Perception

A display with a luminance gradient was shown to induce a strong lightness illusion (Logvinenko, 1999 Perception 28 803–816). However, a 3-D cardboard model of this display was found to produce a much weaker illusion (less than half that in the pictorial version) despite the fact that its retinal image is practically the same. This is in line with the hypothesis that simultaneous lightness contrast is solely a phenomenon of pictorial perception (Logvinenko et al, 2002 Perception 31 73–82). The residual lightness illusion in the 3-D model can be accounted for by the fact that this model is a hybrid display. Specifically, while it is a real object, a pictorial representation (of the illumination gradient) is superimposed on it. Thus, lightness in the 3-D display is a compromise between two opposite tendencies: the background-independent lightness constancy and the lightness illusory shift induced by the luminance gradient.

The apparent lightness of a surface can be strongly modulated by the spatial context in which it is embedded. Early theories of such context dependence emphasized the role of low-level mechanisms that sense border contrast, whereas a number of recent authors have emphasized the role of perceptual organization in determining perceived lightness. One of the simplest and most theoretically challenging lightness illusions was described by White. This illusion has been explained with a variety of different models, ranging from low-level filter outputs to computations underlying the extraction of mid-level representations of surfaces. Here, I present a new method for determining the organizational forces that shape this illusion. I show that the spatial context of White's pattern not only transforms the apparent lightness of homogeneous target patches, but can also induce dramatic inversions of figure–ground relationships of textured target regions. These phenomena provide new evidence for the role of scission in causing the lightness illusion experienced in White's effect.

A fundamental challenge in face recognition lies in determining which facial characteristics are important in the identification of faces. Several studies have indicated the significance of certain facial features in this regard, particularly internal ones such as the eyes and mouth. Surprisingly, however, one rather prominent facial feature has received little attention in this domain: the eyebrows. Past work has examined the role of eyebrows in emotional expression and nonverbal communication, as well as in facial aesthetics and sexual dimorphism. However, it has not been made clear whether the eyebrows play an important role in the identification of faces. Here, we report experimental results which suggest that for face recognition the eyebrows may be at least as influential as the eyes. Specifically, we find that the absence of eyebrows in familiar faces leads to a very large and significant disruption in recognition performance. In fact, a significantly greater decrement in face recognition is observed in the absence of eyebrows than in the absence of eyes. These results may have important implications for our understanding of the mechanisms of face recognition in humans as well as for the development of artificial face-recognition systems.

Perceptual rivalry is an oscillation of conscious experience that takes place despite univarying, if ambiguous, sensory input. Much current interest is focused on the controversy over the neural site of binocular rivalry, a variety of perceptual rivalry for which a number of different cortical regions have been implicated. Debate continues over the relative role of higher levels of processing compared with primary visual cortex and the suggestion that different forms of rivalry involve different cortical areas. Here we show that the temporal pattern of disappearance and reappearance in motion-induced blindness (MIB) (Bonneh et al, 2001 Nature 411 798–801) is highly correlated with the pattern of oscillation reported during binocular rivalry in the same individual. This correlation holds over a wide range of inter-individual variation. Temporal similarity in the two phenomena was strikingly confirmed by the effects of the hallucinogen LSD, which produced the same, extraordinary, pattern of increased rhythmicity in both kinds of perceptual oscillation. Furthermore, MIB demonstrates the two properties previously considered characteristic of binocular rivalry. Namely the distribution of dominance periods can be approximated by a gamma distribution and, in line with Levelt's second proposition of binocular rivalry, predominance of one perceptual phase can be increased through a reduction in the predominance time of the opposing phase. We conclude that (i) MIB is a form of perceptual rivalry, and (ii) there may be a common oscillator responsible for timing aspects of all forms of perceptual rivalry.

