Some varieties of shadow illusions: split shadows, occluded shadows, stolen shadows, and shadows of shadows

Shadows are visual objects and as such are subject to preference rules for segmenting the visual scene (such as Gestalt laws). These rules govern shadows along two dimensions: their general unity and individuation (eg they describe a certain area as a unitary shadow as opposed to a set of two distinct shadows), and their being the shadow of a given object, as opposed to being the shadow of any other object in the scene (the shadow correspondence problem Mamassian, 2004 Perception 33 1279-1290). I describe a few phenomena that indicate the interplay of preferences in determining the final visual aspect of scenes in which shadows are present.     

Infants' perception of depth from cast shadows

Five- and 7-month-old infants viewed displays in which cast shadows provided information that two objects were at different distances. The 7-month-olds reached preferentially for the apparently nearer object under monocular-viewing conditions but exhibited no reaching preference under binocular-viewing conditions. These results indicate that 7-month-old infants perceive depth on the basis of cast shadows. The 5-month-olds did not reach preferentially for the apparently nearer object and, therefore, exhibited no evidence of sensitivity to cast shadows as depth information. In a second experiment, 5-month-olds reached preferentially for the nearer of two objects that were similar to those used in the first experiment but were positioned at different distances from the infant. This result indicated that 5-month-olds have the motor skills and motivation necessary to exhibit a reaching preference under the conditions of this study. The results are consistent with the hypothesis that depth perception based on cast shadows first appears between 5 and 7 months of age.     

Masters of shadows

The interchange of views between Hans Binder and Bruno Klopfer regarding their evaluation and scoring systems for shading responses is traced and their single personal meeting much later is described.     

Intuitive optics: what great apes infer from mirrors and shadows

There is ongoing debate about the extent to which nonhuman animals, like humans, can go beyond first-order perceptual information to abstract structural information from their environment. To provide more empirical evidence regarding this question, we examined what type of information great apes (chimpanzees, bonobos, and orangutans) gain from optical effects such as shadows and mirror images. In an initial experiment, we investigated whether apes would use mirror images and shadows to locate hidden food. We found that all examined ape species used these cues to find the food. Follow-up experiments showed that apes neither confused these optical effects with the food rewards nor did they merely associate cues with food. First, naïve chimpanzees used the shadow of the hidden food to locate it but they did not learn within the same number of trials to use a perceptually similar rubber patch as indicator of the hidden food reward. Second, apes made use of the mirror images to estimate the distance of the hidden food from their own body. Depending on the distance, apes either pointed into the direction of the food or tried to access the hidden food directly. Third, apes showed some sensitivity to the geometrical relation between mirror orientation and mirrored objects when searching hidden food. Fourth, apes tended to interpret mirror images and pictures of these mirror images differently depending on their prior knowledge. Together, these findings suggest that apes are sensitive to the optical relation between mirror images and shadows and their physical referents.     

The perception of cast shadows

When an object casts its shadow on a background surface, the shadow can be informative about the shape of the object, the shape of the background surface and the spatial arrangement of the object relative to the background. Among all these roles, we found that cast shadows were perceptually most relevant for the recovery of spatial arrangement, especially when the shadow is in motion. This finding is intriguing when one considers the ambiguities in the possible ways that shadow motion can be interpreted. We reasoned that the visual system must use a priori constraints to disambiguate the cast shadow motion. One of these constraints is that the light source is stationary. Though simple, the stationary-light-source constraint supports rich, reliable inferences about the qualitative motions of objects in three dimensions.     

Impossible shadows and lightness constancy

The intersection between an illumination and a reflectance edge is characterised by the 'ratio-invariant' property, that is the luminance ratio of the regions under different illumination remains the same. In a CRT experiment, we shaped two areas, one surrounding the other, and simulated an illumination edge dividing them in two frames of illumination. The portion of the illumination edge standing on the surrounding area (labelled contextual background) was the contextual edge, while the portion standing on the enclosed area (labelled mediating background) was the mediating edge. On the mediating background, there were two patches, one per illumination frame. Observers were asked to adjust the luminance of the patch in bright illumination to equate the lightness of the other. We compared conditions in which the luminance ratio at the contextual edge could be (i) equal (possible shadow), or (ii) larger (impossible shadow) than that at the mediating edge. In addition, we manipulated the reflectance of the backgrounds. It could be higher for the contextual than for the mediating background; or, vice versa, lower for the contextual than for the mediating background. Results reveal that lightness constancy significantly increases when: (i) the luminance ratio at the contextual edge is larger than that at the mediating edge creating an impossible shadow, and (ii) the reflectance of the contextual background is lower than that of the mediating one. We interpret our results according to the albedo hypothesis, and suggest that the scission process is facilitated when the luminance ratio at the contextual edge is larger than that at the mediating edge and/or the reflectance of the including area is lower than that of the included one. This occurs even if the ratio-invariant property is violated.     

