i-Perception

Face aftereffects (FAEs) are generally thought of as being a visual phenomenon. However, recent studies have shown that people can haptically recognize a face. Here, I report a haptic, rather than visual, FAE. By using three-dimensional facemasks, I found that haptic exploration of the facial expression of the facemask causes a subsequently touched neutral facemask to be perceived as having the opposite facial expression. The results thus suggest that FAEs can also occur in haptic perception of faces.

Radial lines of Ehrenstein patterns induce illusory scintillating lustre in gray disks inserted into the central gaps (scintillating-lustre effect). We report a novel variant of this illusion by replacing the radial lines with white and black radial fins. Both white and gray disks inserted into the central gaps were perceived as scintillating, if the ratio of the black/white fin width were balanced (ie, close to 1.0). Thus, the grayness of the central disk is not a prerequisite for the scintillation. However, the scintillation was drastically reduced when the ratio was imbalanced. Furthermore, the optimal ratio depended on the color of the center disks.

Healthy aging is associated with a number of perceptual changes, but measures of biological-motion perception have yielded conflicting results. Biological motion provides information about a walker, from gender and identity to speed, direction, and distance. In our natural environment, as someone approaches us (closer distances), the walker spans larger areas of our field of view, the extent of which can be underutilized with age. Yet, the effect of age on biological-motion perception in such real-world scenarios remains unknown. We assessed the effect of age on discriminating walking direction in upright and inverted biological-motion patterns, positioned at various distances in virtual space. Findings indicate that discrimination is worse at closer distances, an effect exacerbated by age. Older adults' performance decreases at distances as far away as 4 m, whereas younger adults maintain their performance as close as 1 m (worse at 0.5 m). This suggests that older observers are limited in their capacity to integrate information over larger areas of the visual field and supports the notion that age-related effects are more apparent when larger neural networks are required to process simultaneous information. This has further implications for social contexts where information from biological motion is critical.

Visual illusions constitute an interesting perceptual phenomenon, but they also have an aesthetic and affective dimension. We hypothesized that the illusive nature itself causes the increased aesthetic and affective valence of illusions compared with their non-illusory counterparts. We created pairs of stimuli. One qualified as a standard visual illusion whereas the other one did not, although they were matched in as many perceptual dimensions as possible. The phenomenal quality of being an illusion had significant effects on “Aesthetic Experience” (fascinating, irresistible, exceptional, etc), “Evaluation” (pleasant, cheerful, clear, bright, etc), “Arousal” (interesting, imaginative, complex, diverse, etc), and “Regularity” (balanced, coherent, clear, realistic, etc). A subsequent multiple regression analysis suggested that Arousal was a better predictor of Aesthetic Experience than Evaluation. The findings of this study demonstrate that illusion is a phenomenal quality of the percept which has measurable aesthetic and affective valence.

We consider operations that change the size of images, either shrinks or blow-ups. Image processing offers numerous possibilities, put at everyone's disposal with such computer programs as Adobe Photoshop. We consider a different class of operations, aimed at immediate visual awareness, rather than pixel arrays. We demonstrate cases of blow-ups that do not sacrifice apparent resolution. This apparent information gain is due to “amodal occlusion.”

In Michotte's launching paradigm a square moves up to and makes contact with another square, which then moves off more slowly. In the triggering effect, the second square moves much faster than the first, eliciting an amusing impression. We generated 13 experimental displays in which there was always incongruity between cause and effect. We hypothesized that the comic impression would be stronger when objects are perceived as living agents and weaker when objects are perceived as mechanically non-animated. General findings support our hypothesis.

It is unclear how shadows are processed in the visual system. Whilst shadows are clearly used as an important cue to localise the objects that cast them, there is mixed evidence regarding the extent to which shadows influence the recognition of those objects. Furthermore experiments exploring the perception of shadows per se have provided evidence that the visual system has less efficient access to the detailed form of a region if it is interpreted as a shadow. The current study sought to clarify our understanding of the manner in which shadows are represented by the visual system by exploring how they influence attention in two different object-based attention paradigms. The results provide evidence that cues to interpret a region as a shadow do not reduce the extent to which that region will result in a within-‘object’ processing advantage. Thus, whilst there is evidence that shadows are processed differently at higher stages of object perception, the present result shows that they are still represented as distinctly segmented regions as far as the allocation of attention is concerned. This result is consistent with the idea that object-based attention phenomena result from region-based scene segmentation rather than from the representations of objects per se.