Perception

To determine the mechanism underlying motion transparency, representative examples of motion transparency are listed and possible mechanisms are suggested. Those are feature tracking, multiple spatial-frequency channels, luminance-based transparency rules, and motion energy. Next, an interesting stimulus for motion transparency is introduced, namely superimposed dense random-dot patterns, which is not explained by feature tracking or multiple spatial-frequency channels. A psychophysical experiment reveals that the occurrence of motion transparency in this stimulus depends on three luminance levels assigned to three possible combinations of component dots: (1) white dots superimposed upon white dots, (2) white dots upon black dots, and (3) black dots upon black dots. However, physical rules of luminance-based transparency fail to explain the results. Finally, a computer simulation reveals that a computational model based on motion energy quantitatively predicts the human psychophysical performance. All the results support the idea that motion-energy detection followed by spatial integration is a likely candidate for the mechanism underlying motion transparency.

Stereoscopic processing of horizontal and vertical disparities was assessed by measuring how the stereoscopic appearance of test dots near the fixation point was influenced by inducing stimuli in the near periphery. The inducing stimuli were differentially magnified in the two eyes and varied in horizontal eccentricity. As expected, when the inducers were horizontally magnified, the test dots exhibited depth contrast, slanting in depth in a direction opposite the slant of the inducing dots. When the inducers were vertically magnified, the test dots slanted in depth around a vertical axis toward the eye with the larger vertical image (the induced-size effect). However, two lines of evidence suggested that an eccentricity-dependent weighted average of horizontal and vertical components of inducer-dot magnification determined the slant of the test dots. First, as the horizontal eccentricity of the inducing dots was varied, the trend of test-dot slants measured with vertical inducer magnifications was predicted by the trend of test-dot slants measured with horizontal inducer magnifications. Second, test-dot slants measured with a combination of both horizontal and vertical inducer magnification could be predicted by simply adding test-dot slants measured with either horizontal or vertical inducer magnification alone.

The apparently rectangular form of the irregularly shaped Ames room is explained in terms of a loss of interior 3-D shape constancy consequent on viewing the room with one eye through a small specifically positioned aperture. In the absence of retinal disparity and motion parallax the appearance of the room is held to shift markedly toward the rectangular dimensions of its retinal image. Three experiments designed to test this explanation with a miniature (one-tenth size) version of the Ames room No 1 with the matched 2-D shape of the back wall and as an index of interior 3-D shape are reported. The experiments showed that interior constancy was almost fully restored with binocular viewing of the room (experiment 1). The effect with a ‘skeletal’ version of the room was about the same as that with the conventional version and was clearly evident when the back wall or its frame version was presented alone (experiment 2), and it varied according to whether the interior perspective corresponded with that of the Ames or a rectangular room (experiment 3). Experiment 3 also showed that a rectangular room is significantly distorted when the interior perspective accords with that of the Ames room. These outcomes are construed as supporting the loss-of-constancy explanation and as showing that the Ames-room effect is one of a class of illusions attributable to the absence of stimulus correlates that normally sustain visual shape constancy.

A standard facial-caricaturing algorithm was applied to a three-dimensional representation of human heads. This algorithm sometimes produced heads that appeared ‘caricatured’. More commonly, however, exaggerating the distinctive three-dimensional information in a face seemed to produce an increase in the apparent age of the face—both at a local level, by exaggerating small facial creases into wrinkles, and at a more global level via changes that seemed to make the underlying structure of the skull more evident. Concomitantly, de-emphasis of the distinctive three-dimensional information in a face made it appear relatively younger than the veridical and caricatured faces. More formally, face-age judgments made by human observers were ordered according to the level of caricature, with anticaricatures judged younger than veridical faces, and veridical faces judged younger than caricatured faces. These results are discussed in terms of the importance of the nature of the features made more distinct by a caricaturing algorithm and the nature of human representation(s) of faces.

Caricaturing the distinctive shape of famous faces can produce an advantage in reactiontime paradigms but the role of distinctive colour and intensity information in recognition of facial identity has not previously been explored. A presentation-time paradigm was developed by which stimuli could be presented for a range of brief display periods. Subjects were required to identify photo-realistic colour representations of famous faces which either were veridical, were caricatured in colour space, or had enhanced colour saturation and intensity contrast (as contrast controls). Recognition accuracy was greater when viewing the caricatured stimuli than either the veridical images or the contrast controls. The removal of colour information to produce grey-scale images also decreased accuracy of face recognition. Both results indicate that colour information aids differentiation of a class of natural stimuli with similar configurations. Thus it is demonstrated that caricaturing faces can be extended to the colour domain and, as with shape caricaturing, enhancement of distinctive information can produce a recognition advantage for famous faces.

As an alternative to an earlier hypothesis, it may be that the harmful effect of certain modifications to a pattern which would otherwise produce an illusory figure may be due to excessive coincidences that would be present if an illusory figure were to be seen.