Perception

The lightness of a test patch completely surrounded by an inducing field can be predicted by variants of Wallach's ratio rule. When a patch is surrounded by two or more regions with different luminances, a plausible extension of the ratio rule would predict that the effect of the surrounding regions should correlate with the length of the border they share with the test patch. However, as shown by the Wertheimer–Benary and White effects, lightness of such patches can depart appreciably from these predictions. It is argued that a fruitful approach toward the explanation of such effects is based on the analysis of junctions (such as T-junctions and X-junctions) between regions. Several new displays and variations of old displays involving such junctions are used to illustrate this approach. An alternative analysis of a lightness effect introduced by Adelson is provided, and the role of depth effects in achromatic perception is discussed. A number of limitations of the approach and possible ways to overcome them are noted.

In three-dimensional configurations, and two-dimensional pictures of such configurations, simultaneous contrast induction from proximate backgrounds affects perceived brightness, color, and internal contrast to a greater extent than induction from coplanar or occluding surrounds or from more distant backgrounds. In the projected image the presence of occluding flanks or retinally adjacent distant backgrounds is indicated by T-junctions. However, the presence of T-junctions inhibits induced contrast irrespective of the three-dimensional percept. The configurations in this paper refute the notions that perceived coplanarity or perceptual belonging necessarily enhance induced contrast.

A theory of illusory transparency and lightness is described for monocular and binocular images containing X-, T- and I-contour junctions. This theory asserts that the geometric and luminance relationships of contour junctions induce illusory transparency and lightness percepts by causing a phenomenal scission of a homogenous luminance into multiple contributions. Specifically, it is argued that a discontinuous change in contrast along aligned contours that preserve contrast polarity induces a scission of the lower contrast region into a near-transparent surface or an illumination change, and a more distant surface that continues behind this near layer. This scission is assumed to cause changes in perceived lightness and/or surface opacity. Discontinuous changes in contrast along contours also are assumed to induce end-cut illusory contours that run roughly perpendicular to the inducing orientation of the contour, both monocularly and binocularly. Binocular illusory contours are shown to be caused by the presence of unmatchable contour terminators. It is argued that the presented theory can provide a unified account of a variety of monocular and binocular illusions that induce uniform transformations in perceived lightness, including neon-color spreading, the Munker – White illusion, Benary's illusion, and illusory monocular and binocular transparency.

A vector model of colour contrast is examined in a colour space that is a logarithmic transformation of the MacLeod – Boynton cone-excitation diagram. Observers set matches in a haploscopic display, in which one eye viewed a standard display (a neutral target square in a coloured surround) and the other viewed a matching display (a variable square in its own surround). Contrast colours are simply represented in this colour space: the vector connecting the right-eye surround and matched chromaticities is parallel to and of the same length and direction as the vector that connects the left-eye (standard) surround and square chromaticities. This describes observers' matches to the hues induced in a neutral square for a range of inducing surround colours, a range of right-eye (match) surround colours and four different luminance contrasts.

Observation suggests that the chromatic changes which elicit an impression of transparency include translations and convergences in color space. Neither rotations nor shears in color space lead to perceived transparency. Results of matching experiments show that equiluminous translations, which cannot be generated by episcotister or filter models, give rise to the perception of transparency. This implies that systematic luminance change is not needed for transparency to be perceived. These results were used for the development of a method for detecting a transparent overlay within a color image and for separating the overlay from the underlying surfaces. The method tests for the coherence of chromatic change along contours through X-junctions to help detect the contour of a transparent region. The algorithm tests locally for translation and convergence to detect a transparent region. It estimates globally the chromatic parameters of the transparent overlay in order to separate the overlay from the underlying surfaces.