Previous studies on spatial memory have shown that, in judging direction, participants are more accurate and faster when a map is aligned with the perspective of the spatial layout they had learned (alignment effect). Rossano and Warren (1989 Perception 18 215–229) have shown that when participants have to do a contra-aligned judgment they can either answer correctly, or make alignment or mirror-image errors. We think that the kind of response depends on the different way in which people acquire environmental knowledge: landmark, route, and survey. We hypothesise that landmark and route participants show alignment effects and make, respectively, alignment errors and mirror-image errors, whereas survey participants do not show an alignment effect. An experiment is reported in which participants performed three tasks in order to distinguish their cognitive style. We selected thirty landmark, thirty route, and twenty-eight survey participants. They were then submitted to directional judgment tasks to verify whether the alignment effect was present and to observe the kind of responses. The results revealed that survey participants did not show an alignment effect, and that the kind of errors could depend on the directional judgment task participants had to do, and not only on the cognitive style.

Gaia, a totally blind girl, was asked to make raised-line drawings. Gaia's vision at best was peripheral. She draws out of interest, and has drawn since preschool with encouragement from her mother. She was asked to draw objects and scenes involving depth from a vantage point, eg a table from below, two cars (one behind the other), and two parallel rows of apples (receding from her, on a table top). Gaia represented space in her drawings using T-junctions for overlap, height in the picture plane, parallel projection, and inverse projection. That is, Gaia uses features of systems common in sighted children's drawings. The development of drawing in blind and sighted children may be similar in good measure because haptics provides access to many of the same spatial principles as vision.

Two experiments on categorical rhythm perception are reported, the object of which was to investigate how listeners perceive discrete rhythmic categories while listening to rhythms performed on a continuous time scale. This is studied by considering the space of all temporal patterns (all possible rhythms made up of three intervals) and how they, in perception, are partitioned into categories, ie where the boundaries of these categories are located. This process of categorisation is formalised as the mapping from the continuous space of a series of time intervals to a discrete, symbolic domain of integer-ratio sequences. The methodological framework uses concepts from mathematics and psychology (eg convexity and entropy) that allow precise characterisations of the empirical results.

In the first experiment, twenty-nine participants performed an identification task with 66 rhythmic stimuli (a systematic sampling of the performance space). The results show that listeners do not just perceive the time intervals between onsets of sounds as placed in a homogeneous continuum. Instead, they can reliably identify rhythmic categories, as a chronotopic time clumping map reveals. In a second experiment, the effect of metric priming was studied by presenting the same stimuli but preceded with a duple or triple metre subdivision. It is shown that presenting patterns in the context of a metre has a large effect on rhythmic categorisation: the presence of a specific musical metre primes the perception of specific rhythmic patterns.

The Pulfrich effect yields a perceived depth for horizontally moving objects but not for vertically moving ones. In this study the Pulfrich effect was measured by translating oblique lines seen through a circular window, which made motion direction ambiguous. Overlaying random dots that moved horizontally, vertically, or diagonally controlled the perceptual motion direction of the lines. In experiment 1, when the lines were seen to move horizontally, the effect was strongest in spite of the same physical motion of the lines. Experiment 2 was performed to test the above conditions again, excluding the Pulfrich effect of the dots on the depth of the lines. The overlaid dots were presented to one eye only. The result showed that the Pulfrich effect of the lines was persistently strong in spite of the perceptual changes in motion direction. Experiment 3 also showed that the Pulfrich depth was independent of the perceived horizontal speed in a plaid display. The Pulfrich effect was determined by measuring the horizontal disparity component, independently of the perceived motion direction. These results demonstrate that the aperture problems in motion and stereopsis in the Pulfrich effect are solved independently.

Ambiguity has long been used as a probe into visual processing. Here, we describe a new dynamic ambiguous figure—the chimeric point-light walker—which we hope will prove to be a useful tool for exploring biological motion. We begin by describing the construction of the stimulus and discussing the compelling finding that, when presented in a mask, observers consistently fail to notice anything odd about the walker, reporting instead that they are watching an unambiguous figure moving either to the left or right. Some observers report that the initial percept fluctuates, moving first to the left, then to the right, or vice versa; others always perceive a constant direction. All observers, when briefly shown the unmasked ambiguous figure, have no difficulty in perceiving the novel motion pattern once the mask is returned. These two findings—the initial report of unambiguous motion and the subsequent ‘primed’ perception of the ambiguity—are both consistent with an important role for top–down processing in biological motion. We conclude by suggesting several domains within the realm of biological-motion processing where this simple stimulus may prove to be useful.