Imagined body orientation and perception of the visual vertical

The existence of body orientation mental imagery was tested by examining whether self roll tilt imagery affects the subjective visual vertical (SVV). Twenty healthy subjects judged the orientation of a dim luminous bar with respect to gravitational vertical, while normally seated in complete darkness with their head firmly restrained earth vertically. SVV was measured in three conditions: a reference condition with no imagery, and a left and a right imagery condition, during which the bar orientation was to be judged while the subjects imagine themselves roll-tilted towards left or right, respectively. The imagined roll tilts were of the same magnitude as roll tilts which generally induce an E- effect, i.e., an SVV lean toward the side opposite to those of body tilt. If imagery and perception of self roll tilt share common processes, self roll tilt imagery should induce an E-like effect. Results show an imagery- induced E-like effect, which strongly supports the idea that humans can perform mental imagery of body orientation about gravity. Received: 4 April 2000 / Accepted: 1 September 2000     

The use of visual information in natural scenes

Despite the complexity and diversity of natural scenes, humans are very fast and accurate at identifying basic-level scene categories. In this paper we develop a new technique (based on Bubbles, Gosselin & Schyns, 2001a; Schyns, Bonnar, & Gosselin, 2002) to determine some of the information requirements of basic-level scene categorizations. Using 2400 scenes from an established scene database (Oliva & Torralba, 2001), the algorithm randomly samples the Fourier coefficients of the phase spectrum. Sampled Fourier coefficients retain their original phase while the phase of nonsampled coefficients is replaced with that of white noise. Observers categorized the stimuli into 8 basic-level categories. The location of the sampled Fourier coefficients leading to correct categorizations was recorded per trial. Statistical analyses revealed the major scales and orientations of the phase spectrum that observers used to distinguish scene categories.     

How color enhances visual memory for natural scenes

We offer a framework for understanding how color operates to improve visual memory for images of the natural environment, and we present an extensive data set that quantifies the contribution of color in the encoding and recognition phases. Using a continuous recognition task with colored and monochrome gray-scale images of natural scenes at short exposure durations, we found that color enhances recognition memory by conferring an advantage during encoding and by strengthening the encoding-specificity effect. Furthermore, because the pattern of performance was similar at all exposure durations, and because form and color are processed in different areas of cortex, the results imply that color must be bound as an integral part of the representation at the earliest stages of processing.     

Constructing visual representations of natural scenes: the roles of short- and long-term visual memory

A "follow-the-dot" method was used to investigate the visual memory systems supporting accumulation of object information in natural scenes. Participants fixated a series of objects in each scene, following a dot cue from object to object. Memory for the visual form of a target object was then tested. Object memory was consistently superior for the two most recently fixated objects, a recency advantage indicating a visual short-term memory component to scene representation. In addition, objects examined earlier were remembered at rates well above chance, with no evidence of further forgetting when 10 objects intervened between target examination and test and only modest forgetting with 402 intervening objects. This robust prerecency performance indicates a visual long-term memory component to scene representation.     

Object identification in context: the visual processing of natural scenes.

When we view a natural visual scene, we seem able to determine effortlessly the scene's semantic category, constituent objects, and spatial relations. How do we accomplish this visual-cognitive feat? The commonly held explanation is known as the schema hypothesis, according to which a visual scene is rapidly identified as a member of a semantic category, and predictions generated from the scene category are then used to aid subsequent object identification. In this paper I will first outline and offer a critique of the evidence that has been taken to support the schema hypothesis. I will then offer an alternative framework for understanding scene processing, which I will call the local-processing hypothesis. This hypothesis assumes a modular, informationally-encapsulated architecture, and explicitly includes the role of covert visual attention in scene processing.     

Object-position binding in visual memory for natural scenes and object arrays

Nine experiments examined the means by which visual memory for individual objects is structured into a larger representation of a scene. Participants viewed images of natural scenes or object arrays in a change detection task requiring memory for the visual form of a single target object. In the test image, 2 properties of the stimulus were independently manipulated: the position of the target object and the spatial properties of the larger scene or array context. Memory performance was higher when the target object position remained the same from study to test. This same-position advantage was reduced or eliminated following contextual changes that disrupted the relative spatial relationships among contextual objects (context deletion, scrambling, and binding change) but was preserved following contextual change that did not disrupt relative spatial relationships (translation). Thus, episodic scene representations are formed through the binding of objects to scene locations, and object position is defined relative to a larger spatial representation coding the relative locations of contextual objects.     