Subjects matched the brightness of test patches whose inner (adjacent) surrounds appeared either as transparent overlays on a wider background that included the test patch or as regions differing in reflectance from the test patch and the outer surround. In the above configurations the luminance and spatial extent of the inner surround was identical, thus controlling for the effects of surround luminance. Configuration condition had a significant effect on test-patch brightness. In general, test-patch brightness was significantly elevated under conditions favouring the interpretation of the stimulus as including a transparent overlay. The largest effect occurred for the configuration in which the perception of transparency was supported by stereo depth cues. The brightness effect was mediated by the virtual transmittance of the transparent overlay, increasing in magnitude with decreasing transmittance. Further, the effect of transparency on brightness was greatest for test-patch luminances near to those of their immediate surrounds.

Achromatic brightness matches between two small patches were measured in a display containing ten larger regions of different luminances. The spatial organization of the ten regions was varied while keeping constant the immediate surround (and thus local contrast) of each patch as well as the average luminance of the entire stimulus. Various spatial arrangements were designed to alter the illumination inferred by the observer without changing the ensemble of luminances actually in view. Some spatial arrangements of the ten regions were consistent with five (simulated) surfaces under two distinct levels of illumination, with one luminance edge within the display (an ‘apparent illumination edge’) dividing the stimuli into an area of lower illumination and an area of higher illumination. In other spatial arrangements the ten regions were configured so that no luminance edge in the display could be interpreted as an ecologically valid illumination edge that provides a parsimonious interpretation of the ten regions; these conditions were designed to induce observers to infer ten surfaces under a single illuminant. When the ten regions were arranged with an apparent illumination edge, the patch within the area of lower perceived illumination was perceived as dimmer than when the same patch and immediate surround were presented with no apparent illumination edge. The results are interpreted by positing that the apparent illumination edge causes an observer to group together regions under the same perceived illuminant, with a consequent effect on brightness: lowering or raising the level of a perceived illuminant causes a patch of fixed contrast to be perceived as less bright or more bright, respectively, just as occurs when lowering or raising the level of real illumination. It is suggested that changes in brightness in a complex scene that result from a change in real illumination may be caused by a difference in inferred illumination at the perceptual level, not by simply a change in the amount of light absorbed by photoreceptors.

Recent experiments involving shaded 2-D stimuli have shown that early-vision mechanisms are capable of interpreting 3-D shape from shading. In particular, target discrimination tasks suggest that a target ‘pops out’ when background distractors, but not the target, can be interpreted as convex and lit from above or top-left. Since the problem of extracting 3-D shape from shading is intrinsically ill-defined, early vision may need to make these twin assumptions of convexity and top-left lighting in order to constrain the problem. Would these assumptions be recognized as unnecessary and consequently discarded when 3-D shape could be unambiguously defined by some other cue, like stereo disparity?

A 2AFC stimulus onset asynchrony paradigm with masking was used in target discrimination experiments. The performance of five naive subjects on tasks where only shading cues were present was compared with that on tasks involving shading as well as stereo cues that define shape unambiguously. The results show that although stereo disparity information is incorporated by early-vision 3-D mechanisms, it is not used to overturn the default assumptions of lighting and shape. Stereo information is interpreted within the framework of top-left lighting, and a consistent preference for convexity is seen over concavity.

A new visual phenomenon—called the AMBEGUJAS phenomenon—is presented, together with some descriptive data from two initial exploratory experiments. The phenomenon is basically one of shape from shading, but ambiguous as to both shape and colour. There are two spontaneously alternating and mutually exclusive perceived 3-D shapes, and—as the most surprising observation—the colour impressions of these two shapes are markedly different. The stimulus situation is very simple with two differently coloured illuminations (with sharp edges) adjacently cast onto a flat, grey striped surface. In one 3-D shape almost the whole chromatic content disappears, and the surface goes towards its veridically grey colour. In the other the perceived object assumes the two illumination colours as clear surface colours. The decolorised percept is interpreted as a striking example of colour constancy: a perceptual solution with the classical ‘discounting of the illuminant’. Experiments show that the phenomenon is robust and appears in varying display layouts and different combinations of chromatic illuminations.