I-Perception最新文献

Pictorial awareness is addressed through experimental phenomenology involving over 90 naïve participants. Since one can't look at the "same" picture twice the study uses one-shot trials. The participant's fascination for the duration of a session is held through the artistic principle of theme and variation. Six variations focus on the theme of pictorial geometry, both two-dimensional and three-dimensional. Major findings are: Idiosyncratic deviations from veridical are huge as compared to common textbook "effects." Observers wield arbitrary heuristics for tasks that are "formally related." The assumption of a common formal framework is apparently unsound. The notion of "inverse optics" is misleading. A fair fraction of the population appears to lack monocular stereopsis as intuitive awareness. It suggests an as-yet unrecognized, but perhaps common variety of aphantasia.

The rubber hand illusion involves the sense of body ownership of a fake hand. We showed that concurrent visuotactile stimuli to unilateral rubber and real hands can induce the embodiment of bilateral rubber hands when both rubber hands are positioned on the table. This phenomenon indicates that the brain has an integrated representation of the sense of body ownership for both hands.

The "Color Circle" is an important chromatic Gestalt in the visual arts. There is not really a formal equivalent in conventional colorimetry. The fact that the hues can be linearly ordered and that such an order is necessarily periodic was intuited by artists in the early 19th century, but only formally explained by Ostwald and later Schrödinger a century later. As with musical keys, various metrical orders are in common use. Is there such a thing as a "well tempered" order? We consider this an issue for experimental phenomenology. We discuss an attempt based on observations by 30 (nonartist) observers.

The Delboeuf illusion occurs when two circles (test figures) of equal radius are placed side by side and surrounded by concentric circles (inducers) of varying radii, resulting in the test figure being misestimated depending on the size of the surrounding inducer. This study conducted three experiments to explore the impact of shape and the contour attraction and parallel attraction on the Delboeuf illusion for different shapes. In Experiment 1 (n = 64), the test figures remained as circles while the inducers varied in shape. Experiment 2 (n = 64) involved simultaneous changes in the shape of both the test figures and the inducers. Experiment 3 (n = 64) replicated Experiment 2, with the exception that the areas of the inducers were equal and the distances between the inducers and the test figures were also equal. We conclude that the shape of the inducer and the test figure had an impact on the visual size perception, and in the magnitude of the Delboeuf illusion, varied depending on contour attraction. Configurations with circles or shapes resembling circles exhibit contour attraction, while configurations with shapes possessing longer parallel lines shift toward parallel attraction, both attractions enhance the perceived magnitude of the Delboeuf illusion.

Looking leads gaze to objects; seeing recognizes them. Visual crowding makes seeing difficult or impossible before looking brings objects to the fovea. Looking before seeing can be guided by saliency mechanisms in the primary visual cortex (V1). We have proposed that looking and seeing are mainly supported by peripheral and central vision, respectively. This proposal is tested in an observer with central vision loss due to macular degeneration, using a visual search task that can be accomplished solely through looking, but is actually impeded through seeing. The search target is an uniquely oriented, salient, bar among identically shaped bars. Each bar, including the target, is part of an " $"X$ " shape. The target's $"X$ is identical to, although rotated from, the other $"X$ 's in the image, which normally causes confusion. However, this observer exhibits no such confusion, presumably because she cannot see the $"X$ 's shape, but can look towards the target. This result demonstrates a critical dichotomy between central and peripheral vision.

An important aspect to an immersive experience in Virtual Reality is vection, defined as the illusion of self-motion. Much of the literature to date has explored strategies to maximize vection through manipulations of the visual stimulus (e.g., increasing speed) or the experimental context (e.g., framing of the study instructions). However, the role of individual differences (e.g., age, biological sex) in vection susceptibility has received little attention. The objective of the current study was to investigate the influence of individual-difference factors on vection perception in younger and older adults. Forty-six younger adults (M _age= 25.1) and 39 older adults (M _age= 72.4) completed assessments of personality traits, field dependence, and visual attention prior to observing a moving visual stimulus aimed at inducing circular vection. Vection was measured using self-reports of onset latency, duration, and intensity. Results indicated that, in both age groups, females experienced longer-lasting vection compared to males. Additionally, the level of field dependence was related to vection intensity and duration in males but not in females. Variability in vection intensity was best explained by a mixture of biological, perceptual, cognitive, and personality variables. Taken together, these findings suggest that individual factors are important for understanding differences in vection susceptibility.

The experiment combined the spatial Stroop paradigm to examine the effect of background location on the perception of arrow or gaze direction in the vertical dimension by manipulating the congruence between the target direction and background location, and to validate a possible cognitive mechanism for gaze direction specificity - inhibiting background location. The results showed that when subjects were required to identify the target direction in a Stroop task (Experiment 1), the gaze cue failed to induce the Stroop effect. However, when subjects were required to judge the congruence between the target direction and the background location (Experiment 2), the gaze cue and the arrow cue both induced the Stroop effect. This suggests that " inhibiting background location" is responsible for the elimination of the spatial Stroop effect by gaze direction, which may one of the mechanisms for gaze direction specificity.

We investigated the influence of the medium on the perception of depicted objects and materials. Oil paintings and their reproductions in engravings were chosen because they are vastly distinctive media while having completely identical content. A total of 15 pairs were collected, consisting of 88 fragments depicting different materials, including fabric, skin, wood and metal. Besides the original condition, we created three manipulations to understand the effect of colour (a greyscale version) and contrast (equalised histograms towards both painting and engraving). We performed rating experiments on five attributes: three-dimensionality, glossiness, convincingness, smoothness and softness. An average of 25 participants finished each of the 20 online experimental sessions (five attributes X four conditions). Besides clear correlations between the two media, the differences mainly show in their means (different levels of perceived attributes) and standard deviations (perceived range). In most sessions, paintings depict a wider range than engravings. In addition, it was the histogram equalisation (global contrast) that made the most impact on perceived attributes, rather than colour removal. This suggests that engravers compensated for the lack of colour by exploiting the possibilities of local contrast.

We present a practical example for the phenomenon of color assimilation. We describe the advances in research on color assimilation from von Bezold, to Albers and Munker, and provide a compelling example of the recently described "Confetti-illusion" by Novick. Our research introduces a novel aspect by showing how unripe and greenish looking oranges can be perceived as ripe and vibrantly colored when viewed through an orange net. These findings highlight the significant implications of color assimilation in everyday consumer environments, offering a fresh perspective on how visual perception can be manipulated.