Categorical perception of relative orientation in visual object recognition

The purpose of the present investigation was to determine whether the orientation between an object's parts is coded categorically for object recognition and physical discrimination. In three experiments, line drawings of novel objects in which the relative orientation of object parts varied by steps of 30 degrees were used. Participants performed either an object recognition task, in which they had to determine whether two objects were composed of the same set of parts, or a physical discrimination task, in which they had to determine whether two objects were physically identical. For object recognition, participants found it more difficult to compare the 0 degrees and 30 degrees versions and the 90 degrees and 60 degrees versions of an object than to compare the 30 degrees and 60 degrees versions, but only at an extended interstimulus interval (ISI). Categorical coding was also found in the physical discrimination task. These results suggest that relative orientation is coded categorically for both object recognition and physical discrimination, although metric information appears to be coded as well, especially at brief ISIs.     

Influence of aesthetic perception on visual event-related potentials

The aim of the study was to assess the effects of visual aesthetic perception on event-related potentials (ERPs). Eight subjects assigned an aesthetic judgment (beautiful, neutral, or ugly) and a 10-step beauty estimation to the target stimuli, consisting of famous artistic pictures and geometric shapes. In a further task, the subjects performed a motor response to the previously judged pictures and geometric shapes. ERPs were recorded through 54 scalp electrodes during both tasks. The P3b amplitude was increased during the categorization of the geometric shapes compared to the artistic figures and during the vision of the beautiful targets preceding the motor response. The categorization of the aesthetic qualities of geometrical shapes seems to induce a higher level of attention, while a higher arousal variation was elicited by the recognition of beauty, in any form that was presented.     

Compression of visual space in natural scenes and in their photographic counterparts

Classical theories of space perception posit continuous distortions of subjective space. These stand in contrast to the quantitatively and qualitatively different distortions experienced in space that is represented pictorially. We challenge several aspects of these theories. Comparing real-world objects with depictions of the same objects, we investigated to what extent distortions are introduced by the photographic medium. Corners of irregularly shaped buildings had to be judged in terms of the vertical dihedral angles subtended by two adjacent walls. Across all conditions, a robust effect of viewing distance was found: Building corners appear to flatten out with distance. Moreover, depictions of corners produce remarkably similar results and should not receive a different theoretical treatment than do real-world scenes. The flattening of vertical angles cannot be explained by a linear distortion of the entire visual space. We suggest that, for natural scenes, compression of space is local and dependent on contextual information.     

The visual and haptic perception of natural object shape

In this study, we evaluated observers' ability to compare naturally shaped three-dimensional (3-D) objects, using their senses of vision and touch. In one experiment, the observers haptically manipulated 1 object and then indicated which of 12 visible objects possessed the same shape. In the second experiment, pairs of objects were presented, and the observers indicated whether their 3-D shape was the same or different. The 2 objects were presented either unimodally (vision-vision or haptic-haptic) or cross-modally (vision-haptic or haptic-vision). In both experiments, the observers were able to compare 3-D shape across modalities with reasonably high levels of accuracy. In Experiment 1, for example, the observers' matching performance rose to 72% correct (chance performance was 8.3%) after five experimental sessions. In Experiment 2, small (but significant) differences in performance were obtained between the unimodal vision-vision condition and the two cross-modal conditions. Taken together, the results suggest that vision and touch have functionally overlapping, but not necessarily equivalent, representations of 3-D shape.     

Attentional allocation during the perception of scenes

Semantic influences on attention during the 1st fixation on a scene were explored in 3 experiments. Subjects viewed briefly presented scenes; following scene presentation, a spatial probe was presented at the location of an object whose identity was consistent or inconsistent with the scene category. Responses to the probe served as an index of attention. The results of Experiment 1 suggest that within approximately 150 ms of scene onset, subjects attend preferentially to inconsistent objects. The results of Experiment 2, in which additional scene durations were used, confirm the presence of an inconsistent-object advantage that emerges within approximately 150 ms. Finally, the results of Experiment 3 demonstrate that the inconsistent-object advantage does not reflect strategic allocation of attention to likely probe locations. Implications of the results for scene perception and exploration are discussed.     

