Weakening the robustness of perspective: Evidence for a modified theory of compensation in picture perception

Viewed from the center of projection, a perspective picture presents the pictorial depth information of a scene. Knowing the center of projection, one can reconstruct the depicted scene. Assuming another viewpoint is the center of projection will cause one to reconstruct a transformed scene. Despite these transformations, we appreciate pictures from other viewpoints. The compensation hypothesis states that the visible picture surface allows observers to compensate for transformations by locating the center of projection and experiencing pictorial space from there. We show that observers neither completely compensate for nor experience transformations of space as geometry would predict. We propose a modified compensation hypothesis according to which different degrees of visibility of the picture surface invoke different degrees of compensation.     

Weakening the robustness of perspective: evidence for a modified theory of compensation in picture perception.

Viewed from the center of projection, a perspective picture presents the pictorial depth information of a scene. Knowing the center of projection, one can reconstruct the depicted scene. Assuming another viewpoint is the center of projection will cause one to reconstruct a transformed scene. Despite these transformations, we appreciate pictures from other viewpoints. The compensation hypothesis states that the visible picture surface allows observers to compensate for transformations by locating the center of projection and experiencing pictorial space from there. We show that observers neither completely compensate for nor experience transformations of space as geometry would predict. We propose a modified compensation hypothesis according to which different degrees of visibility of the picture surface invoke different degrees of compensation.     

Picture perception is array-specific: viewing angle versus apparent orientation

The amount that a pictured lattice appears to be swung from its frame changes with subjects' viewpoint, in contrast with previous experiments using insufficient range of rotation. Also, this effect is shown to be independent of the physical slant of the picture surface, though not necessarily of border-shape information. Analysis of depicted headings which rotate with viewpoint, with respect to the picture plane, although the angle between these headings in virtual space hardly changes, relates these data to specific geometric properties of the perspective array as seen from the different viewpoints. Data show differential rotation of differently oriented features within a single depicted object, in a way that is dependent on task instructions. It is proposed that in picture perception, contradictory cues are resolved by combination.     

Perspective-based illusory movement in a flat billboard--an explanation

We describe a compelling motion illusion elicited by a huge billboard placed along a street, depicting a building that contains strong perspective cues. When observers move fast along the opposite sidewalk, they perceive the depicted building as rotating in their direction of travel. This is a special case of the 'following', or 'pointing out of the picture', illusion that elicits a strong illusory motion percept. Here we discuss the cause of the illusory motion and suggest that the brain relies on the depicted perspective cues to infer a 3-D shape and a concomitant motion that is incompatible with the physical pictorial surface.     

Measurement and modelling of perceived slant in surfaces represented by freely viewed line drawings

Simple pictures under everyday viewing conditions evoke impressions of surfaces oriented in depth. These impressions have been studied by measuring the slants of perceived surfaces, with probes (rotating arrowheads) designed to respect the distinctive character of depicted scenes. Converging arguments indicated that the perceived orientation of the probes was near theoretical values. A series of experiments showed that subjects formed well-defined impressions of depicted surface orientation. The literature suggests that perceived objects might be 'flattened', but that was not the general rule. Instead, both mean slant and uncertainty fitted models in which slant estimates are derived in a relatively straightforward way from local relations in the picture. Simplifying pictures tended to make orientation estimates less certain, particularly away from the natural anchor points (vertical and horizontal). The shape of the object affected all aspects of the observed-object/percept relationship. Individual differences were large, and suggest that different individuals used different relationships as a basis for their estimates. Overall, data suggest that everyday picture perception is strongly selective and weakly integrative. In particular, depicted slant is estimated by finding a picture feature which will be strongly related to it if the object contains a particular regularity, not by additive integration of evidence from multiple directly and indirectly relevant sources.     

Perceiving pictures

I aim to give a new account of picture perception: of the way our visual system functions when we see something in a picture. My argument relies on the functional distinction between the ventral and dorsal visual subsystems. I propose that it is constitutive of picture perception that our ventral subsystem attributes properties to the depicted scene, whereas our dorsal subsystem attributes properties to the picture surface. This duality elucidates Richard Wollheim’s concept of the “twofoldness” of our experience of pictures: the “visual awareness not only of what is represented but also of the surface qualities of the representation.” I argue for the following four claims: (a) the depicted scene is represented by ventral perception, (b) the depicted scene is not represented by dorsal perception, (c) the picture surface is represented by dorsal perception, and (d) the picture surface is not necessarily represented by ventral perception.     