Shape from shading in pigeons

Light is the origin of vision. The pattern of shading reflected from object surfaces is one of several optical features that provide fundamental information about shape and surface orientation. To understand how surface and object shading is processed by birds, six pigeons were tested with differentially illuminated convex and concave curved surfaces in five experiments using a go/no-go procedure. We found that pigeons rapidly learned this type of visual discrimination independent of lighting direction, surface coloration and camera perspective. Subsequent experiments varying the pattern of the lighting on these surfaces through changes in camera perspective, surface height, contrast, material specularity, surface shape, light motion, and perspective movement were consistent with the hypothesis that the pigeons were perceiving these illuminated surfaces as three-dimensional surfaces containing curved shapes. The results suggest that the use of relative shading for objects in a visual scene creates highly salient features for shape processing in birds.     

Shape constancy from novel views

Prior experiments on shape constancy from novel views are inconclusive: Some show that shapes of objects can be recognized reliably from novel views, whereas others show just the opposite. Our analysis of prior results suggests that shape constancy from novel views is reliable when the object has properties that constrain its shape: The object has volumetric primitives, it has surfaces, it is symmetrical, it is composed of geons, its contours are planar, and its images provide useful topological information about its three-dimensional structure. To test the role of some of these constraints, we performed a set of experiments. Solid shapes (polyhedra) were shown on a computer monitor by means of kinetic depth effect. Experiment 1 showed that shape constancy can be reliably achieved when a polyhedron is represented by its contours (most of the constraints are present), but not when it is represented by vertices or by a polygonal line connecting the vertices in a random order (all the constraints are absent). Experiments 2 and 3 tested the role of individual constraints. Results of these experiments show that shape constancy from novel views is reliable when the object has planar contours and when the shapes of the contours together with topological information about the relations among the contours constrain the possible interpretations of the shape. Symmetry of the object and the topological stability of its image also contribute to shape constancy.     

Perception of scene layout from optical contact, shadows, and motion

Kersten et al (1997 Perception 26 171-192) found that the perceived motion of an object in a 3-D scene was determined by the motion of a shadow. In the present study, we compared the effect of a shadow to that of a second object on the ground in determining the perceived position in depth of a floating object in both dynamic and stationary scenes. Changing the second (lower) object from textured to dark increased the influence of the second object on the judged position of the first object. Giving the second object zero thickness had this effect only if it was also dark. Variations in the height of the floating object were important with a second object but not with a shadow, in motion scenes. With alternative shadows present, the position of the floating object was determined primarily by matching speeds, with matching sizes as a secondary factor. These results show some similarities but important differences between the effect of a second object and that of a shadow.     

Cast shadows in wide perspective

We investigated the apparent spatial layout of cast shadows up to very wide fields of view. We presented up to 130 degrees wide images in which two 'flat poles' were standing on a green lawn under a cloudless blue sky on a sunny day. The poles threw sharp cast shadows on the green, of which one was fixed. The observer's task was to adjust the azimuth of the shadow of the other pole such that it fitted the scene. The source elevation was kept constant. The two cast shadows are, of course, parallel in physical space, but generically not in the picture plane because of the wide perspective. We found that observers made huge systematic errors, indicating that, generically, they fail to account for these perspective effects. The systematic deviations could be well described by a weighted linear combination of the directions in the picture plane and in the physical space, with weights that depended on the positions of, and distance between, the poles.     

Stereokinetic shapes and their shadows

The visual space of phenomenal appearances has a complex geometry which cannot be reduced strictly to Euclidean or projective geometry. The distinctive nature of this space and its objects is evidenced paradigmatically by stereokinetic phenomena, which are perceptual objects in actual three-dimensional coming into being. Stereokinetic phenomena produce the appearance not only of corporeality but also, in certain circumstances, of shadows. By altering certain components of his experiments on the three-dimensional appearance of a truncated cone, in fact, Musatti discovered that on its white base floats some sort of shadow obscuring stretches of the white lines. These shadows are connected to phenomena of amodal presentations successively analysed by Kanizsa. The continuity of the unfolding in visual space of stereokinetic transformations produces a diversified series of percepts coming into being, shadows included, and highlights the role of configurational movement as a factor of formal unification, thereby proposing once again the hypothesis of assimilative factors as responsible for the field organisation of past experience.     

The perception of 3-D shape from shadows cast onto curved surfaces

In a natural environment, cast shadows abound. Objects cast shadows both upon themselves and upon background surfaces. Previous research on the perception of 3-D shape from cast shadows has only examined the informativeness of shadows cast upon flat background surfaces. In outdoor environments, however, background surfaces often possess significant curvature (large rocks, trees, hills, etc.), and this background curvature distorts the shape of cast shadows. The purpose of this study was to determine the extent to which observers can “discount” the distorting effects of curved background surfaces. In our experiments, observers viewed deforming or static shadows of naturally shaped objects, which were cast upon flat and curved background surfaces. The results showed that the discrimination of 3-D object shape from cast shadows was generally invariant over the distortions produced by hemispherical background surfaces. The observers often had difficulty, however, in identifying the shadows cast onto saddle-shaped background surfaces. The variations in curvature which occur in different directions on saddle-shaped background surfaces cause shadow distortions that lead to difficulties in object recognition and discrimination.     

