I-Perception最新文献

Recent studies have revealed a central tendency in the perception of physical features. That is, the perceived feature was biased toward the mean of recently experienced features (i.e., previous feature distribution). However, no study explored whether the central tendency was in heading perception or not. In this study, we conducted three experiments to answer this question. The results showed that the perceived heading was not biased toward the mean of the previous heading distribution, suggesting that the central tendency was not in heading perception. However, the perceived headings were overall biased toward the left side, where headings rarely appeared in the right-heavied distribution (Experiment 3), suggesting that heading perception from optic flow was affected by previously seen headings. It indicated that the participants learned the heading distributions and used them to adjust their heading perception. Our study revealed that heading perception from optic flow was not purely perceptual and that postperceptual stages (e.g., attention and working memory) might be involved in the heading perception from optic flow.

The "slime hand illusion" is a simple and robust technique that uses mirror-visual feedback to produce a nonproprioceptive ownership distortion. The illusion can be easily evoked by the participant watching the experimenter pinching and pulling a chunk of slime in a mirror while the participant's hand, hidden behind the mirror, is similarly manipulated. This procedure produces a feeling of one of their fingers or the skin of their whole hand being stretched or deformed in a similar way to the visible slime. A public experiment found that more than 90% of participants reported a strong sense of skin or finger stretching. This report details a laboratory experiment performed to characterize the mechanisms behind the illusion more robustly. It reproduced this result and found that participants experienced a drift in their sense of skin location of approximately 30 cm on average, which is beyond the conventionally accepted range of proprioceptive drift.

Fixation behavior toward persons in static scenes varies considerably between individuals. However, it is unclear whether these differences generalize to dynamic stimuli. Here, we examined individual differences in the distribution of gaze across seven person features (i.e. body and face parts) in static and dynamic scenes. Forty-four participants freely viewed 700 complex static scenes followed by eight director-cut videos (28,925 frames). We determined the presence of person features using hand-delineated pixel masks (images) and Deep Neural Networks (videos). Results replicated highly consistent individual differences in fixation tendencies for all person features in static scenes and revealed that these tendencies generalize to videos. Individual fixation behavior for both, images and videos, fell into two anticorrelated clusters representing the tendency to fixate faces versus bodies. These results corroborate a low-dimensional space for individual gaze biases toward persons and show they generalize from images to videos.

Temporal expectations are essential for appropriately interacting with the environment, but they can be biased. This tendency, called central bias, places higher weights on expected rather than actual duration distributions when perceiving incoming sensory stimuli. In particular, the central bias is strengthened in order to decrease total response error when incoming sensory stimuli are unclear. In the present study, we investigated whether the central bias was enhanced via memory decay. For this, we used a delayed reproduction task, manipulating retention periods by introducing delays between the sample interval and the reproduction phase (0.4, 2, 4 s in Experiment 1; 0.4, 2, 8 s in Experiments 2 and 3). Through three experiments, we found the gradual strengthening of the central bias as a function of the retention period (i.e., short-term memory decay). This suggests that the integration of temporal expectation, generated from past trials and stored sensory stimuli, in a current trial occurs in the reproduction phase in the delayed reproduction task.

Frieze patterns appear frequently in architectural designs and ornamental patterning but their aesthetic qualities have never been studied experimentally. In the first experiment, 39 undergraduates used a seven-point rating scale to assess the perceived beauty of the seven basic frieze types presented at a horizontal orientation. The friezes consisted of individual curved and linear motifs as well as random textures. Friezes that filled the entire pattern region and which contained emergent global features were preferred the most. In a second experiment, we utilized horizontal texture friezes that were completely filled and which varied in size and number of elements. Participants preferred patterns with larger features, probably because they make detection of the symmetric transformations more visible. The frieze with the greatest number of symmetries was preferred most but symmetric complexity by itself could not completely account for the predicted preference ordering. In both studies, friezes containing horizontal mirrors (translation, 180° rotation, horizontal mirror, vertical mirror, and glide reflection and translation, horizontal mirror, and glide reflection) were preferred far more than any other condition. Horizontal symmetry may enhance perceived beauty in these cases because it runs parallel to and so emphasizes the overall frieze orientation.

Rapid evolution of artificial intelligence (AI) based on deep neural networks has resulted in artificial systems such as generative pre-trained transformer 3 (GPT-3), which can generate human-like language. Such a system may provide a novel platform for studying how human perception is related to knowledge and the ability of language generation. We compared the frequency distribution of basic color terms in the answers of human subjects and GPT-3 when both were asked similar questions regarding color names associated with the letters of the alphabet. We found that GPT-3 generated basic color terms at a frequency very similar to that of human non-synaesthetes. A similar frequency was observed when color names associated with numerals were tested indicating that simple co-occurrence of alphabet and color word in the trained dataset cannot explain the results. We suggest that the proposed experimental framework using the latest AI models has the potential to explore the mechanisms of human perception.

"Clothes with horizontal (or vertical) stripes are perceived as wider and shorter (slimmer and taller)." This belief is common yet inconsistent with the Helmholtz illusion. It has often attracted attention from researchers of perception. Despite the controversy among empirical studies, it is persistently supported by the general public. This article explores the early appearance of this common belief in Japan in historical records. Consequently, we discovered the descriptions of the common belief in a Japanese beauty handbook titled "Miyako Fuzoku Kewai Den [Cosmetic manners and customs in Edo]," published in 1813. In Japan, this belief was not born in modern times. Instead, it was established over 200 years ago, when vertical striped patterns on clothes were popularized.

People tend to associate abstract visual features with basic taste qualities. This narrative historical review critically evaluates the literature on these associations, often referred to as crossmodal correspondences, between basic tastes and visual design features such as color hue and shape curvilinearity. The patterns, discrepancies, and evolution in the development of the research are highlighted while the mappings that have been reported to date are summarized. The review also reflects on issues of cross-cultural validity and deviations in the matching patterns that are observed when correspondences are assessed with actual tastants versus with verbal stimuli. The various theories that have been proposed to account for different classes of crossmodal correspondence are discussed, among which the statistical and affective (or emotional-mediation) accounts currently appear most promising. Several critical research questions for the future are presented to address the gaps that have been identified in the literature and help validate the popular theories on the origin and operations of visual-taste correspondences.

Two experiments are described, the purpose of which was to investigate the presence of a misalignment illusion caused by Poggendorff-like conditions in two paintings by Peter Paul Rubens, both depicting the Descent from the Cross, one located in Antwerp (Belgium), the other in Lille (France). The first shows a geometrical misalignment made by Rubens in a minor detail, which is considered proof that the artist observed the Poggendorff illusion. The second painting, instead, shows a perfect geometrical alignment in a similar detail. In experiment 1, participants were asked to align a top segment to a lower one in two types of stimuli: a full-size digitally manipulated reproduction of the painting and a Poggendorff-like configuration that recalled the painting's lines displacement and tilt. Adjustments were performed from two distances, one up close (painting distance) and one from below and far (observation distance). Results confirmed the presence of the Poggendorff illusion, but mean adjustments significantly differed from the misalignment perpetrated by Rubens. Experiment 2 was set up in a similar fashion with the Lille painting. Results confirmed the presence of the Poggendorff illusion also in this painting; however, the alignment by Rubens coincides with the geometrical one. Results from both experiments do not support the claim that Rubens observed the Poggendorff illusion and therefore corrected for it in the Antwerp painting. An alternative account is discussed, which relates to the structural layout of the painting.