Toddlers’ referential understanding of pictures

Pictures are referential in that they can represent objects in the real world. Here we explore the emergence of understanding of the referential potential of pictures during the second year of life. In Study 1, 15-, 18-, and 24-month-olds learned a word for a picture of a novel object (e.g., “blicket”) in the context of a picture book interaction. Later they were presented with the picture of a blicket along with the real object it depicted and asked to indicate the blicket. Many of the 24-, 18-, and even 15-month-olds indicated the real object as an instance of a blicket, consistent with an understanding of the referential relation between pictures and objects. In Study 2, children were tested with an exemplar object that differed in color from the depicted object to determine whether they would extend the label they had learned for the depicted object to a slightly different category member. The 15-, 18-, and 24-month-old participants failed to make a consistent referential response. The results are discussed in terms of whether pictorial understanding at this age is associative or symbolic.     

Threefoldness

Theories of picture perception aim to understand our perceptual relation to both the picture surface and the depicted object. I argue that we should talk about not two, but three entities when understanding picture perception: (A) the picture surface, (B) the three dimensional object the picture surface visually encodes and (C) the three dimensional depicted object. As (B) and (C) can come apart, we get a more complex picture of picture perception than normally assumed and one where the notion of twofoldness, which has played an important albeit controversial role in understanding picture perception is replaced by the concept of threefoldness.     

Emergent two-dimensional patterns in images rotated in depth

Once a person has observed a three-dimensional scene, how accurately can he or she then imagine the appearance of that scene from different viewing angles? In a series of experiments addressed to this question, subjects formed mental images of a set of objects hanging in a clear cylinder and mentally rotated their images as they physically rotated the cylinder by various amounts. They were asked to perform four tasks, each demanding the ability to "see" the two-dimensional patterns that should emerge in their images if the images depicted the new perspective view accurately--(a) Subjects described the two-dimensional geometric shape that the imagined objects formed in an image rotated 90 degrees; (b) they "scanned" horizontally from one imagined object to another in a rotated image; (c) they physically rotated the empty cylinder together with their image until two of the imagined objects were vertically aligned; and (d) they adjusted a marker to line up with a single object in a rotated image. The experimental results converged to suggest that subjects' images accurately displayed the two-dimensional patterns emerging from a rotation in depth. However, the amount by which they rotated their image differed systematically from the amount specified by the experimenter. Results are discussed in the context of a model of the mental representation of physical space that incorporates two types of structures, one representing the three-dimensional layout of a scene, and the other representing the two-dimensional perspective view of the scene from a given vantage point.     

Shape-from-shading for matte and glossy objects

We wanted to find out whether the presence of specular highlights on the otherwise matte objects would make a difference to the perceived surface relief. Six different, globally convex objects were displayed on a computer screen. The depicted objects were either matte or glossy and were illuminated from one of the two different directions. Shape-from-shading was evaluated with two different paradigms. In Experiment 1 observers were asked to set a number of local surface attitude probes such that the probes looked as if they were tangent to the objects' surfaces. In Experiment 2, observers were instructed to make traces of the contours of the depicted objects in the horizontal and vertical planes. Although the two tasks target different aspects of the perceived surface, they give essentially similar results here. In both tasks we found differences that were induced by changing the illumination direction. Surprisingly, no systematic difference was found between the results for matte and glossy objects. We must, therefore, conclude that there is no evidence from the current study that glossiness influences shape perception although to the observer matte and glossy objects look quite different.     

Face recognition in pictures is affected by perspective transformation but not by the centre of projection

Recognition of unfamiliar faces is susceptible to image differences caused by angular sizes subtended from the face to the camera. Research on perception of cubes suggests that apparent distortions of a shape due to large camera angle are correctable by placing the observer at the centre of projection, especially when visibility of the picture surface is low (Yang and Kubovy, 1999 Perception & Psychophysics 61 456-467). To explore the implication of this finding for face perception, observers performed recognition and matching tasks where face images with reduced visibility of picture surface were shown with observers either at the centre of projection or at other viewpoints. The results show that, unlike perception of cubes, the effect of perspective transformation on face recognition is largely unaffected by the centre of projection. Furthermore, the use of perspective cues is not affected by textured surfaces. The limitation of perspective in restoring 3-D information of faces suggests a stronger role for image-based, rather than model-based, processes in recognition of unfamiliar faces.     