"Unapologetic and unafraid": immigrant youth come out from the shadows

Young immigrants are challenging the boundaries of citizenship and insisting on their human rights. This chapter examines the civic lives of immigrant youth through the case of Latina/os, exploring the paradox of their apparent low civic education and engagement levels and remarkable participation in recent protests. After an overview of demographics and what we know about immigrant youth civic life, the focus shifts to the undocumented. Many retain a sense of community obligation, yet because of their developmental stage and U.S. education, their engagement differs from that of their parents' generation. Young immigrants are reconfiguring organizing and reenergizing U.S. democracy through their use of new information technologies.     

Colour vision brings clarity to shadows

We have revealed a new role for colour vision in visual scene analysis: colour vision facilitates shadow identification. Shadows are important features of the visual scene, providing information about the shape, depth, and movement of objects. To be useful for perception, however, shadows must be distinguished from other types of luminance variation, principally the variation in object reflectance. A potential cue for distinguishing shadows from reflectance variations is colour, since chromatic changes typically occur at object but not shadow boundaries. We tested whether colour cues were exploited by the visual system for shadow identification, by comparing the ability of human test subjects to identify simulated shadows on chromatically variegated versus achromatically variegated backgrounds with identical luminance compositions. Performance was superior with the chromatically variegated backgrounds. Furthermore, introducing random colour contrast across the shadow boundaries degraded their identification. These findings demonstrate that the visual system exploits inbuilt assumptions about the relationships between colour and luminance in the natural visual world.     

The perception and recognition of natural object shape from deforming and static shadows

In this study of the informativeness of shadows for the perception of object shape, observers viewed shadows cast by a set of natural solid objects and were required to discriminate between them. In some conditions the objects underwent rotation in depth while in other conditions they remained stationary, thus producing both deforming and static shadows. The orientation of the light source casting the shadows was also varied, leading to further alterations in the shape of the shadows. When deformations in the shadow boundary were present, the observers were able to reliably recognize and discriminate between the objects, invariant over the shadow distortions produced by movements of the light source. The recognition performance for the static shadows depended critically upon the content of the specific views that were shown. These results support the idea that there are invariant features of shadow boundaries that permit the recognition of shape (cf Koenderink, 1984 Perception 13 321-330).     

Impossible shadows and the shadow correspondence problem

Shadows cast by objects contain potentially useful information about the location of these objects in the scene as well as their surface reflectance. However, before the visual system can use this information, it has to solve the shadow correspondence problem, that is to match the objects with their respective shadows. In the first experiment, it is shown that the estimate of the light source position is affected by a gradual luminance ramp added to the image. In the second experiment, it is shown that observers process impossible shadow images as if they ignored the local features of the objects. All together, the results suggest that the visual system solves the shadow correspondence problem by relying on a coarse representation of the scene.     

Rapid processing of cast and attached shadows

We used a visual-search method to investigate the role of shadows in the rapid discrimination of scene properties. Targets and distractors were light or dark 2-D crescents of identical shape and size, on a mid-grey background. From the dark stimuli, illusory 3-D shapes can be created by blurring one arc of the crescent. If the inner arc is blurred, the stimulus is perceived as a curved surface with attached shadow. If the outer arc is blurred, the stimulus is perceived as a flat surface casting a shadow. In a series of five experiments, we used this simple stimulus to map out the shadow properties that the human visual system can rapidly detect and discriminate. To subtract out 2-D image factors, we compared search performance for dark-shadow stimuli with performance for light-shadow stimuli which generally do not elicit strong 3-D percepts. We found that the human visual system is capable of rapid discrimination based upon a number of different shadow properties, including the type of the shadow (cast or attached), the direction of the shadow, and the displacement of the shadow. While it is clear that shadows are not simply discounted in rapid search, it is unclear at this stage whether rapid discrimination is acting upon shadows per se or upon representations of 3-D object shape and position elicited by perceived shadows.     

A solid-state device for presenting moving shadows

The use of luminescent panels controlled by solid-state circuitry to produce moving shadows is described. Advantages include lack of vibration, noise, and heat.     

Why cast shadows are expendable: insensitivity of human observers and the inherent ambiguity of cast shadows in pictorial art

The kinds of visual cues artists choose to use or not use in their work can offer insight into perceptual processes. On the basis of the observed paucity of the use of cast shadow in pictorial art, we hypothesized that cast shadows might be relatively expendable as pictorial cues. In this study, we investigated two potential reasons for this expendability: first, viewers might be insensitive to much of the information that cast shadows provide; and, second, ambiguities about what is shadow and what is pigment can often be resolved only through motion-something that static media are ill-equipped to deal with. In experiment 1, we used a visual-search paradigm in which viewers had to determine if there were odd cast shadows in sets of 4, 8, 16, and 32 objects. In experiment 2, viewers had to discriminate between shadow/pigment ambiguities in both still and moving images. Our results demonstrate that viewers are neither particularly sensitive to static cast-shadow incongruities, nor are they able to disambiguate cast shadow from pigment without continuous motion information. Taken together, these results may help explain why cast shadows are relatively rare in static pictorial work.