I-Perception最新文献

The color-dependent Fraser-Wilcox illusion is an illusion in which still images appear to move, and it has been reported that the direction of the illusory motion reverses depending on the illuminance level. Furthermore, preliminary observations suggest that the color temperature of the illumination also affects this reversal phenomenon of the illusion. In the present study, in addition to illuminance, we investigated how the color temperature affects the illusory motion using two types of the color-dependent Fraser-Wilcox illusions: the red-purple type and the red-blue type. The direction and intensity of the illusory motion were rated at illuminance levels of 10, 20, 40, 80, 160, 320, 640, and 1280 lx under color temperature conditions of 3000 K and 6700 K. The results showed that the illusory motion in one direction predominated under high color temperature conditions, while the illusory motion in the opposite direction predominated under low color temperature conditions. Consistent with the previous study, we also observed that the motion occurred in the former direction under brighter conditions and in the latter direction under darker conditions. Although the red-purple type was on average more dominant than the red-blue type in the former direction of motion, both types showed the same switching of illusory motion direction under high and low illumination conditions.

Perceived visual balance is one of the critical factors that determine whether an artwork is regarded as aesthetically pleasing or not. This kind of balance seems to depend on the perceptual weight given to the major elements of a composition that can differ in size, position, shape, orientation, and colors within the pictorial field. We probe the relationship between perceived stability, dynamics, balance and aesthetic ratings of ten original artworks from the Suprematist art movement and 20 participant-arranged compositions with the elements taken from the artworks. For each artwork, 22 art-naïve participants arranged first all shape elements on the corresponding "canvas" of the paper version separately according to two tasks: create a stable and create a dynamic composition. After this, they transferred the final compositions to the computer and rated their digital versions of the stable and dynamic arrangements as well as the original Suprematists' artworks according to the degree of perceived balance, stability, and dynamic appearance and personal preference. Qualitatively, in "stable" compositions shape elements were arranged more symmetrically and often stacked on the lower part of the "canvas," whereas in "dynamic" compositions elements were often rotated with respect to the pictorial field and distributed unevenly or asymmetrically over larger areas. The relationship between perceived stability, dynamics, and liking varied with the complexity of the artwork and geometrical indices of balance did not correlate strongly with perceptual ratings and liking. Our analysis revealed differences in individual preference for either stable or dynamic arrangements.

Self-controlled movement is often thought to attenuate tactile perception, yet in some contexts, agency can enhance sensory performance. This study examines how interstimulus spatial separation and task difficulty modulate the effects of movement agency on vibrotactile frequency discrimination. Participants judged which of two vibrations, delivered at two separate workspace locations encountered sequentially during lateral translation, was higher in frequency, either through self-controlled or externally guided translation of a haptic device. Discrimination accuracy improved at larger distances, with significantly lower performance at the shortest separation across all groups. Self-controlled movement enhanced accuracy in both easy and difficult tasks, but impaired performance under intermediate difficulty at large separations. These findings challenge simple models of sensory suppression and highlight how spatial configuration, motor control, and task demands jointly shape tactile decisions.

At sunset, your shadow can be more than 10 times longer than your own height. This long shadow may appear to have a disproportionally small head and long legs, but the disproportion is not in the physical shape of the shadow. The head looks tapered because it is far away and is viewed from a fixed position. But unlike any other long object, our own shadows seem to fascinate us. We discuss the reasons behind this unique phenomenon.

Adelson's checker-block illusion is an engaging demonstration of the difference between lightness and brightness. The illusory nature of the stimulus derives from participants' experience of the discrepancy between perceived lightness of two test patches (A, B) despite their physical luminance being identical. The identical nature of the test patches becomes apparent when cues informing the viewer of the scene's illumination and 3D structure are removed. Here we explore which cues drive the transition from 'brightness' pixel-based responses to 'lightness' material-based responses. Participants (n = 123) viewed versions of the stimulus with various components deleted (top, left and right-sides, shadows, outline-edges) under four between-subjects scenarios: with lighting direction varied (from left or right) and with the scene orientation varied (upside-down or correctly oriented). Participants indicated the perceived difference between A and B by responding on a Likert scale. Generalised linear mixed effects models were used to estimate the strength of each cue in driving the change of responses from brightness towards lightness. The lightness responses were strongest for upright images illuminated from the top-left, with panels adjacent to the test patches present. The stimuli, responses and model fits are shared as a dataset that can be tested against existing models of lightness perception.

