Temporally unfolding neural representation of pictorial occlusion

The human visual system possesses a remarkable ability to reconstruct the shape of an object that is partly occluded by an interposed surface. Behavioral results suggest that, under some circumstances, this perceptual process (termed amodal completion) progresses from an initial representation of local image features to a completed representation of a shape that may include features that are not explicitly present in the retinal image. Recent functional magnetic resonance imaging (fMRI) studies have shown that the completed surface is represented in early visual cortical areas. We used fMRI adaptation, combined with brief, masked exposures, to track the amodal completion process as it unfolds in early visual cortical regions. We report evidence for an evolution of the neural representation from the image-based feature representation to the completed representation. Our method offers the possibility of measuring changes in cortical activity using fMRI over a time scale of a few hundred milliseconds.     

Conventional naturalism: A perceptualist account of pictorial representation

This paper proposes that pictures are functional objects which figure in norm‐governed practices of usage yet whose specific function is to present the world as it looks to acculturated perceivers. Pictorial content presents the way the world looks to a subject's acculturated perceptual grasp. Hence, pictorial content needs to be explained in terms of a theory of perceptual content, but a novel theory which departs from the two‐stage sensation‐based approach to perception and the polarization between naturalism and conventionalism that it engenders. Following a diagnosis of this polarization, I invoke a novel theory of perception that explains perceptual content as conceptually articulated and determinate in character. I show that (1) pictures present content of the same distinctive determinate type as perceptual content; and that (2) pictures do so by invoking perceptual experience and perceptual processes that are of the same kind as those invoked by actual scenes. This perceptualist approach considers and explains the role of norms as well as of the nature of our visual processes, allowing us to allocate the insights of both conventionalism and naturalism to their proper theoretical roles.     

The influence of illumination direction on the pictorial reliefs of Lambertian surfaces

In order to assess the influence of illumination direction on shape constancy, we studied the pictorial relief of computer images of globular 3-D objects. We used two globally convex objects, one with a furrow and one with a dimple. Observers adjusted local surface attitude probes at 200-250 different locations in the image such that they seemed to lie on the pictorial surface. We manipulated the viewing direction and the illumination direction in a 2 x 2 orthogonal design. Viewing directions were chosen such that the image contained only a few, or no, contour singularities. Changes in the illumination direction were found to induce systematic changes in the settings for both viewing directions. Effects were especially pronounced for images that had no contour singularities. The results showed that a change in the illumination direction can change the local shape of the pictorial relief in addition to the bas-relief ambiguities of scaling and shearing in depth. We found that concavities in the pictorial relief are associated with the darker areas in the image. The deviation from shape constancy cannot be explained by bas-relief ambiguity since the required transformation between the shapes is nonlinear.     

Cognitive representation of linear motion: Possible direction and gravity effects in judged displacement

The judged vanishing point of a target undergoing apparent motion in a horizontal, vertical, or oblique direction was examined. In Experiment 1, subjects indicated the vanishing point by positioning a crosshair. Judged vanishing point was displaced forward in the direction of motion, with the magnitude of displacement being largest for horizontal motion, intermediate for oblique motion, and smallest for vertical motion. In addition, the magnitude of displacement increased with faster apparent velocities. In Experiment 2, subjects judged whether a stationary probe presented after the moving target vanished was at the same location where the moving target vanished. Probes were located along the axis of motion, and probes located beyond the vanishing point evidenced a higher probability of a same response than did probes behind the vanishing point. In Experiment 3, subjects judged whether a stationary probe presented after the moving target vanished was located on a straight-line extension of the path of motion of the moving target. Probes below the path of motion evidenced a higher probability of a same response than did probes above the path of motion for horizontal and ascending oblique motion; probes above the path of motion evidenced a higher probability for a same response than did probes below the path of motion for descending oblique motion. Overall, the pattern of results suggests that the magnitude of displacement increases as proximity to a horizontal axis increases, and that in some conditions there may be a component analogous to a gravitational influence incorporated into the mental representation.     

