James A. Schirillo

Visual Localization Ability Influences Cross-Modal Bias

The ability of a visual signal to influence the localization of an auditory target (i.e., cross-modal bias) was examined as a function of the spatial disparity between the two stimuli and their absolute locations in space. Three experimental issues were examined: (a) the effect of a spatially disparate visual stimulus on auditory localization judgments; (b) how the ability to localize visual, auditory, and spatially aligned multi-sensory (visual-auditory) targets is related to cross-modal bias, and (c) the relationship between the magnitude of cross-modal bias and the perception that the two stimuli are spatially unified (i.e., originate from the same location). Whereas variability in localization of auditory targets was large and fairly uniform for all tested locations, variability in localizing visual or spatially aligned multisensory targets was much smaller, and increased with increasing distance from the midline. This trend proved to be strongly correlated with biasing effectiveness, for although visual-auditory bias was unexpectedly large in all conditions tested, it decreased progressively (as localization variability increased) with increasing distance from the mid-line. Thus, central visual stimuli had a substantially greater biasing effect on auditory target localization than did more peripheral visual stimuli. It was also apparent that cross-modal bias decreased as the degree of visual-auditory disparity increased. Consequently, the greatest visual-auditory biases were obtained with small disparities at central locations. In all cases, the magnitude of these biases covaried with judgments of spatial unity. The results suggest that functional properties of the visual system play the predominant role in determining these visual-auditory interactions and that cross-modal biases can be substantially greater than previously noted.

Perceived lightness, but not brightness, of achromatic surfaces depends on perceived depth information

Three experiments were conducted in an attempt to replicate and clarify Gilchrist’s (1977, 1980) experiments on the effects of depth information on judgments of achromatic surface color. Gilchrist found that coplanarity, and not retinal adjacency, was the dominant factor in determining achromatic color matches. Because such matches can be made on the basis of either brightness or lightness, we obtained judgments of both qualities. Stereopsis was added to enhance the perceived depth effect of Gilchrist’s display, which was otherwise simulated closely on a high-resolution CRT. The results for lightness followed the same pattern as those of Gilchrist, but were smaller in magnitude. This discrepancy may reflect reduced extraneous lighting effects in our displays. Our results therefore agree with related studies in suggesting that lightness matches are based on relationships among coplanar surfaces. Brightness matches, however, were not influenced by perceived depth.

The Greater Ability of Graphical Versus Numerical Displays to Increase Risk Avoidance Involves a Common Mechanism

By displaying a risk reduction of 50% graphically rather than numerically, Stone, Yates, and Parker significantly increased professed risk-avoidant behavior. The current experiments replicated this effect at various risk ratios. Specifically, participants were willing to spend more money to reduce a risk when the risk information was displayed by asterisks rather than by numbers for risk-reduction ratios ranging from 3% to 97%. Transforming the amount participants were willing to spend to logarithms significantly improved a linear fit to the data, suggesting that participants convert this variable within the decision-making process. Moreover, a log-linear model affords an exceptional fit to both the graphical and numerical data, suggesting that a graphical presentation elicits the same decision-making mechanism as does the numerical display. In addition, the data also suggest that each person removed from harm is weighted more by some additional factor in the graphical compared to the numerical presentations.

SURROUND ARTICULATION. II. LIGHTNESS JUDGMENTS

It has been hypothesized that to achieve color constancy, lightness judgments require an estimate of the illuminant. A companion paper [J. Opt. Soc. Am. A 16, 793 (1999)] suggests that surround articulation enhances the likelihood that a global luminance edge will be interpreted as being due to changes in illumination rather than in reflectance. Articulation is the process of adding equally spaced incremental and decremental patches within a surround while preserving the surrounds space-average luminance. Such a process results in lightness judgments that correlate perfectly with equal local ratio matches. For decrements, lightness constancy does not require articulation. These findings help explain why Arend and Goldstein [J. Opt. Soc. Am. A 4, 2281 (1987)] obtained color constancy with complex Mondrian surrounds but not with simple center surrounds.

