Perception

Lightness induction is the classical visual phenomenon whereby the lightness of an object is shown to depend on its immediate surround. Despite the long history of its study, lightness induction has not yet been coherently and satisfactorily explained in all its variety. The two main theories that compete to explain it descend (i) from H von Helmholtz, who believed that lightness induction originates from some central mechanisms that take into account the whole viewing situation, with particular stress upon the apparent illumination of the object; and (ii) E Hering who argued in favour of more peripheral sensory mechanisms based on local luminance contrast. The balance between these theories has recently been shifted towards Helmholtz's position by E H Adelson who has provided additional evidence that lightness induction depends on perceptual interpretation and, particularly, on apparent transparency.

I challenge Adelson's conclusions by introducing modified versions of his tile pattern that use luminance gradients. In the first of these new demonstrations there is a strong lightness induction even though no apparent transparency is experienced. In the second there is a clear impression of transparent strips, yet no lightness induction is present. And the third shows that breaking up the Adelson tile pattern, while it affects neither the impression of transparency nor the type of grey-level junctions, makes the lightness-induction effect vanish. This implies that Adelson's illusion can be accounted for by neither local contrast, nor the apparent transparency, nor the type of grey-level junctions. Presented here is an alternative look at lightness induction as a phenomenon of the pictorial (as contrasted to natural) vision, which rests on the lightness – shadow invariance, much as Gregory's ‘inappropriate constancy scaling’ theory of geometrical illusions rests on the apparent size – distance invariance.

A study is reported of the effect of distinctive marks on the recognition of unfamiliar faces across view angles. Subjects were asked to memorize a set of target faces, half of which had distinctive marks. Recognition was assessed by presenting the target faces, either in the same orientation, or after 90° rotation, mixed with an equal number of distractors. Results show that the effect of distinctive marks depends on the view presented during learning. When a frontal view was learned, as predicted by the dual-strategy model [Valentin et al, in press, in Computational, Geometric, and Process Perspectives on Facial Cognition: Context and Challenges Eds T Wenger, J Townsend (Hillsdale, NJ: Lawrence Erlbaum Associates)], distinctive marks improve recognition performance in the 90° condition but not in the 0° condition. However, when a profile view was learned, distinctive marks have no effect on recognition performance, even in the 90° condition where a frontal view is tested.

An illusion similar to the stationary visual phantom illusion presented earlier by Gyoba (1983, Vision Research 23 205–211) is reported. This illusion is visible in photopic vision and we have tentatively named it the ‘photopic phantom illusion’. A typical example of this illusion is a white and light-gray square-wave grating occluded by a black region. In this figure, a phantom grating running across the occluder with clear contours but less contrast, is seen. The critical spatial frequencies of photopic phantoms have been measured and compared with those of scotopic phantoms that have been reported previously, revealing a great resemblance between them. We discuss the characteristics of this illusion in terms of transparency, stereoscopic viewing, and perceptual completion.

Three compelling luminance-gradient effects are described. The first effect concerns a brightness enhancement and a luminous mist spreading out from a central area having the same luminance as the white background and surrounded by four rectangular inducers shaded with a linear luminance gradient. The second effect is perceived with a photographically reversed configuration, and concerns what may be considered a brightness reduction or the enhancement of a darkness quality of a target area of the visual scene. The third effect concerns the perception of a self-luminous disk inside a somewhat foggy medium. The effects are worthy of further examination because they challenge current theories of luminosity perception and brightness perception in general.

We examined the influence of the height of the internal features of faces on adults' ratings of attractiveness and on 5-month-olds' looking times. Subjects viewed drawings or coloured photographs of faces presented in pairs that were identical except that the internal features were at a low height, with a large forehead and small chin; at a high height, with a small forehead and large chin; or at a medium height. Adults rated faces with their features at the medium and low heights as more attractive than faces with their features at the high height, and, at least for drawings, rated faces with medium features as more attractive than faces with low features. Babies looked equally long at faces with their features at various heights except for looking slightly longer at faces with high rather than low features. The results suggest that the influence of feature height on reactions to faces is different for adults and 5-month-olds, and hence that it may be shaped by cultural learning and/or experience with faces sometime after early infancy.

Vibrotactile prostheses for deaf or blind persons have been applied to any number of different locations on the body, including the finger, wrist, forearm, abdomen, back, and nape of the neck. The discriminability of patterns presented by such devices can be affected by the acuity of the site of application and the resolution of the display. In addition, the mutual influences among stimuli close together in both space and time can affect percepts within a broad range of parameters. For example, consideration must be given to a variety of tactile illusions often associated with the spatial separations and the range of temporal intervals typically used in cutaneous communication displays. Experiments are reported in which magnitude estimates and cross-modality matches of perceived extent produced by pairs of vibrotactile taps presented to separate loci were obtained on three different body sites. Perceived distance was directly related both to the timing between the taps and to their physical separation. The findings show a consistent relationship to cortical magnification across body sites.

A typical Ternus display has three sequentially presented frames, in which frame 1 consists of three motion tokens, frame 2 (blank) defines the interstimulus interval, and frame 3 has similar motion tokens with their relative positions shifted to the right. Interestingly, what appears to be a seemingly simple arrangement of stimuli can induce one of two distinct apparent-motion percepts in the observer. The first is an element-motion perception where the left-end token is seen to jump over its two neighboring tokens (inner tokens) to the right end of the display. The second is a group-motion perception where the entire display of the three tokens is seen to move to the right. How does the visual system choose between these two apparent-motion perceptions? It is hypothesized that the choice of motion perception is determined in part by the perceptual organization of the motion tokens. Specifically, a group-motion perception is experienced when a strong grouping tendency exists among the motion tokens belonging to the same frame. Conversely, an element-motion perception is experienced when a strong grouping tendency exists between the inner motion tokens in frames 1 and 3 (ie the two tokens that overlap in space between frames). We tested this hypothesis by varying the perceptual organization of the motion tokens. Both spatial (form similarity, 3-D proximity, common surface/common region, and occlusion) and temporal (motion priming) factors of perceptual organization were tested. We found that the apparent-motion percept of the Ternus display can be predictably affected, in a manner consistent with the perceptual organization hypothesis.

The effects of a foreground stimulus on vection (illusory perception of self-motion induced by a moving background stimulus) were examined in two experiments. The experiments reveal that the presentation of a foreground pattern with a moving background stimulus may affect vection. The foreground stimulus facilitated vection strength when it remained stationary or moved slowly in the opposite direction to that of the background stimulus. On the other hand, there was a strong inhibition of vection when the foreground stimulus moved slowly with, or quickly against, the background. These results suggest that foreground stimuli, as well as background stimuli, play an important role in perceiving self-motion.

We tested the semantic coding hypothesis, which states that cross-modal interactions observed in speeded classification tasks arise after perceptual information is recoded into an abstract format common to perceptual and linguistic systems. Using a speeded classification task, we first confirmed the presence of congruence interactions between auditory pitch and visual lightness and observed Garner-type interference with nonlinguistic (perceptual) stimuli (low-frequency and high-frequency tones, black and white squares). Subsequently, we found that modifying the visual stimuli by (a) making them lexical (related words) or (b) reducing their compactness or figural ‘goodness’ altered congruence effects and Garner interference. The results are consistent with the semantic coding hypothesis, but only in part, and suggest the need for additional assumptions regarding the role of perceptual organization in cross-modal dimensional interactions.