Perception

Six experiments are described in which good performance of the task of matching the lengths of two stationary real objects, gnarled wooden sticks, under a variety of binocular viewing conditions, including variations in viewing distances was demonstrated. Relatively poor matching performance was observed when the sticks were viewed monocularly in oscillatory motion, or monocularly and stationary. The results suggest that stereo can support good representations of metric scene structure when length judgments of natural objects are required under (quasi-)natural viewing. The implications of these results for theories of structure from stereo and structure from motion are discussed.

Pictorial relief was measured for a series of pictures of a smooth solid object. The scene was geometrically identical (ie the perspective of the three-dimensional scene remained the same) for all pictures, the rendering different. Some of the pictures were monochrome full-scale photographs taken under different illumination of the scene. Also included were a silhouette (uniform black on uniform white) and a ‘cartoon’-style rendering (visual contour and key linear features rendered in thin black line on a uniform white ground). Two subjects were naive and started with the silhouette, saw the cartoon next, and finally the full-scale photographs. Another subject had seen the object and did the experiment in the opposite sequence. The silhouette rendering is impoverished, but has considerable relief with much of the basic shape. The cartoon rendering yields well-developed pictorial relief, even for the naive subjects. Shading adds only small local details, but different illumination produces significant alterations of relief. It is concluded that shape constancy under changes in illumination is dominant throughout, but that the (small) deviations from true constancy reveal the effect of cues such as shading in a natural setting. Such a ‘perturbation analysis’ appears more promising than either stimulus-reduction or cue-conflict paradigms.

Two experiments are described in which the effects of scaling vertical disparities on the perceived amplitudes of dome-shaped surfaces depicted with horizontal disparities were examined. The Mayhew and Longuet-Higgins's theory and the regional-disparity-correction theory of Gar̊ding et al predict that scaling should generate a change in perceived depth appropriate to the viewing distance simulated by the scaled vertical disparities. Significant depth changes were observed, by means of a nulling task in which the vertical-disparity-scaling effect was cancelled by the observer choosing a pattern of horizontal disparities that made the dome-shaped surface appear flat. The sizes of the scaling effects were less than those predicted by either theory, suggesting that other cues to fixation distance such as oculomotor information played an appreciable role. In conditions in which 50% of the texture elements were given one value of vertical-disparity scaling and the remaining 50% were left unscaled, the size of the scaling effect on perceived depth could be accounted for by equally weighted pooling of the vertical-disparity information unless the two scalings were very dissimilar, in which case the lower scaling factor tended to dominate. These findings are discussed in terms of a Hough parameter estimation model of the vertical-disparity-pooling process.

Work by Bartel has shown that observers make systematic errors when attempting to set a receding row of staves at equal intervals, and make even-more-pronounced errors in the same direction when drawing a similar row; consequently, the factors that contribute to this systematic distortion in spatial representation were examined. The results indicate that the tendency to overestimate nearer distances and underestimate further distances in pictorial space may be enhanced both by increasing the size ratio of the nearest and furthest pictorial elements and by increasing the angle of convergence of represented parallel contours. However, it is clear that size ratio is the more powerful independent variable. The reasons for this discrepancy are discussed and an explanation of the pattern of pictorial distortion, in terms of a compromise between an objective representation of the relative estimated distance of the depicted distances and an inaccurately anticipated optical projection, is proffered.

The perception of space and motion involves successive transformations of signals with respect to different reference systems. The visual input is coded in terms of retinal coordinates. The retinocentric values from each eye require to be unified, and to be combined with signals for eye position and movement. This egocentric reference provides a signal for the angular size, motion, or orientation of the stimulus with respect to the observer. The egocentric signals are transformed to a coordinate system that is three-dimensional—the geocentric frame of reference. Further transformations can occur at earlier levels owing to patterncentric interactions within the visual field. When the geocentric signal corresponds to the physical dimensions of space and motion, this is referred to as perceptual constancy.

An important factor in judging whether two retinal images arise from the same object viewed from different positions may be the presence of certain properties or cues that are ‘qualitative invariants’ with respect to the natural transformations, particularly affine transformations, associated with changes in viewpoint. To test whether observers use certain affine qualitative cues such as concavity, convexity, collinearity, and parallelism of the image elements, a ‘same–different’ discrimination experiment was carried out with planar patterns that were defined by four points either connected by straight line segments (line patterns) or marked by dots (dot patterns). The first three points of each pattern were generated randomly; the fourth point fell on their diagonal bisector. According to the position of that point, the patterns were concave, triangular (three points being collinear), convex, or parallel sided. In a ‘same’ trial, an affine transformation was applied to one of two identical patterns; in a ‘different’ trial, the affine transformation was applied after the point lying on the diagonal bisector was perturbed a short, fixed distance along the bisector, inwards for one pattern and outwards for the other. Observers' ability to discriminate ‘same’ from ‘different’ pairs of patterns depended strongly on the position of the fourth, displaced, point: performance varied rapidly when the position of the displaced point was such that the patterns were nearly triangular or nearly parallel sided, consistent with observers using the hypothesised qualitative cues. The experimental data were fitted with a simple probabilistic model of discrimination performance that used a combination of these qualitative cues and a single quantitative cue.

