theory of picture perception to experimental scrutiny. It investigated the ability of adults untrained in the visual arts to discriminate between reproductions of original abstract and representational paintings by renowned artists from two experimentally manipulated less well-organized versions of each art stimulus. Perturbed stimuli contained either minor or major disruptions in the originals' principal structural networks. It was found that participants were significantly more successful in discriminating between originals and their highly altered, but not slightly altered, perturbation than expected by chance. Accuracy of detection was found to be a function of style of painting and a viewer's way of thinking about a work as determined from their verbal reactions to it. Specifically, hit rates for originals were highest for abstract works when participants focused on their compositional style and form and highest for representational works when their content and realism were the focus of attention. Findings support the view that visually right (i.e., "good") compositions have efficient structural organizations that are visually salient to viewers who lack formal training in the visual arts.     

Apparent causality affects perceived simultaneity

The present research addresses the question of how visual predictive information and implied causality affect audio–visual synchrony perception. Previous research has shown a systematic shift in the likelihood of observers to accept audio-leading stimulus pairs as being apparently simultaneous in variants of audio–visual stimulus pairs that differ in (1) the amount of visual predictive information available and (2) the apparent causal relation between the auditory and visual components. An experiment was designed to separate the predictability and causality explanations, and the results indicated that shifts in subjective simultaneity were explained completely by changes in the implied causal relations in the stimuli and that predictability had no added value. Together with earlier findings, these results further indicate that the observed shifts in subjective simultaneity due to causal relations among auditory and visual events do not reflect a mere change in response strategy, but rather result from early multimodal integration processes in event perception.     

习得的语言范畴影响颜色知觉的机制:来自ERP的证据

本研究以两个实验探讨了习得的语言范畴影响颜色知觉的机制.实验1让被试接受短期“色-词”重组训练,使原先范畴内的两种颜色变为范畴间的颜色,训练前后完成视觉搜索任务.反应时结果显示,在训练后,与训练的两种颜色近似的另外两种颜色的知觉表现出边缘显著的偏侧化颜色范畴效应.实验2让被试接受与实验1相同的训练后,完成视觉Oddball任务.ERP结果显示,在训练后,与训练的两种颜色近似的另外两种颜色的偏差刺激在早期知觉阶段就表现出偏侧化vMMN效应.这些结果表明:习得的语言范畴能影响早期的、注意前的颜色知觉机能,且这一影响过程可以在短期内完成;习得的语言范畴会影响颜色知觉范畴,而非仅影响特定颜色点的知觉机能.