I-Perception最新文献

Travelling longitudinal waves provide a novel visual motion stimulus that supports the perception of stereoscopic travelling waves from a phased array of sinusoidal oscillations.

Several studies have consistently demonstrated that people generally prefer curved over angular contours. However, the magnitude of the curvature effect varies across stimuli, for example, with a larger effect reported for abstract stimuli compared to interior spaces. A comparison across stimuli that share similar physical features and belong to the same categories is warranted to determine whether curvature is a basis of object preference. Another important question is whether inspection differences, based on contour and object category, affect object preference. In Experiment 1, we addressed these questions by recording eye movements as participants rated their preferences for images of two types of common-use objects: tables and chairs. In Experiment 2, we limited the stimuli presentation to 84 ms, as brief presentations are thought to enhance the curvature effect. Neither of the two experiments confirmed a clear preference for curvature in tables or chairs. Yet, curvature significantly influenced fixation durations, with curvilinear tables eliciting longer fixations than rectilinear ones, although without affecting overall preference. The findings are discussed in the context of familiarity and object functionality in shaping preference judgements.

Previous speech compression methods for practical purposes had been based on signal prediction, taking the auditory functions into account but overlooking features specific to speech signals. A new method was developed in which amplitude envelopes in four frequency bands corresponding to spectral factors common to different languages were used to modulate infinitely peak-clipped signals, which also had been revealed to contain useful linguistic information. In a pilot experiment, intelligibility reached ~80% with limited information of only 2,400 bits per second (bps), whereas the bit rate of the original signal was 256,000 bps. This algorithm preserves the naturalness of speech and is easy to grasp intuitively.

This narrative literature review explores the role of tactile stimulation within interactive gaming and storytelling. Focusing on active entertainment experiences-where the audience/player has some control over what happens, unlike passive media such as film. The review traces tactile/haptic feedback from the 18th century electric-shock amusements to contemporary vibrotactile controllers and interactive cinema. The review also highlights touch's potential to enhance interactivity across active entertainments. Key themes include the role of touch in active versus passive forms of entertainment. In the context of active entertainment, audience participation influences the gameplay/plot, while in passive entertainment, the audience simply observes without being able to alter the outcome. The review also contrasts first- and third-person viewer perspectives and the viewpoint specificity of much tactile/haptic stimulation, particularly concerning these perspectives. Additionally, the review discusses the technical challenges associated with much of the wearable haptic technology that has been introduced to date, and consumer preferences and willingness to pay for haptic devices and enhanced haptic (broadly referring to any kind of tactile) experiences. The review concludes by emphasizing the multifaceted roles of haptic feedback in gameplay, narrative enhancement, and emotional engagement. It also suggests directions for future research to expand the potential of touch within multisensory entertainment.

Three-dimensional rigid structure-from-motion (SFM) and structure from nonrigid biological point-light motion stimuli are perceptually ambiguous. This study investigated the dynamics of perceived reversals in two cases: a spinning point-light walker (PLW) and a spinning rigid human figure in a walking pose (SFM). It specifically focused on two key questions: Could the facing-the-viewer bias (FTV) account for the reversals for spinning PLW? To what extent do motion cues from limb motions or configural cues from the human shape contribute to the perceived reversals? In Experiment 1, participants reported reversals with more than twice the frequency while viewing the upright and inverted PLW than for the rigid structures, but an FTV bias was observed only for the upright walker. The perception of an ambulating living human shape of typically encountered walkers in an upright position thus plays a crucial role in obtaining an FTV bias for these spinning stimuli. In Experiment 2, the human figures walked or rigidly moved along a circular path while facing the motion direction, spinning at the same rate as in Experiment 1. A strong initial FTV bias was then observed, but the reversal rate was substantially reduced compared to reversals when spinning on the same spot. These findings highlight theoretically interesting distinct temporal dynamics of reversals and biases between biological motion and rigid SFM. It is argued that the differences in reversals between conditions have a common cause in the form of past experiences that differ between conditions.

