Branka Spehar

A functional angle on some after-effects in cortical vision

The question of how our brains and those of other animals code sensory information is of fundamental importance to neuroscience research. Visual illusions offer valuable insight into the mechanisms of perceptual coding. One such illusion, the tilt after–effect (TAE), has been studied extensively since the 1930s, yet a full explanation of the effect has remained elusive. Here, we put forward an explanation of the TAE in terms of a functional role for adaptation in the visual cortex. The proposed model accounts not only for the phenomenology of the TAE, but also for spatial interactions in perceived tilt and the effects of adaptation on the perception of direction of motion and colour. We discuss the implications of the model for understanding the effects of adaptation and surround stimulation on the response properties of cortical neurons.

Universal aesthetic of fractals

Abstract Since their discovery by Mandelbrot (The Fractal Geometry of Nature, Freeman, New York, 1977), fractals have experienced considerable success in quantifying the complex structure exhibited by many natural patterns and have captured the imaginations of scientists and artists alike. With ever-widening appeal, they have been referred to both as “fingerprints of nature” (Nature 399 (1999) 422) and “the new aesthetics” (J. Hum. Psychol. 41 (2001) 59). Here, we show that humans display a consistent aesthetic preference across fractal images, regardless of whether these images are generated by natures processes, by mathematics, or by the human hand.

Lightness, brightness, and brightness contrast: 1. Illuminance variation

Changes of annulus luminance in traditional disk-and-annulus patterns are perceptually ambiguous; they could be either reflectance or illuminance changes. In more complicated patterns, apparent reflectances are less ambiguous, letting us place test and standard patchesjnpxsurrounds perceived to be different grays. Our subjects matched the apparent amounts of light coming from the patches (brightnesses), their apparent reflectances (lightnesses), or the brightness differences between the patches and their surrounds (brightness contrasts). The three criteria produced quantitatively different results. Brightness contrasts matched when the patch/surround luminance ratio of the test was approximately equal to that of the standard. Lightness matches were illumination invariant but were not exact reflectance matches; the different surrounda of test and standard produced a small illumination-invariant error. This constant error was negligible for increments, but, for decrements, it was approximately 1.5 Munsell value steps. Brightness matches covaried substantially with illuminance.

Lightness, brightness, and brightness contrast: 2. Reflectance variation

Changes of annulus luminance in traditional disk-and-annulus patterns can be perceived to be either reflectance or illuminance changes. In the present experiments, we examined the effect of varying annulus reflectance. In Experiment 1, we placed test and standard patch-and-surround patterns in identical Mondrian patchworks. Only the luminance of the test surround changed from trial to triaL., appearing as reflectance variation under constant illumination. Lightness matches were identical to brightness matches, as expected. In Experiment 2, we used only the patch and surround (no Mondrian). Instructions said that the illumination would change from trial to trial. Lightness and brightness-contrast data were identical; illumination gradients were indistinguishable from reflectance gradients. In Experiment 3, the patterns were the same, but the instructions said that the shade of gray of the test surround would change from trial to trial. Lightness matches were identical to brightness matches, again confirming the ambiguity of disk-and-annulus patterns.

The foveal confluence in human visual cortex

The human visual system devotes a significant proportion of its resources to a very small part of the visual field, the fovea. Foveal vision is crucial for natural behavior and many tasks in daily life such as reading or fine motor control. Despite its significant size, this part of cortex is rarely investigated and the limited data have resulted in competing models of the layout of the foveal confluence in primate species. Specifically, how V2 and V3 converge at the central fovea is the subject of debate in primates and has remained “terra incognita” in humans. Using high-resolution fMRI (1.2 × 1.2 × 1.2 mm3) and carefully designed visual stimuli, we sought to accurately map the human foveal confluence and hence disambiguate the competing theories. We find that V1, V2, and V3 are separable right into the center of the foveal confluence, and V1 ends as a rounded wedge with an affine mapping of the foveal singularity. The adjacent V2 and, in contrast to current concepts from macaque monkey, also V3 maps form continuous bands (∼5 mm wide) around the tip of V1. This mapping results in a highly anisotropic representation of the visual field in these areas. Unexpectedly, for the centermost 0.75°, the cortical representations for both V2 and V3 are larger than that of V1, indicating that more neuronal processing power is dedicated to second-level analysis in this small but important part of the visual field.

Interactions between color and luminance in the perception of orientation

At the early stages of visual processing in humans and other primates, chromatic signals are carried to primary visual cortex (V1) via two chromatic channels and a third achromatic (luminance) channel. The sensitivities of the channels define the three cardinal axes of color space. A long-standing though controversial hypothesis is that the cortical pathways for color and form perception maintain this early segregation with the luminance channel dominating form perception and the chromatic channels driving color perception. Here we show that a simple interaction between orientation channels (the tilt illusion) is influenced by both chromatic and luminance mechanisms. We measured the effect of oriented surround gratings upon the perceived orientation of a test grating as a function of the axes of color space along which the gratings were modulated. We found that the effect of a surround stimulus on the perceived orientation of the test is largest when both are modulated along the same axis of color space, regardless of whether that is a cardinal axis. These results show that color and orientation are intimately coupled in visual processing. Further, they suggest that the cardinal chromatic axes have no special status at the level(s) of visual cortex at which the tilt illusion is mediated.

Color constancy in variegated scenes: role of low-level mechanisms in discounting illumination changes

For a visual system to possess color constancy across varying illumination, chromatic signals from a scene must remain constant at some neural stage. We found that photoreceptor and opponent-color signals from a large sample of natural and man-made objects under one kind of natural daylight were almost perfectly correlated with the signals from those objects under every other spectrally different phase of daylight. Consequently, in scenes consisting of many objects, the effect of illumination changes on specific color mechanisms can be simulated by shifting all chromaticities by an additive or multiplicative constant along a theoretical axis. When the effect of the illuminant change was restricted to specific color mechanisms, thresholds for detecting a change in the colors in a scene were significantly elevated in the presence of spatial variations along the same chromatic axis as the simulated chromaticity shift. In a variegated scene, correlations between spatially local chromatic signals across illuminants, and the desensitization caused by eye movements across spatial variations, help the visual system to attenuate the perceptual effects that are due to changes in illumination.

Perceptual and Physiological Responses to Jackson Pollock's Fractals

Fractals have been very successful in quantifying the visual complexity exhibited by many natural patterns, and have captured the imagination of scientists and artists alike. Our research has shown that the poured patterns of the American abstract painter Jackson Pollock are also fractal. This discovery raises an intriguing possibility – are the visual characteristics of fractals responsible for the long-term appeal of Pollocks work? To address this question, we have conducted 10 years of scientific investigation of human response to fractals and here we present, for the first time, a review of this research that examines the inter-relationship between the various results. The investigations include eye tracking, visual preference, skin conductance, and EEG measurement techniques. We discuss the artistic implications of the positive perceptual and physiological responses to fractal patterns.

Induced effects of backgrounds and foregrounds in three-dimensional configurations: the role of T-junctions.

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.

The critical role of relative luminance relations in White's effect and grating induction

It has been proposed that both Whites effect and the grating induction effect are examples of brightness induction phenomena modeled in terms of local spatial filters. We have shown that for these illusions to occur it is necessary that the luminance of the gray target elements falls between that of the inducing stripes of the square-wave pattern. This critical role of luminance relationships is not predicted by existing models of these illusions.