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.     

Aging preserves the ability to perceive 3D object shape from static but not deforming boundary contours

A single experiment investigated how younger (aged 18-32 years) and older (aged 62-82 years) observers perceive 3D object shape from deforming and static boundary contours. On any given trial, observers were shown two smoothly-curved objects, similar to water-smoothed granite rocks, and were required to judge whether they possessed the "same" or "different" shape. The objects presented during the "different" trials produced differently-shaped boundary contours. The objects presented during the "same" trials also produced different boundary contours, because one of the objects was always rotated in depth relative to the other by 5, 25, or 45 degrees. Each observer participated in 12 experimental conditions formed by the combination of 2 motion types (deforming vs. static boundary contours), 2 surface types (objects depicted as silhouettes or with texture and Lambertian shading), and 3 angular offsets (5, 25, and 45 degrees). When there was no motion (static silhouettes or stationary objects presented with shading and texture), the older observers performed as well as the younger observers. In the moving object conditions with shading and texture, the older observers' performance was facilitated by the motion, but the amount of this facilitation was reduced relative to that exhibited by the younger observers. In contrast, the older observers obtained no benefit in performance at all from the deforming (i.e., moving) silhouettes. The reduced ability of older observers to perceive 3D shape from motion is probably due to a low-level deterioration in the ability to detect and discriminate motion itself.     

The role of pictorial convention in haptic picture perception

An investigation of tactile picture perception is reported. Blindfolded sighted subjects explored either 'line drawings' or 'textured' tactile pictures produced on Zytex swell paper. All pictures were 'two-dimensional', that is they depicted only one object face and so did not represent a third dimension. Both picture sets represented the same objects. Results revealed that the textured pictures, in which solid surfaces of depicted objects were uniformly textured, were recognised more often than tactile line drawings, in which surfaces of objects were simply bounded by lines. There were no significant correlations between imagery ability (visual, cutaneous, or kinaesthetic) and picture recognition success. Texture may be a form of 'uniform connectedness' (Palmer and Rock 1994 Psychonomic Bulletin & Review 1 29-55) or 'common region' (Palmer 1992 Cognitive Psychology 24 436-447), highlighting the global characteristics of stimuli. We argue that textured pictures may encourage the haptic system to take a more globally oriented approach to tactile picture perception, benefiting recognition.     

Perceptual simulation in developing language comprehension

We tested an embodied account of language proposing that comprehenders create perceptual simulations of the events they hear and read about. In Experiment 1, children (ages 7–13 years) performed a picture verification task. Each picture was preceded by a prerecorded spoken sentence describing an entity whose shape or orientation matched or mismatched the depicted object. Responses were faster for matching pictures, suggesting that participants had formed perceptual-like situation models of the sentences. The advantage for matching pictures did not increase with age. Experiment 2 extended these findings to the domain of written language. Participants (ages 7–10 years) of high and low word reading ability verified pictures after reading sentences aloud. The results suggest that even when reading is effortful, children construct a perceptual simulation of the described events. We propose that perceptual simulation plays a more central role in developing language comprehension than was previously thought.     

Grasping the Nature of Pictures

The role of experience in the development of pictorial competence has been the center of substantial debate. The four studies presented here help resolve the controversy by systematically documenting and examining manual exploration of depicted objects by infants. We report that 9-month-old infants manually investigate pictures, touching and feeling depicted objects as if they were real objects and even trying to pick them up off the page. The same behavior was observed in babies from two extremely different societies (the United States and the Ivory Coast). This investigation of pictures occurs even though infants can discriminate between real objects and their depictions. By the time infants are 19 months of age, their manual exploration is replaced by pointing at depicted objects. These results indicate that initial uncertainty about the nature of pictures leads infants to investigate them. Through experience, infants begin to acquire a concept of "picture." This concept includes the fact that a picture has a dual nature (it is both an object and a representation of something other than itself), as well as knowledge about the culturally appropriate use of pictures.     

