I-Perception最新文献

This study used the event-related potential (ERP) technique to investigate whether active inhibition exists in retro-cue Effect (RCE) in visual working memory using modified retro-cue tasks. In this modified task, the participants were first asked to memorize six color blocks and then presented with directed remembering or directed forgetting cues; finally, their working memory performance was tested. For behavioral results, due to the extension of the memory interval, this study did not find RCE in accuracy but reflected it in the total reaction time. For ERP results, the frontal late positive potential (LPP) followed by the directed forgetting condition was larger than that followed by directed remembering and baseline conditions, and there was no significant difference between directed remembering and baseline conditions. There was no significant difference in parietal P3 followed by both the directed remembering and directed forgetting conditions, which were significantly larger than the baseline condition. This result reveals that active inhibition plays an important role in directed forgetting RCE. There was a correlation between parietal P3 and frontal LPP with the same time window but different scalp regions in the directed forgetting condition, indicating a potential relationship between active inhibition and retelling in directed forgetting RCE.

The rapid serial visual presentation paradigm was used to investigate differences in the attentional blink between deaf children and hearing children in response to facial expressions of fear and disgust. The results showed that: (1) deaf and hearing children had a higher accuracy rate for T1 with disgustful facial expression than T1 with fear facial expression, (2) There was no significant difference in attentional blink between deaf and hearing children, (3) When T2 appeared at Lag6, the response accuracy of T2 in the disgust T1 condition was lower than that in fear T1 condition. However, no significant difference in T2 at Lag2 was found between the two conditions. The results showed that deaf children and those with hearing were more sensitive to facial expressions of disgust, which captured more attentional resources, and the ability of visual attention of deaf children was not weaker than hearing children.

Synaesthesia is a condition where people experience unusual sensory or cognitive sensations in response to apparently unrelated stimuli. This paper presents two experiments which aimed to examine whether Virtual Reality (VR) technology can be used to recreate the synaesthetic experience. There is a lack of research in this area, with most studies focussing primarily on synaesthetic colors. Experiment 1 aimed to build on previous research by using not only a traditional color-picker but also VR to capture a more nuanced picture of synaesthetic perception. A multiple case study design was used to examine the experiences of six participants in detail. Data gathering took place via Zoom. During the initial data-gathering session, participants used a color-picker to provide grapheme-color associations. After this session, some of the participants' synaesthetic experiences were recreated using a VR-by-proxy approach. Results indicated that VR is capable of capturing elements of synaesthetic perception that other methods have been unable to, such as texture, small degrees of movement, and 3D structure. Experiment 2 expanded upon these findings by moving beyond the VR-by-proxy approach and asking three participants to recreate their own audiovisual synaesthetic associations in the VR environment. Inductive Thematic Analysis was used to analyze the results of this experiment. The potential of expanding this technique to other forms of perceptual diversity is discussed.

The glare illusion is an illusory perception of brightness enhancement and self-luminosity from a glare pattern, which consists of a central white area and surrounding areas with radial darkening luminance gradients. Here, we report a phenomenon we call "the switching glare illusion." In this phenomenon, observers experience perceptual alternation in which the glare effect repeatedly appears and disappears or attenuates when the multiple glare patterns are arranged in a grid pattern. This perceptual alternation is caused by a figure-ground reversal in the grid pattern. Since such a phenomenon has not been reported for a single glare pattern, this is caused by arranging multiple glare patterns in a grid. This new finding is worthy for further studies for understanding the mechanisms underlying the glare effect and brightness perception.

Face images depicting the same individual can differ substantially from one another. Ecological variation in pose, expression, lighting, and other sources of appearance variability complicates the recognition and matching of unfamiliar faces, but acquired familiarity leads to the ability to cope with these challenges. Among the many ways that face of the same individual can vary, some images are judged to be better likenesses of familiar individuals than others. Simply put, these images look more like the individual under consideration than others. But what does it mean for an image to be a better likeness than another? Does likeness entail typicality, or is it something distinct from this? We examined the relationship between the likeness of face images and the similarity of those images to average images of target individuals using a set of famous faces selected for reciprocal familiarity/unfamiliarity across US and UK participants. We found that though likeness judgments are correlated with similarity-to-prototype judgments made by both familiar and unfamiliar participants, this correlation was smaller than the correlation between similarity judgments made by different participant groups. This implies that while familiarity weakens the relationship between likeness and similarity-to-prototype judgments, it does not change similarity-to-prototype judgments to the same degree.

