Shape-from-shading depends on visual, gravitational, and body-orientation cues

The perception of shading-defined form results from an interaction between shading cues and the frames of reference within which those cues are interpreted. In the absence of a clear source of illumination, the definition of 'up' becomes critical to deducing the perceived shape from a particular pattern of shading. In our experiments, twelve subjects adjusted the orientation of a planar disc painted with a linear luminance gradient from one side to the other, until the disc appeared maximally convex-that is, until the luminance gradient induced the maximum perception of a three-dimensional shape. The vision, gravity, and body-orientation cues were altered relative to each other. Visual cues were manipulated by the York Tilted Room facility, and body cues were altered by simply lying on one side. The orientation of the disc that appeared maximally convex varied in a systematic fashion with these manipulations. We present a model in which the direction of perceptual 'up' is determined from the sum of three weighted vectors corresponding to the vision, gravity, and body-orientation cues. The model predicts the perceived direction of 'up', contributes to our understanding of how shape-from-shading is deduced, and also predicts the confidence with which the 'up' direction is perceived.     

Perceptual learning and reasons-responsiveness

Perceptual experiences are not immediately responsive to reasons. You see a stick submerged in a glass of water as bent no matter how much you know about light refraction. Due to this isolation from reasons, perception is traditionally considered outside the scope of epistemic evaluability as justified or unjustified. Is perception really as independent from reasons as visual illusions make it out to be? I argue no, drawing on psychological evidence from perceptual learning. The flexibility of perceptual learning is a way of responding to new epistemic reasons. The resulting perceptual experiences are epistemically evaluable as justified or unjustified.     

Perception of self-tilt in a true and illusory vertical plane

A tilted furnished room can induce strong visual reorientation illusions in stationary subjects. Supine subjects may perceive themselves upright when the room is tilted 90 degrees so that the visual polarity axis is kept aligned with the subject. This 'upright illusion' was used to induce roll tilt in a truly horizontal, but perceptually vertical, plane. A semistatic tilt profile was applied, in which the tilt angle gradually changed from 0 degrees to 90 degrees, and vice versa. This method produced larger illusory self-tilt than usually found with static tilt of a visual scene. Ten subjects indicated self-tilt by setting a tactile rod to perceived vertical. Six of them experienced the upright illusion and indicated illusory self-tilt with an average gain of about 0.5. This value is smaller than with true self-tilt (0.8), but comparable to the gain of visually induced self-tilt in erect subjects. Apparently, the contribution of nonvisual cues to gravity was independent of the subject's orientation to gravity itself. It therefore seems that the gain of visually induced self-tilt is smaller because of lacking, rather than conflicting, nonvisual cues. A vector analysis is used to discuss the results in terms of relative sensory weightings.     

Moral judgments and ethical constructs in clinical psychology doctoral students

ABSTRACT

This cross-sectional study compared the moral reasoning of first-year and third-year doctoral students in clinical psychology. Nineteen first-year and 20 third-year students were recruited from 17 doctoral training programs in the UK. Most adopted a sophisticated approach to moral judgments, as assessed by the Defining Issues Test, although, surprisingly, more experienced students had significantly less sophisticated schemata. In their moral judgments, less experienced students relied more heavily on their personal, and more experienced students on their professional, constructs, as assessed by repertory grid technique. Integration between personal and professional constructs was higher in more experienced students.