Perception

When a narrow uniform gap was surrounded by a moving grating, the gap appeared as a grating in the opposite phase to that of the surround, moving in the same direction with the same speed. Contrast thresholds for moving test-gratings placed in the region of the uniform gap were found to be elevated after prolonged viewing of this pattern, thus demonstrating the existence of motion adaptation in a retinal region surrounded by, but not covered by, a moving pattern. The amplitude of the moving induced-grating was measured by nulling with a real grating moving in the same direction and with the same speed as the surround. When the speed of the inducing grating was varied, the amplitude of the induced effect did not correlate with the magnitude of the threshold elevation. Therefore, it is unlikely that motion adaptation in the uniform gap was due to induced gratings. In some conditions, the adaptation effect of surrounding gratings was no less than the adaptation effect of gratings covering the test region. This result rules out an explanation involving scattered light, and indicates that motion adaptation occurs at a later stage than that consisting of simple motion mechanisms which confound the contrast and velocity of a moving stimulus.

Temporal-order judgment was investigated for a pair of visual stimuli with different durations in order to check whether offset asynchrony can disturb the perception of the order/simultaneity of onset. In experiment 1 the point of subjective simultaneity was estimated by the method of adjustment. The difference in duration of the two stimuli in the pair was either 0 or 50 ms. It was found that the subject shifts the onset of the shorter stimulus towards the offset of the longer one to obtain a satisfying impression of simultaneity even though the subject was asked to ignore the events concerning the stimulus offset. In experiments 2 and 3 the method of constant stimulus was applied. Both experiments indicate that subjects, in spite of instruction, take into account the offset asynchrony in their judgment.

Demonstrations are presented to show that the perception of structure in Marroquin patterns is disrupted if the dots comprising the pattern have opposite contrast polarity, and also if the dots comprising the pattern are separated in stereoscopic depth. It is also demonstrated that the perception of structure in a Marroquin pattern is made possible if the pattern is separated in stereoscopic depth from ‘noise’ dots, where the pattern structure cannot be perceived in either half of the unfused stereogram. In these respects the perception of Marroquin patterns is similar to the perception of Glass patterns. These findings are thus consistent with the proposal that the perception both of Marroquin and of Glass patterns is based on the construction of virtual lines.

In the natural world, observers perceive an object to have a relatively fixed size and depth over a wide range of distances. Retinal image size and binocular disparity are to some extent scaled with distance to give observers a measure of size constancy. The angle of convergence of the two eyes and their accommodative states are one source of scaling information, but even at close range this must be supplemented by other cues. We have investigated how angular size and oculomotor state interact in the perception of size and depth at different distances.

Computer-generated images of planar and stereoscopically simulated 3-D surfaces covered with an irregular blobby texture were viewed on a computer monitor. The monitor rested on a movable sled running on rails within a darkened tunnel. An observer looking into the tunnel could see nothing but the simulated surface so that oculomotor signals provided the major potential cues to the distance of the image. Observers estimated the height of the surface, their distance from it, or the stereoscopically simulated depth within it over viewing distances which ranged from 45 cm to 130 cm. The angular width of the images lay between 2 deg and 10 deg.

Estimates of the magnitude of a constant simulated depth dropped with increasing viewing distance when surfaces were of constant angular size. But with surfaces of constant physical size, estimates were more nearly independent of viewing distance. At any one distance, depths appeared to be greater, the smaller the angular size of the image. With most observers, the influence of angular size on perceived depth grew with increasing viewing distance.

These findings suggest that there are two components to scaling. One is independent of angular size and related to viewing distance. The second component is related to angular size, and the weighting accorded to it grows with viewing distance. Control experiments indicate that in the tunnel, oculomotor state provides the principal cue to viewing distance. Thus, the contribution of oculomotor signals to depth scaling is gradually supplanted by other cues as viewing distance grows.

Binocular estimates of the heights and distances of planar surfaces of different sizes revealed that angular size and viewing distance interact in a similar way to determine perceived size and perceived distance.

