The automaticity of perceiving animacy: Goal-directed motion in simple shapes influences visuomotor behavior even when task-irrelevant

Visual processing recovers not only simple features, such as color and shape, but also seemingly higher-level properties, such as animacy. Indeed, even abstract geometric shapes are readily perceived as intentional agents when they move in certain ways, and such percepts can dramatically influence behavior. In the wolfpack effect, for example, subjects maneuver a disc around a display in order to avoid several randomly moving darts. When the darts point toward the disc, subjects (falsely) perceive that the darts are chasing them, and this impairs several types of visuomotor performance. Are such effects reflexive, automatic features of visual processing? Or might they instead arise only as contingent strategies in tasks in which subjects must interact with (and thus focus on the features of) such objects? We explored these questions in an especially direct way—by embedding such displays into the background of a completely independent “foraging” task. Subjects now moved their disc to collect small “food” dots (which appeared sequentially in random locations) as quickly as possible. The darts were task-irrelevant, and subjects were encouraged to ignore them. Nevertheless, foraging was impaired when the randomly moving darts pointed at the subjects’ disc, as compared to control conditions in which they were either oriented orthogonally to the subjects’ disc or pointed at another moving shape—thereby controlling for nonsocial factors. The perception of animacy thus influences downstream visuomotor behavior in an automatic manner, such that subjects cannot completely override the influences of seemingly animate shapes even while attempting to ignore them.     

The psychophysics of chasing: A case study in the perception of animacy

Psychologists have long been captivated by the perception of animacy – the fact that even simple moving shapes may appear to engage in animate, intentional, and goal-directed movements. Here we report several new types of studies of a particularly salient form of perceived animacy: chasing, in which one shape (the ‘wolf’) pursues another shape (‘the sheep’). We first demonstrate two new cues to perceived chasing – chasing subtlety (the degree to which the wolf deviates from perfectly ‘heat-seeking’ pursuit) and directionality (whether and how the shapes ‘face’ each other). We then use these cues to show how it is possible to assess the objective accuracy of such percepts, and to distinguish the immediate perception of chasing from those more subtle (but nevertheless real) types of ‘stalking’ that cannot be readily perceived. We also report several methodological advances. Previous studies of the perception of animacy have faced two major challenges: (a) it is difficult to measure perceived animacy with quantitative precision; and (b) task demands make it difficult to distinguish perception from higher-level inferences about animacy. We show how these challenges can be met, at least in our case study of perceived chasing, via tasks based on dynamic visual search (the Find-the-Chase task) and a new type of interactive display (the Don’t-Get-Caught! task).     

It's alive! animate motion captures visual attention

Across humans' evolutionary history, detecting animate entities in the visual field (such as prey and predators) has been critical for survival. One of the defining features of animals is their motion-self-propelled and self-directed. Does such animate motion capture visual attention? To answer this question, we compared the time to detect targets involving objects that were moving predictably as a result of collisions (inanimate motion) with the time to detect targets involving objects that were moving unpredictably, having been in no such collisions (animate motion). Across six experiments, we consistently found that targets involving objects that underwent animate motion were responded to more quickly than targets involving objects that underwent inanimate motion. Moreover, these speeded responses appeared to be due to the perceived animacy of the objects, rather than due to their uniqueness in the display or involvement of a top-down strategy. We conclude that animate motion does indeed capture visual attention.     

Different contexts change the impression of animacy

The aim of this research was to explore the effect of different spatiotemporal contexts on the perceptual saliency of animacy, and the extent of the relationship between animacy and other related properties such as emotions and intentionality. Paired-comparisons and ratings were used to compare the impressions of animacy elicited by a small square moving on the screen, either alone or in the context of a second square. The context element was either static or moving showing an animate-like or a physical-like trajectory, and the target object moved either toward it or away from it. The movement of the target could also include animacy cues (caterpillar-like expanding/contracting phases). To determine the effect of different contexts on the emergence of emotions and intentions, we also recorded and analysed the phenomenological reports of participants. The results show that the context significantly influences the perception of animacy, which is stronger in dynamic contexts than in static ones, and also when the target is moving away from the context element than when it is approaching it. The free reports reveal different proportions in emotional or intentional attributions in the different conditions: in particular, the "moving away" condition is related to negative emotions, while the "approaching" condition evokes positive emotions. Overall, the results suggest that animacy is a graded concept that can be articulated in more general characteristics, like simple aliveness, and more specific ones, like intentions or emotions, and that the spatiotemporal contingencies of the context play a crucial role in making them evident.     