In recent years, numerous studies demonstrating the crossmodal correspondences between individual olfactory stimuli and both auditory and visual stimuli have been published. However, most commercial perfumes are more complex (both chemically and perceptually) than individual olfactory stimuli, incorporating designated top, middle, and base notes. What is more, it is unlikely that it will be possible to discriminate effectively at a population level between hedonic responses to, and rated intensity of, most commercial perfumes (given that they are deliberately created to be pleasant and to provide an intense and long-lasting scent). Perfumes, unlike other classes of olfactory stimuli, also tend to be strongly gendered (masculine, feminine, or occasionally unisex). As such, the matching of music to fine fragrance faces different challenges than when matching music to the aromas and flavours of food and drink (a much more common application domain for crossmodal correspondences research currently). In this review, we examine the emerging literature on crossmodal correspondences to assess whether empirical findings can provide any actionable insights when it comes to assisting those wishing to design music and soundscapes that, in any meaningful sense, translate a perfume into its auditory equivalent.

We report a novel visual illusion, where a 2 × 2 two-colored checkerboard square rotating against an identical background appears to morph into a circle with a size change. This illusion can be categorized as a subtype of the breathing illusion (BI) based on its phenomenological characteristics. However, it also exhibits intriguing features that may offer new insights into BI's underlying mechanisms, not fully captured by existing displays.

The tritone paradox is a bistable auditory phenomenon where two Shepard tones can be interpreted as either ascending or descending. Previous studies have demonstrated that preceding auditory context can bias the direction of tritone perception. Here, we systematically manipulated both the quantity (anywhere between 1 and 10) and types (higher, lower, same as first target tone, or silent) of context tones before presenting a target tritone pair. We found that the contextual biasing effect can emerge with as few as 1-2 context tones, and plateaus quickly within this small window. Notably, low-frequency context tones produced a more pronounced and immediate bias than high-frequency tones. Together, this study demonstrates a narrow window of the auditory context effect, where minimal contextual cues are sufficient to guide perceptual interpretation of ambiguous auditory stimuli. The findings pave the way for more detailed investigations into the cognitive mechanisms of auditory perception, emphasizing the swift influence of immediate auditory contexts on perceptual outcomes.

Whether the adaptation effect to unidirectional motion in a visuomotor inconsistent environment has directional specificity has not yet been generalized. This study aimed to investigate whether adaptation effects, acquired from learning to move in a specific direction, manifest in subsequent movements within the same or different directions postadaptation to the mismatched environment. Participants were provided visual feedback of their arm movements, which was manipulated to either suppress or enhance their motions. Through training, participants adapted to this inconsistency between visual and motor feedback. Subsequently, they performed a reaching task with visual information blocked. Results showed that the adaptation effect persisted in postadaptation movements within the same direction as the training, even in the virtual environment. Surprisingly, this effect also extended to movements in different directions. These findings elucidate the spatial characteristics of the adaptation effects of simultaneous adaptation to both vision and motion, thereby contributing to future research in this field.

There are various ways to evoke stereopsis without binocular disparities. Closing one eye, or looking through a synopter are well-known methods. Ames (1925) listed nine ways of generating this so-called ''plastic effect," one of which involves a cylindrically curved lens placed in front of one eye. We investigated qualitative perceptual effects of this particular way of viewing artworks. A total of 38 participants viewed three digitally reproduced paintings. Initially, they were asked to spontaneously report the perceptual effect of the lens. While being naive to the purpose of the experiment, 66% of the participants reported increased depth experience. In addition, participants reported increased contrast, color vibrancy, and material expression (e.g., increased shininess). During a second part of the experiment, we asked to report on seven qualities: depth, color, three-dimensional shape, realism, detail, light, and material. All qualities increased significantly except detail, which seemed to show idiosyncratic results: the majority of the observers experienced a decrease of detail, while a minority reported, surprisingly, an increase of detail. The results agree with previous qualitative accounts on monocular aperture viewing, despite relying on entirely different nonpictorial cues: monocular aperture viewing relies on the absence of vergence and binocular disparities, whereas the Ames' Glass relies on distorted binocular disparities while keeping vergence unchanged. Together with the synopter, for which qualitative data is lacking, the Ames Glass and monocular aperture viewing are pictorial spacecrafts fit for art gallery viewing.