Contribution of somesthetic cues to the perception of body orientation and subjective visual vertical

Without relevant visual cues, the subjective visual vertical (SVV) is biased in roll-tilted subjects toward the body axis (Aubert or A-effect). This study focused on the role of the somatosensory system with respect to the SVV and on whether somesthetic cues act through the estimated body tilt. The body cast technology was used to obtain a diffuse tactile stimulation. An increased A-effect was expected because of a greater underestimation of the body position in the body cast. Sixteen subjects placed in a tilt chair were rolled sideways from 0 degrees to 105 degrees. They were asked to verbally indicate their subjective body position and then to adjust a luminous line to the vertical under strapped and body cast conditions. Results showed a greater A-effect (p < .001) but an overestimation of the body orientation (p < .01) in the body cast condition for the higher tilt values (beyond 60 degrees). Since the otolith organs produced the same gravity response in both conditions, errors were due to a change in somesthetic cues. Visual and postural errors were not directly related (no correlation). However, the angular distance between the apparent body position and the SW remained stable, suggesting that the change in somatosensory pattern inputs has a similar impact on the cognitive processes involved in assessing the perception of external space and the sense of self-position.     

Natural scenes upset the visual applecart

The effortless ease of everyday vision seems to contradict numerous findings on the limited capacity of visual attention. However, natural scenes appear to escape the stringent limitations of attention that apply to seemingly far simpler stimuli. This astonishing result will oblige us to rethink the nature of visual attention and its limited capacity.     

The development of hazard perception: Dissociation of visual orientation and hazard processing

Eye movements are a key behavior for visual information processing in traffic situations and for vehicle control. Previous research showed that effective ways of eye guidance are related to better hazard perception skills. Furthermore, hazard perception is reported to be faster for experienced drivers as compared to novice drivers. However, little is known whether this difference can be attributed to the development of visual orientation, or hazard processing. In the present study, we compared eye movements of 20 inexperienced and 20 experienced drivers in a hazard perception task. We separately measured (a) the interval between the onset of a static hazard scene and the first fixation on a potential hazard, and (b) the interval between the first fixation on a potential hazard and the final response. While overall RT was faster for experienced compared to inexperienced drivers, the scanning patterns revealed that this difference was due to faster processing after the initial fixation on the hazard, whereas scene scanning times until the initial fixation on the hazard did not differ between groups.     

The representation of visual scenes

The visual world exists all around us, yet this information must be gleaned through a succession of eye fixations in which high visual acuity is limited to the small foveal region of each retina. In spite of these physiological constraints, we experience a richly detailed and continuous visual world. Research on transsaccadic memory, perception, picture memory and imagination of scenes will be reviewed. Converging evidence suggests that the representation of visual scenes is much more schematic and abstract than our immediate experience would indicate. The visual system may have evolved to maximize comprehension of discrete views at the expense of representing unnecessary detail, but through the action of attention it allows the viewer to access detail when the need arises. This capability helps to maintain the 'illusion' of seeing a rich and detailed visual world at every glance.     

Face detection differs from categorization: Evidence from visual search in natural scenes

In this study, we examined whether the detection of frontal, ¾, and profile face views differs from their categorization as faces. In Experiment 1, we compared three tasks that required observers to determine the presence or absence of a face, but varied in the extents to which participants had to search for the faces in simple displays and in small or large scenes to make this decision. Performance was equivalent for all of the face views in simple displays and small scenes, but it was notably slower for profile views when this required the search for faces in extended scene displays. This search effect was confirmed in Experiment 2, in which we compared observers’ eye movements with their response times to faces in visual scenes. These results demonstrate that the categorization of faces at fixation is dissociable from the detection of faces in space. Consequently, we suggest that face detection should be studied with extended visual displays, such as natural scenes.     

Top-down control of visual perception: attention in natural vision

Top-down perceptual influences can bias (or pre-empt) perception. In natural scenes, the receptive fields of neurons in the inferior temporal visual cortex (IT) shrink to become close to the size of objects. This facilitates the read-out of information from the ventral visual system, because the information is primarily about the object at the fovea. Top-down attentional influences are much less evident in natural scenes than when objects are shown against blank backgrounds, though are still present. It is suggested that the reduced receptive-field size in natural scenes, and the effects of top-down attention contribute to change blindness. The receptive fields of IT neurons in complex scenes, though including the fovea, are frequently asymmetric around the fovea, and it is proposed that this is the solution the IT uses to represent multiple objects and their relative spatial positions in a scene. Networks that implement probabilistic decision-making are described, and it is suggested that, when in perceptual systems they take decisions (or 'test hypotheses'), they influence lower-level networks to bias visual perception. Finally, it is shown that similar processes extend to systems involved in the processing of emotion-provoking sensory stimuli, in that word-level cognitive states provide top-down biasing that reaches as far down as the orbitofrontal cortex, where, at the first stage of affective representations, olfactory, taste, flavour, and touch processing is biased (or pre-empted) in humans.