Mental imagery and pictorial memory

Previous research has failed to show consistent effects upon memory performance of individual differences in the use of mental imagery. A test of pictorial memory was devised which varied the ease with which the stimulus patterns could be verbally encoded. A factor analysis related performance in this task to a variety of other individual characteristics. The recall of material which could not be readily verbalized defined a factor within the solution which showed significant loadings of age and performance in the Progressive Matrices, but not of subjective ratings of the vividness of experienced imagery. The recall of material which could be readily verbalized did not contribute to the factorial structure of the results. It was concluded that the two sorts of pictorial material are remembered in quite different ways.     

Subjective pictorial information and visual search

The effects of a combination of variables previously studied in ordinary and dichotic immediate memory were examined in bisensory memory, wherein the visual and auditory modalities were employed. These variables. combined in a factorial design. were: (1) type of material; (2) rate of presentation of material; (3) order of recall for a modality. either first or second; (4) locus of instructions about order of report; and (5) overall differences in memory for each modality. The variables of instruction, order of report, and nature of materials yielded effects in the bisensory situation similar to those reported for the dichotic and ordinary immediate memory situations. On the other hand. interference effects due to the combination of materials in the two channels were practically nonexistent. Additionally, when the modalities were stimulated simultaneously each displayed curves predictable from data obtained when it was explored independently of the other modality.     

Correspondence in pictorial space

ATR Human Information Processing Research Laboratories, Kyoto, Japan We have investigated psychophysically determined image correspondences between pairs of photographs of a single three-dimensional (3-D) object in various poses. These correspondences were obtained by presenting the pictures simultaneously, side by side, and letting the subject match a marker in one picture with a marker (under manual control) in the other picture. Between poses, the object was rotated about a fixed vertical axis; thus, the shifts of the veridical correspondences (with respect to the surface of the object) were very nearly horizontal. In fact, the subjects produced appreciable scatter in both horizontal and vertical directions. The scatter in repeated sessions and between data depends on the local (landmarks) and global (interpolation) structure of the pictures. Since the object was fairly smooth (white semigloss finish) and nontextured, the only way to establish the correspondence is by way of the “pictorial relief.” The relief is some largely unknown function of the image structure and the observer. Apparently, more immediate entities (e.g., the shading or the contour) cannot be used as such, since they vary with the pose. We compare these data with results obtained with a surface attitude probe on a single picture. We studied various measures of consistency both within a single method and between methods. We found that subjects were confident in establishing correspondences, but results scattered appreciably in a way that depended on both global and local image structure. Correspondence results for various pose angles were mutually very consistent, but only to a minor extent with results of attitude measurements. The main finding was that subjects could establish correspondence on the basis of their 3-D interpretation (pictorial relief), even if the 2-D graytone distributions are quite different.     

Ambiguity in pictorial depth

Pictorial space is the 3-D impression that one obtains when looking 'into' a 2-D picture. One is aware of 3-D 'opaque' objects. 'Pictorial reliefs' are the surfaces of such pictorial objects in 'pictorial space'. Photographs (or any pictures) do in no way fully specify physical scenes. Rather, any photograph is compatible with an infinite number of possible scenes that may be called 'metameric scenes'. If pictorial relief is one of these metameric scenes, the response may be considered 'veridical'. The conventional usage is more restrictive and is indeed inconsistent. Thus the observer has much freedom in arriving at such a 'veridical' response. To address this ambiguity, we determined the pictorial reliefs for eight observers, six pictures, and two psychophysical methods. We used 'methods of cross-sections' to operationalise pictorial reliefs. We find that linear regression of the depths of relief at corresponding locations in the picture for different observers often lead to very low (even insignificant) R2s. Thus the responses are idiosyncratic to a large degree. Perhaps surprisingly, we also observed that multiple regression of depth and picture coordinates at corresponding locations often lead to very high R2s. Often R2s increased from insignificant up to almost 1. Apparently, to a large extent 'depth' is irrelevant as a psychophysical variable, in the sense that it does not uniquely account for the relation of the response to the pictorial structure. This clearly runs counter to the bulk of the literature on pictorial 'depth perception'. The invariant core of interindividual perception proves to be of an 'affine' rather than a Euclidean nature; that is to say, 'pictorial space' is not simply the picture plane augmented with a depth dimension.     