Patrick Hughes' Reverspectives demonstrate the importance of perspective as a source of information about the structure and layout of the three-dimensional (3D) world. More recently, he has created a new work of art-Hollow Dice-in which the actual concave structure of the dice is seen as convex. In this article, we examine the similarities and differences between these two perceptual phenomena as well as attempting to explain how and why they arise. Popular interest in both effects is based on the fact that "what we perceive" does not correspond to "what the reality is." As a consequence, Reverspectives and Hollow Dice are often categorized and labeled as "illusions." However, if we consider the information that is available in patterns of light reaching our eyes-rather than the "actual" 3D structure of the Reverspectives and the Hollow Dice-we are in a better position to explain how the size, the viewing distance, the perspective features, the convexity bias, and observer movements determine what we see when viewing these novel and fascinating visual effects.

This study explored visual-vestibular sensory integration when the vestibular system receives self-motion information using caloric irrigation. The objectives of this study were to (1) determine if measurable vestibular circular vection can be induced in healthy participants using caloric vestibular stimulation and (2) determine if a conflicting visual display could impact vestibular vection. In Experiment 1 (E1), participants had their eyes closed. Air caloric vestibular stimulation cooled the endolymph fluid of the horizontal semi-circular canal inducing vestibular circular vection. Participants reported vestibular circular vection with a potentiometer knob that measured circular vection direction, speed, and duration. In Experiment 2 (E2), participants viewed a stationary display in a virtual reality headset that did not signal self-motion while receiving caloric vestibular stimulation. This produced a visual-vestibular conflict. Participants indicated clockwise vection in the left ear and counter-clockwise vection in right ear in a significant proportion of trials in E1 and E2. Vection was significantly slower and shorter in E2 compared to E1. E2 results demonstrated that during visual-vestibular conflict, visual and vestibular cues are used to determine self-motion rather than one system overriding the other. These results are consistent with optimal cue integration hypothesis.

Humans infer mental states and traits from faces and their expressions. Previous research focused on the role of eyes and mouths in this process, even though most observers fixate somewhere in between. Here, we report that ratings of the nose region are surprisingly consistent with those for the full face and even with subjective feelings of the nose bearer. We propose the nose as central to faces and their perception.

Pictorial portraits are viewed with two eyes despite the fact that they are mostly monocular: they have been produced from a single viewpoint (either by painters or photographers). The differences between the images on each eye are a consequence of the separation between them rather than differences in two pictorial images. Viewing with two eyes detracts from the monocular cues to depth within the singular portrait because of information for the flatness of the pictorial surface. Binocular portraits, on the other hand, incorporate differences between two pictorial images producing perceptual effects that cannot be seen by a single eye alone. The differences can consist of small disparities that yield stereoscopic depth or large ones that produce binocular rivalry. Binocular portraits require viewing with a stereoscope, many varieties of which exist. Those shown here are anaglyphs which can be observed through red/cyan filters. They are not conventional stereoscopic portraits where the sitter is imaged from two slightly different locations. Rather, the binocular processes of cooperation (stereoscopic depth perception) and competition (binocular rivalry) are manipulated in the binocular portraits. The subjects shown in the anaglyphic portraits have been involved in the science and art of binocular vision.

The Japanese and Caucasian Brief Affect Recognition Task (JACBART) has been proposed as a standardized method for measuring people's ability to accurately categorize briefly presented images of facial expressions. However, the factors that impact performance in this task are not entirely understood. The current study sought to explore the role of the forward mask's duration (i.e., fixed vs. variable) in brief affect categorization across expressions of the six basic emotions (i.e., anger, disgust, fear, happiness, sadness, and surprise) and three presentation times (i.e., 17, 67, and 500 ms). Current findings do not demonstrate evidence that a variable duration forward mask negatively impacts brief affect categorization. However, efficiency and necessity thresholds were observed to vary across the expressions of emotion. Further exploration of the temporal dynamics of facial affect categorization will therefore require a consideration of these differences.