Judging the cross on rings: a matter of achieving shape constancy

The present study examines the influence of viewing position, experience, processing time, and attention on shape constancy in gymnastics judging. In an experiment, 40 gymnastics judges and as many laypeople were presented with a series of photographs that show athletes holding a ‘cross on rings’. They were simultaneously taken from different viewpoints. Participants had to judge how many degrees the arms deviated from horizontal for each picture. One half of the participants had a secondary task, to judge the duration of the picture presentation, which varied also. The overall performances of the gymnastics judges were much better than those of the laypeople, and in contrast to the lay‐judgments, they were not influenced by the secondary task. However, gymnastics judges were still significantly influenced by viewpoint, that is, their error rate increased with an increase in deviation from a frontal view. Copyright © 2005 John Wiley & Sons, Ltd.     

Large continuous perspective transformations are necessary and sufficient for accurate perception of metric shape

We investigated the ability to perceive the metric shape of elliptical cylinders. A large number of previous studies have shown that small perspective variations (< or =10 degrees) afforded by stereovision and by head movements fail to allow accurate perception of metric shape. If space perception is affine (Koenderink & van Doom, 1991), observers are unable to compare or relate lengths in depth to frontoparallel lengths (i.e., widths). Frontoparallel lengths can be perceived correctly, whereas lengths in depth generally are not. We measured reaches to evaluate shape perception and investigated whether larger perspective variations would allow accurate perception of shape. In Experiment 1, we replicated previous results showing poor perception with small perspective variations. In Experiment 2, we found that a 90 degrees continuous change in perspective, which swapped depth and width, allowed accurate perception of the depth/width aspect ratio. In Experiment 3, we found that discrete views differing by 90 degrees were insufficient to allow accurate perception of metric shape and that perception of a continuous perspective change was required. In Experiment 4, we investigated continuous perspective changes of 30 degrees, 45 degrees, 60 degrees, and 90 degrees and discovered that a 45 degrees change or greater allowed accurate perception of the aspect ratio and that less than this did not. In conclusion, we found that perception of metric shape is possible with continuous perspective transformations somewhat larger than those investigated in the substantial number of previous studies.     

Tangible pictures: viewpoint effects and linear perspective in visually impaired people

Perception of raised-line pictures in blindfolded-sighted, congenitally blind, late-blind, and low-vision subjects was studied in a series of experiments. The major aim of the study was to examine the value of perspective drawings for haptic pictures and visually impaired individuals. In experiment 1, subjects felt two wooden boards joined at 45 degrees, 90 degrees, or 135 degrees, and were instructed to pick the correct perspective drawing from among four choices. The first experiment on perspective found a significant effect of visual status, with much higher performance by the low-vision subjects. Mean performance for the congenitally blind subjects was not significantly different from that of the late-blind and blindfolded-sighted subjects. In a further experiment, blindfolded subjects drew tangible pictures of three-dimensional (3-D) geometric solids, and then engaged in a matching task. Counter to expectations, performance was not impaired for the 3-D drawings as compared with the frontal viewpoints. Subjects were also especially fast and more accurate when matching top views. Experiment 5 showed that top views were easiest for all of the visually impaired subjects, including those who were congenitally blind. Experiment 5 yielded higher performance for 3-D than frontal viewpoints. The results of all of the experiments were consistent with the idea that visual experience is not necessary for understanding perspective drawings of geometrical objects.     

What’s in a name? Lexical knowledge drives infants’ visual preferences in the absence of referential input

Seventeen-month-old infants were presented with pairs of images, in silence or with the non-directive auditory stimulus ‘look!’. The images had been chosen so that one image depicted an item whose name was known to the infant, and the other image depicted an image whose name was not known to the infant. Infants looked longer at images for which they had names than at images for which they did not have names, despite the absence of any referential input. The experiment controlled for the familiarity of the objects depicted: in each trial, image pairs presented to infants had previously been judged by caregivers to be of roughly equal familiarity. From a theoretical perspective, the results indicate that objects with names are of intrinsic interest to the infant. The possible causal direction for this linkage is discussed and it is concluded that the results are consistent with Whorfian linguistic determinism, although other construals are possible. From a methodological perspective, the results have implications for the use of preferential looking as an index of early word comprehension.