We describe a disconcerting illusion. The participant looks at the palm of a left rubber hand being touched while receiving synchronous touch on the back of their own hidden right hand. Despite postural incongruence, mismatching handedness and touch being at a different location on the viewed and hidden hands, participants experience the illusion of ownership of the rubber hand and the illusion of feeling touch on the rubber hand. The robustness of the rubber hand illusion to seemingly profound incongruencies is explained with reference to Riemer et al.'s four basic principles for successful embodiment.

Social interaction, as a crucial component of relational representation, is essential for understanding human social cognition. While visual cues play a pivotal role in perceiving interactions, little is known about how individuals utilize past visual and interaction-related relational judgments when making decisions under uncertainty. This study investigated how past visual information and interpersonal relational judgments influence the current interaction perception. Participants continuously evaluated the interaction state of two avatars presented at varying distances and facing orientations. The findings revealed a dissociation where the perception of the current interaction state tends to be biased toward past interaction states rather than past distance cues, and this only occurs when the prior interaction information comes from the same sensory modality and is consciously attended to. For the distance cues that contribute to interaction representation, the current distance perception deviates from past distance, even when distance was not explicitly processed. This opposite influence of past information on visual cues and interaction relational representation reflects two independent processing mechanisms of prior information. When dynamically perceiving interpersonal interactions, individuals integrate the repulsive effect of visual cues with the attractive effect of past interaction relations to form stable interaction perception.

With powertrain electrification, the character of a vehicle's soundscape significantly changes. Not only does it become quieter, but also the so far dominating combustion engine broadband noise, which shaped people's expectations, disappears. With the upcoming technology, we are empowered to create soundscapes with novel frequency spectra and sound design approaches. Vehicle soundscapes are dynamic by nature due to load and speed changes, and the driving situation. In this study, different active sound design concepts for electrified vehicles (EVs) have been assessed by N = 83 participants concerning their conveyed impressions of Perceived Innovativeness, Liking, and further relevant dimensions. The sound design concepts are varied in their general sound character and level of innovativeness and then presented in a listening laboratory. By employing the Repeated Evaluation Technique (RET) in the context of sound design research, we gather insightful data about dynamic effects in the perception of innovative acoustic textures in the context of active EV sound design. The findings of this study reveal dynamic effects in novelty perception and aesthetic preference, as well as insights into the semantics specific design characteristics convey. This can be helpful in shaping the character of a vehicle, making predictions about long-term appreciation of novel driving sound concepts, and assisting sound engineers and designers in creating innovative yet appreciated sound designs for EVs.

The search for stereograms that reveal depth features to two eyes that are concealed from each alone commenced with announcement of the invention of the stereoscope by Wheatstone in 1838. The paired figures he presented to the eyes were mostly simple outline drawings of geometrical objects, in order to reduce or remove monocular indications of depth. One stereogram, consisting of dots, yielded depth without monocular recognition; later others did so with more complex stereograms. Most notably in 1960, Julesz achieved this with computer-generated random-dot stereograms. Prior to Julesz similar patterns were hand-made, photographed and paired to yield stereograms by Cajal, Mobbs, Kompaneysky, and Aschenbrenner. Wheatstone did not recognise the significance of his simple dot stereogram possibly because he was interested in representing objects rather than surfaces stereoscopically. Thus, it can be argued that the precursors of random-dot stereograms were produced by Wheatstone in his article describing the invention of the stereoscope.

When a green/blue object is presented on a red background and viewed in peripheral vision, the object is seen to flash twice or to flicker (the peripheral flicker illusion). We showed that the ratio of photopic luminances of the object and the red background determines the optimal photopic luminance of the green/blue object required for the illusion to occur. The results were analyzed using scotopic luminance to investigate the role of rod responses. It was found that the scotopic luminance of the green/blue object should be higher than that of the red background for the illusion to occur. This suggests that the red background enhances the flickering impression of the object when there is a sudden increase in the rod responses.