Asymmetrical facial expressions in portraits and hemispheric laterality: A literature review

Studies of facial asymmetry have revealed that the left and the right sides of the face differ in emotional attributes. This paper reviews many of these distinctions to determine how these asymmetries influence portrait paintings. It does so by relating research involving emotional expression to aesthetic pleasantness in portraits. For example, facial expressions are often asymmetrical—the left side of the face is more emotionally expressive and more often connotes negative emotions than the right side. Interestingly, artists tend to expose more of their posers left cheek than their right. This is significant, in that artists also portray more females than males with their left cheek exposed. Reasons for these psychological findings lead to explanations for the aesthetic leftward bias in portraiture.

Hemispheric asymmetries and gender influence Rembrandt's portrait orientations

For centuries painters have predominantly painted portraits with the models left-cheek facing the viewer. This has been even more prevalent with females ( approximately 68%) than males ( approximately 56%). Numerous portraits painted by Rembrandt typify this unexplained phenomenon. In a preliminary experiment, subjects judged 24 emotional and social character traits in 20 portraits by Rembrandt. A factor analysis revealed that females with their left cheek exposed were judged to be much less socially appealing than less commonly painted right-cheeked females. Conversely, the more commonly painted right-cheeked males were judged to be more socially appealing than either left-cheeked males or females facing either direction. It is hypothesized that hemispheric asymmetries regulating emotional facial displays of approach and avoidance influenced the side of the face Rembrandts models exposed due to prevailing social norms. A second experiment had different subjects judge a different collection of 20 portraits by Rembrandt and their mirror images. Mirror-reversed images produced the same pattern of results as their original orientation counterparts. Consequently, hemispheric asymmetries that specify the emotional expression on each side of the face are posited to account for the obtained results.

The Effect of Photon Noise on the Detection of White Flashes

Thresholds for detecting brief, white, foveal test flashes drop abruptly within 0.2 sec of the offset of a white adapting field. The magnitude of the abrupt drop is proportional to the square root of field intensity (square root of I) correct for bleaching and dark light. Thresholds are then stable out to 1.6 sec for 200 msec tests, or recover only slightly for 20 msec tests. These results exclude some simple deterministic models in which Weber-like gain controls in the luminance pathway are assumed to recover exponentially in the dark, but can be explained parsimoniously if turning off the field abolishes photon-driven noise, improving the S/N ratio while leaving visual responsivity virtually unaltered. This theory was first put forward by Krauskopf and Reeves [(1980) Vision Research, 20, 193-196] for S-cone thresholds; it implies that the Weber law for increment thresholds is not due to a single gain control, but rather expresses the product of two distinct square root of I factors, adjustment of responsivity and photon-driven noise. Removal of the noise, not recovery of gain, permits thresholds to fall in early dark adaptation.

An Account of Brightness in Complex Scenes Based on Inferred Illumination

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.

Lightness, equivalent backgrounds, and anchoring

Observers compared two center/surround configurations haploscopically. One configuration consisted of a standard surface surrounded by two, three, or four surfaces, each with a different luminance. The other configuration consisted of a comparison surface surrounded by a single annulus that varied in luminance. Center surfaces always had the same luminance but only appeared to have the same lightness with certain annuli (equivalent backgrounds). For most displays, the luminance needed to obtain an equivalent background was close to the highest luminance in the standard surround configuration. Models based on the space-average luminance or the space-average contrast of the standard surround configuration yielded poorer fits. Implications for computational models of lightness and for candidate solutions to the anchoring problem are discussed.

Emotive hemispheric differences measured in real-life portraits using pupil diameter and subjective aesthetic preferences

The biased positioning of faces exposed to viewers of Western portraiture has suggested there may be fundamental differences in the lateralized expression and perception of emotion. The present study investigates whether there are differences in the perception of the left and right sides of the face in real-life photographs of individuals. The study paired conscious aesthetic ratings of pleasantness with measurements of pupil size, which are thought to be a reliable unconscious measure of interest first tested by Hess. Images of 10 men and 10 women were taken from the left and right sides of the face. These images were also mirror-reversed. As expected, we found a strong preference for left-sided portraits (regardless of original or mirror-reversed orientation), such that left hemifaces elicited higher ratings and greater pupil dilation. Interestingly, this effect was true of both sexes. A positive linear relationship was also found between pupil size and aesthetic ratings such that pupil size increased with pleasantness ratings. These findings provide support for the notions of lateralized emotion, right-hemispheric dominance, pupillary dilation to pleasant images, and constriction to unpleasant images.