I-Perception最新文献

There has long been interest in augmenting cinematic and other forms of public entertainment through tactile and/or bodily (i.e., vestibular) stimulation. In this narrative historical review, the early history of touch (or haptics, as it is sometimes called) and other forms of bodily stimulation (e.g., motion platforms) in the context of entertainment is critically reviewed, with a focus on early cinema as well as other early examples of immersive virtual reality travel experiences. Critically, various challenges have limited the introduction of such additional channels of sensory stimulation. These include technological, financial, cognitive, creative, ethical/artistic, and also legal considerations, given the many patents that currently exist covering commercial digital tactile stimulation (e.g., in the gaming context). Taken together, these challenges help to explain why it is that despite the early interest in "the feelies" (e.g., an envisioning of film that includes tactile sensations by Aldous Huxley, in his novel Brave New World), touch-enhanced cinema and storytelling have never really caught on in the mainstream in the way that, say, the talkies so obviously did following the introduction of sound into cinema in the early decades of the 20th century. Nevertheless, identifying the potential successful use cases that have emerged from previous attempts to augment public entertainments with tactile/bodily stimulation will likely provide useful guidelines for the future tactile augmentation of home entertainment.

In this narrative review, we take a critical look at the various attempts that have been made to augment home (or personal) entertainment experiences via the addition of some form of digitally controlled tactile stimulation. There has been an explosive growth in the market for home entertainment in recent years, and a majority of smartphones and other wearable electronic devices are now touch-enabled. As such, it is important to consider the challenges and potential opportunities for enhanced multisensory entertainment that may result from the introduction of tactile/haptic stimulation in the context of audiovisual digital storytelling and/or gaming. The key technological, financial (and legal), cognitive, and creative/artistic, challenges associated with the tactile augmentation of home entertainment experiences are outlined. Tactile augmentation, in the sphere of both public and personal entertainment, is more likely to succeed when it goes beyond the merely pleonastic vibrotactile reproduction of those interactions/events than can already be seen and/or heard on screen. At the same time, however, it remains uncertain under what conditions immersion in an entertainment experience will be enhanced by the addition of some form of primitive digital tactile stimulation. Ultimately, until a clear usage case can be made for the benefits of introducing a tactile element to home entertainment, it is unlikely to gain traction and switch from being merely a gimmick to more of a valuable element of multisensory storytelling.

Evolutionary psychology suggests that we are attuned to relevant information in the environment. For example, attention may be attracted by physical beauty because it is important for finding a partner with good reproductive health. Consistently, previous studies found that attention stayed longer on attractive than unattractive faces. We asked whether this tendency was automatic and varied participants' implicit search intentions to be either consistent or inconsistent with the presumably automatic tendency to attend to attractive faces. To create an implicit intention to look at attractive faces, participants searched for a happy face in an array of neutral faces because happy faces are rated as more attractive than neutral faces. To create the opposite intention to look at unattractive faces, participants searched for a disgusted or sad face because disgusted or sad faces are rated as less attractive than neutral faces. We found longer fixation durations on attractive faces when participants searched for happy faces. When participants searched for disgusted or sad faces, however, fixation durations were longer on unattractive faces. Thus, the search task determined whether attractive faces were looked at longer. The tendency to attend to attractive faces is therefore not automatic but can be overruled by search intentions.

The face-cube illusion was made by Jean Beuchet in 1966 (as indicated in the device) and this effect was not published. For this reason, it seems important to present this visual phenomenon. The effect is obtained from connected curved wire construction presented in three-dimensional space. The orientation of wires can be modified, and it can be perceived as either a cube or a face depending on one's viewing point.

The spread of COVID-19 has drastically increased the number of people wearing masks in public areas and the opportunities to evaluate others' faces based on limited information. This study investigates the cognitive bias in judging the attractiveness of faces partially hidden by sanitary masks. Experiment 1 revealed that men rated women's faces as more attractive when wearing masks, specifically in the context of rating women as romantic partners; however, this mask bias was absent when men rated women as friends. On the other hand, women did not show the mask bias irrespective of the assumed social relationship. Experiment 2 demonstrated that the mask bias among elderly men was less affected by the assumed social relationship (or the possibility of reproduction), compared to young men, though they showed the bias itself. These results suggest that the cognitive strategies related to reproduction underlie the attractiveness judgment of the partial faces.

This paper provides an overview of the many different ways that light interacts with surfaces in the natural environment to provide useful information for visual perception. It begins with a discussion of how the concept of light has evolved over the course of human history. It then considers a wide variety of optical phenomena including Lambert's laws of illumination, the effects of microscopic surface structure on patterns of reflection, the bidirectional reflectance distribution function, the refraction of transmitted light, chromatic dispersion, thin film interference, sub-surface scattering, the Fresnel effects, indirect illumination from multiple reflections, caustics, and the structure of the light field. The primary goal of this discussion is to provide the necessary background information to help students and young researchers more easily understand the scientific literature on the perception of 3D shape and material properties from patterns of image shading.

There are two main characteristics of visual information processing when viewing an image by scrolling on a small screen: viewing the image sequentially, section by section, owing to the limited visible area, and moving the image to view the desired section of the image. In this study, we investigated the effects of these characteristics on the encoding of object location. The participants were required to observe an image containing 10 objects under three viewing conditions without a time limit and to recall the location of the target object. The viewing conditions were a scrolling condition, a moving-window condition in which a fixed image was viewed by moving the window, and a no-window condition in which the entire image was viewed without a window. The results showed that although the recall accuracy did not differ among the conditions, the observation time increased in the order of scrolling, moving-window, and no-window conditions. These results indicate that in a scrolling view, the object location can be encoded with the same accuracy as that in a full view; however, more time is required for encoding. This finding suggests that viewing the image sequentially and moving the image degrade the encoding of object location.

The lightness of an object is an intrinsic property that depends on its surface reflectance spectrum. The visual system estimates an object's lightness from the light reflected off its surface. However, the reflected light also depends on object extrinsic properties of the scene, such as the light source. For stable perception, the visual system needs to discount the variations due to the object extrinsic properties. We characterize this perceptual stability for variation in two spectral properties of the scene: the reflectance spectra of background objects and the intensity of light sources. We measure human observers' thresholds of discriminating computer-generated images of 3D scenes based on the lightness of a spherical target object in the scene. We measured change in discrimination thresholds as we varied the reflectance spectra of the objects and the intensity of the light sources in the scene, both individually and simultaneously. For small amounts of extrinsic variations, the discrimination thresholds remained nearly constant indicating that the thresholds were dominated by observers' intrinsic representation of lightness. As extrinsic variation increased, it started affecting observers' lightness judgment and the thresholds increased. We estimated that the effects of extrinsic variations were comparable to observers' intrinsic variation in the representation of object lightness. Moreover, for simultaneous variation of these spectral properties, the increase in threshold squared compared to the no-variation condition was a linear sum of the corresponding increase in threshold squared for the individual properties, indicating that the variations from these independent sources combine linearly.

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.