Chasing vs. stalking: interrupting the perception of animacy

Visual experience involves not only physical features such as color and shape, but also higher-level properties such as animacy and goal-directedness. Perceiving animacy is an inherently dynamic experience, in part because agents' goal-directed behavior may be frequently in flux-unlike many of their physical properties. How does the visual system maintain and update representations of agents' animate and goal-directed behavior over time and motion? The present study explored this question in the context of a particularly salient form of perceived animacy: chasing, in which one shape (the "wolf") pursues another shape (the "sheep"). Here the participants themselves controlled the movement of the sheep, and the perception of chasing was assessed in terms of their ability to avoid being caught by the wolf-which looked identical to many moving distractors, and so could be identified only by its motion. The wolf's pursuit was frequently interrupted by periods in which it was static, jiggling in place, or moving randomly (amidst distractors that behaved similarly). Only the latter condition greatly impaired the detection of chasing-and only when the random motion was grouped into temporally extended chunks. These results reveal (1) how the detection of chasing is determined by the character and temporal grouping (rather than just the brute amount) of "pursuit" over time; and (2) how these temporal dynamics can lead the visual system to either construct or actively reject interpretations of chasing.     

Perceptual causality and animacy

Certain simple visual displays consisting of moving 2-D geometric shapes can give rise to percepts with high-level properties such as causality and animacy. This article reviews recent research on such phenomena, which began with the classic work of Michotte and of Heider and Simmel. The importance of such phenomena stems in part from the fact that these interpretations seem to be largely perceptual in nature - to be fairly fast, automatic, irresistible and highly stimulus driven - despite the fact that they involve impressions typically associated with higher-level cognitive processing. This research suggests that just as the visual system works to recover the physical structure of the world by inferring properties such as 3-D shape, so too does it work to recover the causal and social structure of the world by inferring properties such as causality and animacy.     

Aperture viewing : A review and a synthesis

We argue that two processes are involved in the visual perception of shapes moving behind narrow apertures. “Retinal painting” occurs when the eyes are free to pursue the moving shape and when the traverse time across the aperture is sufficiently short to allow visual persistence of the temporally successive views. When pursuit eye movements do not occur, however, the shape may still be perceived if it moves relatively slowly. The latter kind of perception does not involve seeing all the parts of the shape simultaneously (as in the case with retinal painting) but we demonstrate that shapes seen in this way have some of the same properties as conventionally presented shapes. The discussion emphasises the relevance of these findings to general problems in movement perception.     

Causal capture: contextual effects on the perception of collision events

In addition to perceiving the colors, shapes, and motions of objects, observers can perceive higher–level properties of visual events. One such property is causation, as when an observer sees one object cause another object to move by colliding with it. We report a striking new type of contextual effect on the perception of such collision events. Consider an object (A) that moves toward a stationary object (B) until they are adjacent, at which point A stops and B starts moving along the same path. Such "launches" are perceived in terms beyond these kinematics: As noted in Michotte's classic studies, observers perceive A as being the cause of B's motion. When A and B fully overlap before B's motion, however, observers often see this test event as a completely noncausal "pass": One object remains stationary while another passes over it. When a distinct launch event occurs nearby, however, the test event is "captured": It too is now irresistibly seen as causal. For this causal capture to occur, the context event need be present for only 50 ms surrounding the "impact," but capture is destroyed by only 200 ms of temporal asynchrony between the two events. We report a study of such cases, and others, that help define the rules that the visual system uses to construct percepts of seemingly high–level properties like causation.     

Object-based anisotropies in the flash-lag effect

The relative visual position of a briefly flashed stimulus is systematically modified in the presence of motion signals. We investigated the two-dimensional distortion of the positional representation of a flash relative to a moving stimulus. Analysis of the spatial pattern of mislocalization revealed that the perceived position of a flash was not uniformly displaced, but instead shifted toward a single point of convergence that followed the moving object from behind at a fixed distance. Although the absolute magnitude of mislocalization increased with motion speed, the convergence point remained unaffected. The motion modified the perceived position of a flash, but had little influence on the perceived shape of a spatially extended flash stimulus. These results demonstrate that motion anisotropically distorts positional representation after the shapes of objects are represented. Furthermore, the results imply that the flash-lag effect may be considered a special case of two-dimensional anisotropic distortion.     

