Eyeblinking during autokinetic movement observed by a subject living in the up-down inverted visual world

Eyeblinking during autokinetic movement observed by one subject living in the up-down inverted visual world, was investigated. The subject wore frame-spectacles (without prisms) for the first two days and then wore up-down inverting spectacles (with prisms) for the next four days, followed by the resumption of the former frame-spectacles for one day. Eyeblinks during autokinetic movement were measured by using vertical EOG. Analysis showed (1) the occurrence of eyeblinking during autokinetic movement was not influenced by living in the up-down inverted visual world; (2) the frequency of eyeblinking during autokinetic movement significantly decreased with successive days of observation.     

Effects of up-down visual inversion on motor skills

The movement of a hand or fingers and locomotion of the body by a subject wearing prisms which inverted his visual world were investigated. A subject wore frame-spectacles (without prisms) for the first two days and then wore up-down inverting spectacles (with prisms) for the next four days, followed by wearing the former frame-spectacles again for one day. Measurements were made of skill on star-drawing, pegboard tests, and on zigzag-walking and walking up and down stairs. There were no differences on the five measures during acquisition for the four tasks, which suggests smooth progress of prism-adaptation by this man.     

Effects of living in the up-down inverted visual world on apparent movement

The purpose of this study was to examine whether a change of perceptual framework may affect the occurrence of apparent movement. Apparent movement was observed by one subject living over four days in the prismatically inverted visual world, because this situation was considered as the operation in which the subject was forced to change the perceptual framework to adapt himself to the novel environment. Apparent movement with two points was measured in vertical and horizontal configurations before wearing and after removing the prism as well as while wearing it. Analysis showed significant effects of prism-wearing on the occurrence of apparent movement in both vertical and horizontal configurations. Although further elaboration is required, an hypothesis was suggested from the viewpoint of the loss of visual position constancy.     

Developmental change in subjective probability during adolescence

The developmental change in subjective probability during adolescence, an important period for establishing the probability concept, was investigated. 75 Japanese adolescents, from 12 to 23 yr. of age, were asked to make probability judgments for a lottery under 15 conditions. Analysis showed that with increase in age their subjective probability came closer to the objective probability. Discussion of these results took into consideration recent studies on the development of the concept of probability.     

How is motion disparity integrated with binocular disparity in depth perception?

Two experiments presented motion disparity conflicting with binocular disparity to examine how these cues determined apparent depth order (convex, concave) and depth magnitude. In each experiment, 8 subjects estimated the depth order and depth magnitude. The first experiment showed the following. (1) The visual system used one of these cues exclusively in selecting a depth order for each display. (2) The visual system integrated the depth magnitude information from these cues by a weighted additive fashion if it selected the binocular disparity in depth order perception and if the depth magnitude specified by motion disparity was small relative to that specified by binocular disparity. (3) The visual system ignored the depth magnitude information of binocular disparity if it selected the motion disparity in depth order perception. The second experiment showed that these three points were consistent whether the subject’s head movement or object movement generated motion disparity.     

Illusory continuity without sufficient sound energy to fill a temporal gap: Examples of crossing glide tones

The gap transfer illusion is an auditory illusion where a temporal gap inserted in a longer glide tone is perceived as if it were in a crossing shorter glide tone. Psychophysical and phenomenological experiments were conducted to examine the effects of sound-pressure-level (SPL) differences between crossing glides on the occurrence of the gap transfer illusion. We found that the subjective continuity-discontinuity of the crossing glides changed as a function of the relative level of the shorter glide to the level of the longer glide. When the relative level was approximately between -9 and +2 dB, listeners perceived the longer glide as continuous and the shorter glide as discontinuous, that is, the gap transfer illusion took place. The glides were perceived veridically below this range, that is, gap transfer did not take place, whereas above this range the longer glide and the shorter glide were both perceived as continuous. The fact that the longer glide could be perceived as continuous even when the crossing shorter glide was 9 dB weaker indicates that the longer glide's subjective continuity cannot be explained within the conventional framework of auditory organization, which assumes reallocation of sound energy from the shorter to the longer glide. The implicated mechanisms are discussed in terms of the temporal configuration of onsets and terminations and the time-frequency distribution of sound energy. (PsycINFO Database Record (c) 2012 APA, all rights reserved).     

New methods for solving the Rescorla-Wagner model

Two new methods for generating predictions from the Rescorla-Wagner model are presented. One is to solve the simultaneous equations of the model as differential equations, and the other is to solve them as difference equations, by using recent computer software. The model has been described in terms of simultaneous difference equations, and its predictions have traditionally been derived by performing an iterative computer simulation. But the limit can be taken, and the model can be considered in terms of simultaneous differential equations. Computer software, such as Mathematica and Maple, can solve simultaneous differential or difference equations. The author shows how to use Mathematica for some experimental paradigms, from simple acquisition to more complex cue competition paradigms, and also explains the rule for constructing input. The relative merits of these methods and of simulation are discussed.     

Integration of motion parallax with binocular disparity specifying different surface shapes

We investigated the interaction between motion parallax and binocular disparity cues in the perception of surface shape and depth magnitude by the use of the random dot stimuli in which these cues specified sinusoidal depth surfaces undulating with different spatial frequencies. When ambiguous motion parallax is inconsistent with unambiguous disparity cue, the reasonable solution for the visual system is to convert the motion signal to the flow on the surface specified by disparity. Two experiments, however, found that the visual system did not always use this reasonable solution; observers often perceived the surface specified by a composite of the two cues, or the surface specified by parallax alone. In the perception of this composite of the two cues, the apparent depth magnitude increased with the increase of the depth magnitude specified by both cues. This indicates that the visual system can combine the depth magnitude information from parallax and disparity in an additive fashion. The interference with parallax by disparity implies that the parallax processing is not independent of the disparity processing.     

A model of empty duration perception

An attempt to construct a general theory of duration perception is presented. First, four experiments are reported in which the supplement hypothesis, on the relation between two or three empty durations, was examined: the subjective duration of a subjectively empty time interval is directly proportional to its physical duration plus a constant of approximately 80 ms. This hypothesis could be applied to the ratio judgments of auditorily marked empty durations between 40 and 600 ms given serially. It could also explain the discrepancies between musically notated rhythms and the corresponding physical performed rhythms in very simple rhythm patterns consisting of three tones. Next, three earlier experiments on discriminations of empty durations marked by sound bursts were also reanalyzed. Within the range 40-600 ms, the absolute just noticeable difference of an empty duration was almost directly proportional to the standard duration plus a constant of about 80 ms. If the supplement hypothesis is accepted, this means that the relative just noticeable difference of the subjective duration was constant. Finally, the processing time hypothesis is presented: subjective duration is directly proportional to the physical time required to process the given empty duration. This processing is considered to begin with the detection of the first marker, and to end approximately 80 ms after the detection of the second marker.     

Subjectively divided tone components in the gap transfer illusion

When a long glide with a short temporal gap in its middle crosses with a continuous short glide at the temporal midpoint of both glides, the gap is perceived in the short glide instead of in the long glide. In the present article, we tested possible explanations for this "gap transfer illusion" by obtaining points of subjective equality of the pitches and durations of the two short tones that are subjectively divided by the gap. The results of two experiments showed that neither an explanation in terms ofenvelope patterns nor explanations in terms of combinationtones or acoustic beats could account for the perception of the short tones in the gap transfer illusion. Rather, the results were compatible with the idea that the illusory tones were formed by the perceptual integration of onsets and offsets of acoustically different sounds. Implications for the perceptual construction of auditory events are discussed.