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Umi Keezing, Frank H Durgin
In a series of seven experiments (total N  = 220), it is shown that explicit angular declination judgments are influenced by the presence of a ground plane in the background. This is of theoretical importance because it bears on the interpretation of the relationship between angular declination and perceived distance on a ground plane. Explicit estimates of ground distance are consistent with a simple 1.5 gain in the underlying perceived angular declination function. The experiments show that, in general, functions of estimates of perceived angular declination have a slope of 1...
September 2018: I-Perception
Gunnar Wendt, Franz Faul
Previous results suggest that the glossiness of a surface is systematically underestimated when adjacent highlights from different light sources overlap to such an extent that they appear as a single, expanded highlight. Here we investigated how the availability of color- and motion-induced information, which may help to unravel such merged highlights, affects gloss constancy. We used images of computer-generated scenes where a complex 3D object made of glossy material was illuminated by three point light sources, which had varying distances to each other...
September 2018: I-Perception
Stuart Anstis, Patrick Cavanagh
A spot moves vertically across a large grating of oblique parallel lines. When viewed peripherally, the motion path looks oblique, close to the orientation of the background grating. Even when the grating's orientation is concealed by crowding , it can still deflect the spot's perceived motion path.
September 2018: I-Perception
Marta Suárez-Pinilla, Anil K Seth, Warrick Roseboom
Visual experience appears richly detailed despite the poor resolution of the majority of the visual field, thanks to foveal-peripheral integration. The recently described uniformity illusion (UI), wherein peripheral elements of a pattern take on the appearance of foveal elements, may shed light on this integration. We examined the basis of UI by generating adaptation to a pattern of Gabors suitable for producing UI on orientation. After removing the pattern, participants reported the tilt of a single peripheral Gabor...
September 2018: I-Perception
Sae Kaneko, Ikuya Murakami, Ichiro Kuriki, David H Peterzell
In classic simultaneous color contrast and simultaneous brightness contrast, the color or brightness of a stimulus appears to shift toward the complementary (opposite) color or brightness of its surrounding region. Kaneko and colleagues proposed that simultaneous contrast involves separate "fast" and "slow" mechanisms, with stronger induction effects for fast than slow. Support for the model came from a diverse series of experiments showing that induction by surrounds varying in luminance or color was stronger for brief than long presentation times (10-40 vs...
September 2018: I-Perception
Shufang He, Hiroaki Shigemasu
In the luminance domain, studies show that perceived contrasts of plaids are a nonlinear summation of their components. In the disparity domain, perceived depth has been studied by using a depth adaptation paradigm with simple surfaces; however, the relationship between depth adaptation between plaids and their components has not been investigated. To clarify this, combinations of disparity-defined horizontal corrugation (marked as horizontal ) and disparity-defined plaids as adaptor-probe pairs were used. Three experiments were performed: The first two compared the aftereffects between horizontal-horizontal and plaid-horizontal pairs (Comparison 1) and between horizontal-plaid and plaid-plaid pairs (Comparison 2)...
September 2018: I-Perception
Claus-Christian Carbon, Tamara Mchedlidze, Marius Hans Raab, Hannes Wächter
Positive effects of aesthetically appreciated designs have long been studied and confirmed since the 19th century: such designs are more enjoyable, they are more forgivable for glitches and can increase users' performance. In the field of information visualization, studies of aesthetics are still a niche approach. In the current study, we aim to specifically understand which parameters in a visualization of node-link diagrams make them aesthetically pleasing-an important extension to already existing research on usability and readability aspects...
September 2018: I-Perception
Mark W Greenlee, John S Werner, Christoph Wagner
No abstract text is available yet for this article.
September 2018: I-Perception
Anne Thaler, Michael N Geuss, Betty J Mohler
The conscious representation of our physical appearance is important for many aspects of everyday life. Here, we asked whether different visual experiences of our bodies influence body width estimates. In Experiment 1, width estimates of three body parts (foot, hips, and shoulders) without any visual access were compared to estimates with visual feedback available in a mirror or from a first-person perspective. In the no visual access and mirror condition, participants additionally estimated their head width...
September 2018: I-Perception
Thomas Hagen, Thomas Espeseth, Bruno Laeng
Some evolutionary psychologists have hypothesized that animals have priority in human attention. That is, they should be detected and selected more efficiently than other types of objects, especially man-made ones. Such a priority mechanism should automatically deploy more attentional resources and dynamic monitoring toward animal stimuli than nonanimals. Consequently, we postulated that variations of the multiple object or identity tracking and multiple event monitoring tasks should be particularly suitable paradigms for addressing the animate monitoring hypothesis, given their dynamic properties and dependency on divided attention...