Interobject spacing explains the attentional bias toward interacting objects

Spatio-temporal interactions between simple geometrical shapes typically elicit strong impressions of intentionality. Recent research has started to explore the link between attentional processes and the detection of interacting objects. Here, we asked whether visual attention is biased toward such interactions. We investigated probe discrimination performance in algorithmically generated animations that involved two chasing objects and two randomly moving objects. In Experiment 1, we observed a pronounced attention capture effect for chasing objects. Because reduced interobject spacing is an inherent feature of interacting objects, in Experiment 2 we designed randomly moving objects that were matched to the chasing objects with respect to interobject spacing at probe onset. In this experiment, the capture effect attenuated completely. Therefore, we argue that reduced interobject spacing reflects an efficient cue to guide visual attention toward objects that interact intentionally.     

Symmetry and elongation of objects influence perceived direction of translational motion

Five experiments were conducted to examine how perceived direction of motion is influenced by aspects of shape of a moving object such as symmetry and elongation. Random polygons moving obliquely were presented on a computer screen and perceived direction of motion was measured. Experiments 1 and 2 showed that a symmetric object moving off the axis of symmetry caused motion to be perceived as more aligned with the axis than it actually was. However, Experiment 3 showed that motion did not influence perceived orientation of symmetry axis. Experiment 4 revealed that symmetric shapes resulted in faster judgments on direction of motion than asymmetric shapes only when the motion is along the axis. Experiment 5 showed that elongation causes a bias in perceived direction of motion similar to effects of symmetry. Existence of such biases is consistent with the hypothesis that in the course of evolution, the visual system has been adapted to regularities of motion in the animate world.     

Adaptive memory: Is the animacy effect on memory due to emotional arousal?

Animate entities are often better remembered than inanimate ones. The proximal mechanisms underlying this animacy effect on recall are unclear. In two experiments, we tested whether the animacy effect is due to emotional arousal. Experiment 1 revealed that translations of the animate words used in the pioneering study of Nairne et al. (Psychological science, 24, 2099–2105, 2013) were perceived as being more arousing than translations of the inanimate words, suggesting that animacy might have been confounded with arousal in previous studies. In Experiment 2, new word lists were created in which the animate and inanimate words were matched on arousal (amongst several other dimensions), and participants were required to reproduce the animate and inanimate words in a free recall task. There was a tendency towards better memory for arousing items, but robust animacy effects were obtained even though animate and inanimate words were matched on arousal. Thus, while arousal may contribute to the animacy effect when it is not carefully controlled for, it cannot explain the memory advantage of animate items.     

Fast Responses of the Human Hand to Changes in Target Position

If a target toward which an individual moves his hand suddenly moves, he adjusts the movement of his hand accordingly. Does he use visual information on the target's velocity to anticipate where he will reach the target? These questions were addressed in the present study. Subjects (N = 6 in each of 4 experiments) were instructed to hit a disk with a rod as soon as it appeared on a screen. Trajectories of the hand toward stationary disks were compared with those toward disks that jumped leftward or rightward as soon as the subject's hand started moving toward the screen, and with those in which either the disk or the background started moving leftward or rightward. About 110 ms after the disk was suddenly displaced, the moving hand was diverted in the direction of the perturbation. When the background moved, the disk's perceived position shifted in the direction in which the background was moving, but the disk appeared to be moving in the opposite direction. When hitting such disks, subjects adjusted their movement in accordance with the perceived position, rather than moving their hand in the direction of the perceived motion in anticipation of the disk's future displacement. Thus, subjects did not use the perceived velocity to anticipate where they would reach the target but responded only to the change in position     

Understanding intention from minimal displays of human activity

The impression of animacy from the motion of simple shapes typically relies on synthetically defined motion patterns resulting in pseudorepresentations of human movement. Thus, it is unclear how these synthetic motions relate to actual biological agents. To clarify this relationship, we introduce a novel approach that uses video processing to reduce full-video displays of human interactions to animacy displays, thus creating animate shapes whose motions are directly derived from human actions. Furthermore, this technique facilitates the comparison of interactions in animacy displays from different viewpoints-an area that has yet to be researched. We introduce two experiments in which animacy displays were created showing six dyadic interactions from two viewpoints, incorporating cues altering the quantity of the visual information available. With a six-alternative forced choice task, results indicate that animacy displays can be created via this naturalistic technique and reveal a previously unreported advantage for viewing intentional motion from an overhead viewpoint.     

Understanding animate agents: distinct roles for the social network and mirror system

How people understand the actions of animate agents has been vigorously debated. This debate has centered on two hypotheses focused on anatomically distinct neural substrates: The mirror-system hypothesis proposes that the understanding of others is achieved via action simulation, and the social-network hypothesis proposes that such understanding is achieved via the integration of critical biological properties (e.g., faces, affect). In this study, we assessed the areas of the brain that were engaged when people interpreted and imagined moving shapes as animate or inanimate. Although observing and imagining the moving shapes engaged the mirror system, only activation of the social network was modulated by animacy.     

