Perception最新文献

Vection is an illusion of self-motion that arises from conflicting sensory information. There are large individual differences in experiencing vection, indicating a potential role for individual-difference factors in this illusion. Here, we examined the role of field dependence, anomalous perceptual experiences (a specific domain of psychotic-like experiences) and personality disposition of tolerance of ambiguity. We analyzed data from 170 participants (84 male individuals, 86 female individuals). Biological sex had no significant effect on any of the vection measures. However, we found that higher field dependence was associated with faster onset of vection, and that higher prevalence of anomalous perceptual experiences and lower tolerance of ambiguity were associated with longer duration and higher intensity of the illusion. These results suggest that individual-difference factors reflect internal predispositions that guide the interpretation of incoming sensory signals and, especially in conflicting and ambiguous situations, can modulate the process of creating accurate or illusory percepts.

In the Critique of Pure Reason, Kant proposed a detailed system of mental processes and constructs that might lead to a person's perceiving and comprehending an object in the outside world. The diffuse and extended original, found largely impenetrable and hence neglected in most modern discourse, is here revisited and presented in an updated contemporary idiom, with the aim of showing some structure in the mental world that may serve as a counterpart to definable states of the real world when attempts are made to find correlations between the two.

Research has shown that individuals detect direct eyes (those directed to the observer) more quickly and accurately than averted eyes (those directed elsewhere), a phenomenon known as the direct-gaze advantage. However, the underlying mechanisms of this advantage remain poorly understood. The current study employed a visual search task to investigate whether the direct-gaze advantage in capturing attention is contingent upon a specific configuration (face configuration or eyes configuration). In two experiments, participants were presented with four images and asked to judge whether there was a target with a direct or averted gaze. Experiment 1 revealed that participants showed the direct-gaze advantage across three image types: intact faces (maintaining both two-eye and face configuration), scrambled faces with intact eyes (disrupting the face configuration while preserving the two-eye configuration), and fully scrambled faces (preserving only the single-eye configuration). Experiment 2 further demonstrated that participants showed the direct-gaze advantage for scrambled faces with intact eyes and fully scrambled faces under the upright condition. Interestingly, under the inverted condition, participants only showed the direct-gaze advantage for scrambled faces with intact eyes. These findings indicate that the direct-gaze advantage is influenced by the configuration of two eyes and the configuration of a single eye, but it is not dependent on facial contexts.

Preliminary studies have demonstrated that reducing material temperature enhances the wetness perception and decreases the friction coefficient during skin-material interactions. However, the effects of changes in frictional force due to temperature variations on wetness perception, and the effects of contact temperature on surface roughness perception during active dynamic interactions between skin and fabrics remain poorly investigated. This study recruited 12 participants (6 females and 6 males) to touch dry fabrics at different contact temperatures (8, 16, and 24 °C) to obtain frictional force, surface roughness, and wetness perception scores. Each participant was asked to complete 45 assessments: 3 contact temperatures (8, 16, and 24 °C) × 5 fabric types (cotton, silk, wool, flax, and jute) × 3 repetitions. The results suggested that the surface roughness perception decreased while the wetness perception increased with lower contact temperatures, the fabric type significantly influenced the perception, but there is no significant correlation between frictional force and wetness perception. This study enhances the understanding of thermal modulation in perception, providing valuable insights for designing healthcare textile products that minimize skin damage and improve comfort during prolonged contact.

The limited availability of spectral images poses a significant challenge to the field of colour science. To address this issue, we spectrally rendered naturalistic images, enabling us to investigate the performance of classic colour constancy algorithms, including Grey-World, White-Patch, Grey-Edge, Shades-of-Grey, and Gamut-Mapping. We generated 4,096 physically based rendered scenes under different coloured illuminations, including a spectrally neutral illumination. We evaluated each algorithm by (1) comparing the illuminant estimated by the algorithm with the actual illuminant used for rendering and (2) assessing the performance based on the entire scene rendered under the neutral illuminant. The White-Patch algorithm consistently performed relatively well, while Gamut-Mapping emerged as the top-performing algorithm when evaluating the whole scene. However, it exhibited poor performance in estimating the ground-truth illuminant. We conducted a perceptual experiment to measure human colour constancy across a representative selection of scenes from our database using an asymmetric colour matching task. The results indicated that predictions from the algorithms that performed best when evaluated on the whole scene - white patch and gamut mapping - best approximate human performance. Indeed, the function of colour constancy is to stabilise the colour of all surfaces in a scene, rather than to estimate the colour of the illumination.