September 2018: I-Perception
Stuart Anstis
In specially constructed movies depicting moving eyes, the pupils, irises, and corneal reflexes moved independently and sometimes in opposite directions. We found that the moving pupils or the corneal reflex, not the moving irises, determined the perceived direction of gaze (online Movie 1). When the pupils and irises moved in opposite directions, the one with the higher Michelson contrast determined the perceived direction of gaze (online Movie 2).
July 2018: I-Perception
Siyi Chen, Lucas Schnabl, Hermann J Müller, Markus Conci
When searching for a target object in cluttered environments, our visual system appears to complete missing parts of occluded objects-a mechanism known as "amodal completion." This study investigated how different variants of completion influence visual search for an occluded target object. In two experiments, participants searched for a target among distractors in displays that either presented composite objects (notched shapes abutting an occluding square) or corresponding simple objects. The results showed enhanced search performance when composite objects were interpreted in terms of a globally completed whole...
July 2018: I-Perception
Yasmina Jraissati, Igor Douven
So far, color-naming studies have relied on a rather limited set of color stimuli. Most importantly, stimuli have been largely limited to highly saturated colors. Because of this, little is known about how people categorize less saturated colors and, more generally, about the structure of color categories as they extend across all dimensions of color space. This article presents the results from a large Internet-based color-naming study that involved color stimuli ranging across all available chroma levels in Munsell space...
July 2018: I-Perception
Shui'Er Han, David Alais, Randolph Blake
In continuous flash suppression (CFS), a dynamic sequence of Mondrian patterns presented to one eye suppresses a static target in the other eye for several seconds at a time. Its effectiveness has been linked to low-level properties such as spatial frequency and orientation, but the role of higher order influences remains unstudied. Here, using a tracking paradigm, we asked if the spatial and temporal predictability of the Mondrian sequence affects CFS dynamics. Predictable temporal sequences were regularly updated every 100 ms or modulated sinusoidally in pixel luminance at 2 Hz...
July 2018: I-Perception
Jan Koenderink, Andrea van Doorn, Karl Gegenfurtner
In Pointillism and Divisionism, artists moved from tonal to chromatic palettes, as Impressionism did before them, and relied on what is often called optical mixture instead of stirring paints together. The so-called optical mixture is actually not an optical mixture, but a mental blend, because the texture of the paint marks is used as a means to stress the picture plane. The touches are intended to remain separately visible. These techniques require novel methods of colour description that have to depart from standard colorimetric conventions...
July 2018: I-Perception
Nobu Shirai, Erika Izumi, Tomoko Imura, Masami Ishihara, Kuniyasu Imanaka
Representational momentum (RM) is the phenomenon that occurs when an object moves and then disappears, and the recalled final position of the object shifts in the direction of its motion. Some previous findings indicate that the magnitude of RM in early childhood is comparable to that in adulthood, whereas other findings suggest that the magnitude of RM is significantly greater in childhood than in adulthood. We examined whether the inconsistencies between previous studies could be explained by differences in the experimental tasks used in these studies...
July 2018: I-Perception
Stuart Anstis
Ambiguous bounce/stream collision points were hidden behind an occluder so that observers had to complete them amodally. In Movie 1, straight or curved static lines were painted on the occluder. In Movie 2, dotted textures flowed in straight or curved lines across the front of the occluder. In Movie 3, moving eyes, painted on the occluder, either moved in straight lines, as if tracking streaming spots, or else followed curved paths, as if tracking bouncing spots. The straight (or curved) lines, texture flow or eye movements led to judgments of streaming (or bouncing)...
July 2018: I-Perception
Tomomi Koizumi, Hiroyuki Ito, Shoji Sunaga, Masaki Ogawa, Erika Tomimatsu
Assumed lighting direction in cast-shadow interpretation was investigated. Experiment 1 used an ambiguous object-shadow-matching task to measure bias in shadow-matching direction. The shadow-matching bias was largest when the lighting direction was on average 38.3° left from above (a median of 25.1°). Experiment 2 tested the effect of body posture (head orientation) on cast-shadow interpretation using stimuli aligned in a head-centrically vertical or horizontal orientation. The below-shadow (light-from-above) bias in the head-centric frame was robust across the sitting upright, reclining-on-the-left-side, reclining-on-the-right-side, and supine conditions...
July 2018: I-Perception
Bence Nanay
Amodal completion is the representation of those parts of the perceived object that we get no sensory stimulation from. In the case of vision, it is the representation of occluded parts of objects we see: When we see a cat behind a picket fence, our perceptual system represents those parts of the cat that are occluded by the picket fence. The aim of this piece is to argue that amodal completion plays a constitutive role in our everyday perception and trace the theoretical consequences of this claim.
July 2018: I-Perception
Guido Maiello, Vivian C Paulun, Lina K Klein, Roland W Fleming
We report an illusion in which the felt weight of an object changes depending on whether a previously manipulated object was lighter or heavier. The illusion is not modulated by visual weight cues, yet it transfers across hands.
July 2018: I-Perception
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