Recognition memoryfor pictorial events

Subjects viewed sequences of slides depicting everyday events, and in later recognition tests, they correctly rejected distractors that were inconsistent with some invariant of the event but falsely accepted consistent distractors. J. J. Jenkins has accounted for the differential recognition of consistent and inconsistent slides of pictorial sequences in terms of fusion, the abstraction of an event from a series of temporally related items. The conditions under which event fusion was likely to occur were manipulated in three experiments: degree of ordering of the action-sequence slides, semantic vs. nonsemantic orienting tasks during acquisition, and duration of retention interval Recognition performance was generally more accurate under conditions of semantic processing, ordered acquisition sequences (for the semantic task), and shorter retention intervals. However, these variables did not affect differential recognition of consistent vs. inconsistent slides. A further experiment showed that the absence of an effect of disordering acquisition sequences on differential recognition could not be attributed to subjects’ reordering the disordered sequences in a way consistent with the original event. The data did not support the hypothesis that recognition performance was based on fusion of events depicted by temporally ordered slide sequences. It was suggested that memory for featural detail is a relevant factor in performance.     

Age and forgetting rate with pictorial stimuli

The rate of forgetting standardized line drawings of common objects was assessed in groups of young (M age = 22 years) and older (M age = 70.5 years) subjects. The two groups forgot equal quantities of pictorial stimuli over successive intervals of 10 min, 2 hr, and 48 hr, after being matched for original learning. In contrast, the older subjects showed the expected age decrement in reproduction of geometric designs from memory. These findings indicate that aging does not affect retention of pictures when differences in learning and retrieval abilities are controlled.     

Judging pictorial and linguistic aspects of space

A test is made of the notion that Stroop-like interference and facilitation effects arise from two different sources, one pictorial and the other linguistic. It was hypothesized that when irrelevant information is pictorial, it interferes with a pictorial code used in the processing of the relevant information; when it is linguistic, it interferes with a linguistic code. The experiment required subjects to respond to (1) the meaning of a spatial word, t2) its absolute position, or (3) its relative position, while attempting to ignore the two irrelevant dimensions of the display. It was found that word meaning and absolute position information affected the speed of relative position judgments in an additive manner. No other Stroop-like effects were found. The results supported the hypothesis under test. It was concluded that the existence of different kinds of Stroop effect must be accommodated by current models of the phenomenon.     

Constraints on effective pictorial and verbal elaboration

Three experiments investigated the conditions under which pictures facilitate learning. In Experiment 1, confusing verbal relationships were supplemented with pictures that illustrated the key concepts in each verbal relationship (base pictures), illustrated the key concepts in more elaborate arbitrary relationships (pictures of arbitrary elaborations), or illustrated the key concepts in ways that helped clarify the verbal relationships (pictures of explanatory elaborations). All three types of pictures facilitated the retention of the verbal relationships, although pictures of explanatory elaborations were superior to other types of visual illustrations. In Experiment 2, the facilitative effects of base pictures depended on a schematically unique illustration of the key concepts in a single image. In Experiment 3, picture facilitation effects were constrained by the type of verbal elaborations that accompanied the pictures. Specifically, base pictures and pictures of arbitrary elaborations did not facilitate the retention of confusing verbal relationships that were elaborated with explanatory information, and actually interfered with the retention of those explanatory elaborations. The implications of these results are discussed.     

Free recall and complexity of pictorial stimuli

In order to explore variables underlying primacy and recency effects in free recall of pictorial material, norms were developed using 120 subjects who rated the vividness and complexity of slides. Two experiments were then run in which two levels of each of these variables (extreme high and low ratings) were factorially combined. In the first experiment 24 subjects were shown three mixed lists, two short and one long (consisting of materials of all four combinations of vividness and complexity), and in the second experiment 12 subjects were shown four pure lists (consisting of materials of a single type). Analysis of variance showed list length in the mixed list experiment and complexity in both experiments to be strong determinants of recall. Greatest recall was for items of low complexity in short lists. Weak, but statistically significant, serial position effects were evident, particularly for less complex items. The effects of primacy and recency seem to decrease with increasing complexity of visual materials, perhaps because of the greater difficulty in rehearsing more complex pictures either verbally or iconically.