Most familiar odours are complex mixtures of volatile molecules, which the olfactory system synthesizes into a perceptual whole. However, odours are rarely encountered in isolation and thus, the brain must also separate distinct odour objects from complex backgrounds. While in vision, individual differences in scene analysis have been widely reported, to date, little attention has been paid to the cognitive processes underlying this olfactory ability. The aim of the present study was to determine whether local processing performance in visual tasks predicts participants' ability to identify component odours in multicomponent mixtures. Fifty-nine participants (F = 39), aged 16-55, completed two visual perception tasks, (Navon and Block Design), an odour-mixture task designed to test participants' ability to identify multi-component odour objects in binary/ternary mixtures and the Autism Quotient (AQ) Questionnaire, which measures autistic traits in the general population. While performance indices on neither visual task, nor scores on the AQ, were associated with odour mixture task performance, there was moderate evidence to support an association between reaction time on the Navon task and binary odour mixture task performance. These results provide insight into the cognitive processes underpinning olfactory scene analysis and support previous reports that faster processing speed is associated with superior selective attention.

Visual imagery refers to the ability to create voluntary mental representations in the absence of corresponding visual stimuli, and current evidence suggests that it shares common neural mechanisms with visual perception. Cerebral visual impairment (CVI) is a brain-based visual disorder caused by early neurological injury and maldevelopment of central visual processing pathways and areas. Individuals with CVI often present with a complex visual profile, including deficits related to higher-order visual processing. However, the impact of visual maldevelopment on imagery abilities in this population has not been extensively characterized. We used the Vividness of Visual Imagery Questionnaire (VVIQ) to investigate visual imagery abilities in a cohort of CVI participants (n = 25, mean age = 22.48 years ± 12.31 SD) compared to controls with neurotypical vision and development (n = 25, mean age = 22.88 years ± 4.94 SD). We found that individuals with CVI had significantly lower VVIQ scores (mean = 41.84 ± 18.61 SD) than controls (mean = 62.48 ± 13.07 SD), after controlling for age and verbal IQ level. Within the CVI group, visual imagery abilities were not significantly different when separated by baseline visual acuity, gestational status, or co-occurrence of autism spectrum disorder. These results suggest that impaired visual imagery may represent an important feature characterizing the complex visual profile of CVI.

In psychology and cognitive neuroscience, reaction time (RT) series and their ex-Gaussian distributions are commonly used as scalar quantities to explore the time course of attentional processes. However, we propose that such attentional processes can also be analyzed using an "ex-Gaussian vector", defined by successive triads of ex-Gaussian sigma, tau, and mu parameters from RT series. This geometrical object may help characterize interindividual differences between congruent and incongruent stimuli in the attentional Stroop task within a group of participants. To test these hypotheses, we calculated the similarity index of these geometrical objects in young adults without detectable neurological disorders. Our findings show that during two weeks of continuous Stroop task application, each participant displayed distinct ex-Gaussian RT vectors in a Cartesian 3D plot. Furthermore, our study found that the similarity index between ex-Gaussian RT vectors was significantly higher for incongruent stimuli than for congruent stimuli.

The aim of this study was to contribute to our understanding of embodied art experiences. We were interested in the emerging relationship between artwork, on the one hand, and one's bodily movements and associated embodied affective states on the other. Concretely, postural control of 46 participants looking at a diverse set of 21 20th-century abstract paintings was analysed. Also, we explored the relation between postural control, emotional states of being moved and aesthetic appraisal. Results did not reveal differences in postural control between the paintings. However, differences in variability, dynamic stability, complexity and intermittency of postural sway were found, when comparing subsets of high-motion and low-motion paintings and between subclasses of abstract painting styles. Emotional states of being moved and aesthetic appraisal were associated with postural control, both across paintings and across people in several ways. Together these findings provide empirical evidence for an embodied art experience.