The extent to which faces depicted as surfaces devoid of pigmentation and with minimal texture cues (‘head models’) could be matched with photographs (when unfamiliar) and identified (when familiar) was examined in three experiments. The head models were obtained by scanning the three-dimensional surface of the face with a laser, and by displaying the surface measured in this way by using standard computer-aided design techniques. Performance in all tasks was above chance but far from ceiling. Experiment 1 showed that matching of unfamiliar head models with photographs was affected by the resolution with which the surface was displayed, suggesting that subjects based their decisions, at least in part, on three-dimensional surface structure. Matching accuracy was also affected by other factors to do with the viewpoints shown in the head models and test photographs, and the type of lighting used to portray the head model. In experiment 2 further evidence for the importance of the nature of the illumination used was obtained, and it was found that the addition of a hairstyle (not that of the target face) did not facilitate matching. In experiment 3 identification of the head models by colleagues of the people shown was compared with identification of photographs where the hair was concealed and eyes were closed. Head models were identified less well than these photographs, suggesting that the difficulties in their recognition are not solely due to the lack of hair. Women's heads were disproportionately difficult to recognise from the head models. The results are discussed in terms of their implications for the use of such three-dimensional head models in forensic and surgical applications.

This research describes two hitherto unobserved phenomena in the frescoes of the seventeenth century architect and painter, Andrea Pozzo, painted on the vaulted ceiling of the central nave of the Church of St Ignatius in Rome.

The present research also reports the results of two experimental studies on the problem of the perception of shapes projected on concave surfaces. A quantitative evaluation of the phenomena perceived from various points of observation is made by means of stimuli projected at various angles on a semicylindrical surface. The validity of the assumption of invariance, and in particular of the projective invariant called the cross-ratio, is discussed within the framework of ecological theories on perception.

In this study the sensitivity of human vision to the smoothness of stereoscopic surface structure was investigated. In experiments 1 and 2 random-dot stereograms were used to evaluate the discrimination of smooth versus ‘noisy’ sinusoidal surfaces differing in the percentages of points on a single smooth surface. Fully coherent smooth surfaces were found to be much more discriminable than other less smooth randomly perturbed surfaces. In experiment 3 the discrimination between discontinuous triangle-wave surfaces and similarly shaped smoothly curved surfaces obtained from the addition of the fundamental and the third harmonic of the corresponding triangle-wave surface was evaluated. The triangle-wave surfaces were found to be more accurately discriminated from the smoothly curved surfaces than would be predicted from the detectability of the difference in their Fourier power spectra. This superior discriminability was attributed to differences between the curvature and/or discontinuity of the two surfaces. In experiment 3 the effects of incoherent ‘noise’ points on the discrimination between the two surface types were also evaluated. These randomly positioned noise points had a relatively small effect on the discrimination between the two surfaces. In general, the results of these experiments indicate that smooth surfaces are salient for stereopsis and that isolated local violations of smoothness are highly discriminable.

The Charles Bonnet syndrome is a condition in which individuals experience complex visual hallucinations without demonstrable psychopathology or disturbance of normal consciousness. An analysis of the sixty-four cases described in the literature reveals that the syndrome can occur at any age though it is more common in elderly people. Reduction in vision, due to peripheral eye pathology as well as pathology within the brain, is associated with the syndrome. Individual hallucinatory episodes can last from a few seconds to most of the day. Episodes can occur for periods of time ranging from days to years, with the hallucinations changing both in frequency and in complexity during this time. The hallucinations may be triggered or stopped by a number of factors which may exert their effect through a general arousal mechanism. People, animals, buildings, and scenery are reported most often. These images may appear static, moving in the visual field, or animated. Emotional reaction to the hallucinations may be positive or negative. Several theories have been proposed to account for the hallucinations. This paper highlights the sensory deprivation framework, with particular emphasis on the activity in the visual system after sensory loss that produces patterns of nerve impulses that, in turn, give rise to visual experience.