An unsupervised method is presented which permits a set of model neurons, or a microcircuit, to learn low-level vision tasks, such as the extraction of surface depth. Each microcircuit implements a simple, generic strategy which is based on a key assumption: perceptually salient visual invariances, such as surface depth, vary smoothly over time. In the process of learning to extract smoothly varying invariances, each microcircuit maximises a microfunction. This is achieved by means of a learning rule which maximises the long-term variance of the state of a model neuron and simultaneously minimises its short-term variance. The learning rule involves a linear combination of anti-Hebbian and Hebbian weight changes, over short and long time scales, respectively. The method is demonstrated on a hyperacuity task: estimating subpixel stereo disparity from a temporal sequence of random-dot stereograms. After learning, the microcircuit generalises, without additional learning, to previously unseen image sequences. It is proposed that the approach adopted here may be used to define a canonical microfunction, which can be used to learn many perceptually salient invariances.

Human observers can correctly attribute changes in the appearance of a scene either to changes in the incident light or to changes in the spectral-reflectance properties of the scene. This ability was assessed as a function of the time course of illuminant and spectral-reflectance changes. Observers were presented with computer simulations of Mondrian patterns of 49 randomly selected Munsell papers. On each trial a Mondrian pattern was presented for 1 s; the pattern then changed either instantaneously or gradually into another Mondrian pattern, also presented for 1 s, which was related to the first either by an illuminant change or by an illuminant change accompanied by additional changes in the spectral-reflectance functions of the individual papers. Illuminant and spectral-reflectance changes were applied linearly in time (with respect to CIE coordinates) over intervals ranging from 0 to 7 s. Observers indicated whether there was a spectral-reflectance change. They were able to make reliable discriminations between illuminant and spectral-reflectance changes both when the changes were applied instantaneously and when they were applied gradually over time, but performance worsened progressively as the duration of the changes increased, that is, as their rate decreased. It is suggested that discrimination in this task depends on the extraction of a low-level transient signal which is generated in response to rapid changes in scene appearance and which is progressively attenuated as changes occur more and more gradually.

Colour constancy is typically measured with techniques involving asymmetric matching by adjustment, in which the observer views two scenes under different illuminants and adjusts the colour of a reference patch in one to match a test patch in the other. This technique involves an unnatural task, requiring the observer to predict and adjust colour appearance under an illumination shift. Natural colour constancy is more a simple matter of determining whether a colour is the same as or different from that seen under different illumination conditions. There are also technical disadvantages to the method of matching by adjustment, particularly when used to measure colour constancy in complex scenes. Therefore, we have developed and tested a two-dimensional method of constant-stimuli, forced-choice matching paradigm for measuring colour constancy. Observers view test and reference scenes haploscopically and simultaneously, each eye maintaining separate adaptation throughout a session. On each trial, a pair of test and reference patches against multicoloured backgrounds are presented, the reference patch colours being selected from a two-dimensional grid of displayable colours around the point of perfect colour constancy. The observer's task is to respond “same” or “different”. Fitting a two-dimensional Gaussian to the percentage of “different” responses yields (1) the subjective colour-constancy point, (2) the discrimination ellipse centred on this point, and (3) a map of changes in sensitivity to chromatic differences induced by the illuminant shift. The subjective colour-constancy point measured in this way shows smaller deviations from perfect colour constancy—under conditions of monocular adaptation—than previously reported; discrimination ellipses are several times larger than standard MacAdam ellipses; and chromatic sensitivity is independent of the direction of the illuminant shift, for broad distributions of background colours.

A series of either thirteen or fifteen coloured test fields with hues from blue through grey to yellow were presented on a black background. Goldfish were trained on a bluish-grey test field by food reward. In the training situation, the setup with the coloured papers was illuminated with white light. In the test situation, the colour of the illumination was changed to blue or yellow. In both test illuminations the goldfish preferred the training field in the same way as under white illumination despite the fact that this test field stimulated the cone types very differently from the training situation. As test fields were present that excited the cones in exactly the same way as under white light, but were not chosen, colour constancy can be concluded. By means of colour metrics, it was possible to quantify direction and strength of colour constancy.