The influence of spatial context and the role of intentionality in the interpretation of animacy from motion

We present three experiments investigating how spatial context influences the attribution of animacy to a moving target. Each of our displays contained a moving object (the target) that might, depending on the way it moved, convey the impression that it was alive (animate). We investigated the mechanisms underlying this attribution by manipulating the nature of the spatial context surrounding the target. In Experiment 1, the context consisted of a simple static dot (the foil), whose position relative to the target's trajectory was manipulated. With some foil positions--for example, when the foil was lying along the path traveled by the target--animacy judgments were elevated relative to control foil locations, apparently because this context supported the impression that the target was "reacting to" or was in some other way mentally influenced by the foil. In Experiment 2, contexts consisted of a static oriented rectangle (the "paddle"). On some trials, the target collided with the paddle in a way that seemed to physically account for the target's motion pattern (in the sense of having imparted momentum to it); this condition reduced animacy ratings. Experiment 3 was similar, except that the paddles themselves were in motion; again, animacy attribution was suppressed when the target's motion seemed to have been caused by a collision with the paddle. Hence, animacy attributions can be either elevated or suppressed by the nature of the environment and the target's interaction with it. Animacy attribution tracks intentionality attribution; contrary to some earlier proposals, we conclude that attributing animacy involves, and may even require, attributing to the target some minimal mental capacity sufficient to endow the target with intentionality.     

Impressions of force in visual perception of collision events: A test of the causal asymmetry hypothesis

When two objects interact they exert equal and opposite forces on each other. According to the causal asymmetry hypothesis, however, when one object has been identified as causal and the other as that in which the effect occurs, the causal object is perceived as exerting greater force on the effect object than the latter is perceived as exerting on the former. An example of this is a stimulus in which one object moves toward another stationary one, and when contact occurs the former stops and the latter moves away. In this situation the initially moving object is identified as causal, so the causal asymmetry hypothesis predicts that more force will be judged to be exerted by the moving object on the stationary one than by the stationary one on the moving one. Participants’ judgments consistently supported this hypothesis for a variety of stimuli in which kinematic parameters were varied, even when the initially moving object reversed direction after contact.     

Influence of early experience on processing 2D threatening pictures by European starlings (<Emphasis Type="Italic">Sturnus vulgaris</Emphasis>)

Stimuli such as visual representations of raptors, snakes, or humans are generally assumed to be universally fear-inducing in birds and considered as a product of evolutionary perceptual bias. Both naïve and experienced birds should thus react to such stimuli with fear reactions. However, studies on different species have shown the importance of experience in the development of these fear reactions. We hypothesized that the responses of adult European starlings to fear-inducing visual stimuli may differ according to experience. We compared the reactions of Hand-raised adults with no experience of predators to those of Wild-caught adults, with potentially extensive experience with predators. Three visual stimuli (i.e. human, raptor, snake) were broadcast to 17 birds as 2D pictures (displayed via a LCD screen) with different modalities of presentation: degree of proximity and with or without movement. The results reveal that the birds were particularly sensitive to proximity and movement, with more attention towards moving stimuli and more withdrawal for close stimuli. The human stimulus elicited attention in both the distant and moving modalities but, like the other stimuli, mostly withdrawal when it was close. Developmental experience appeared to influence the emotional level, as the Hand-raised birds reacted strongly to all stimuli and all modalities, contrarily to the WC birds which performed withdrawals almost only for close stimuli and attention to moving stimuli. Stimuli proximity and movement seemed, therefore, relevant features that elicited negative reactions in Wild-caught birds. The Hand-raised birds were equally attentive to both distant and moving stimuli. Thus the young birds showed no real discrimination. Early and later experiences may, therefore, influence birds’ reactions. Starlings may require experience with real threats to develop adaptive responses, i.e. limiting unnecessary loss of energy by fleeing in front of non-dangerous stimuli.     

A prior for global convexity in local shape-from-shading

To solve the ill-posed problem of shape-from-shading, the visual system often relies on prior assumptions such as illumination from above or viewpoint from above. Here we demonstrate that a third prior assumption is used--namely that the surface is globally convex. We use complex surface shapes that are realistically rendered with computer graphics, and we find that performance in a local-shape-discrimination task is significantly higher when the shapes are globally convex than when they are globally concave. The results are surprising because the qualitative global shapes of the surfaces are perceptually unambiguous. The results generalise findings such as the hollow-potato illusion (Hill and Bruce 1994 Perception 23 1335-1337) which consider global shape perception only.