Manfredo Massironi

The Wundt-Jastrow illusion in the study of spatial hemi-inattention

A new test to detect unilateral neglect was devised using a modified version of the Wundt-Jastrow area illusion. The test was given to three groups of subjects: left brain damaged (LBD), right brain damaged (RBD) patients and controls. Of RBD patients, 40.4% but no LBD patient or control, showed responses inconsistent with the visual illusion when the determinant features of the illusion pointed to the left visual field. These unexpected responses were highly related to a clinical evaluation of the severity of the hemi-inattention disorder. The sensitivity of this test and of other standard measures of hemi-neglect were compared. The possibility of identifying qualitatively different forms of hemi-neglect was also discussed.

Contrast sensitivity and low spatial frequency discrimimation in hemi-neglect patients

Contrast sensitivity for sinusoidal gratings of different spatial frequencies and low spatial frequency discrimination of high contrast squarewave gratings were measured in 26 right brain damaged patients, 15 of whom showed symptoms of spatial hemi-neglect. No difference was present between neglect and non-neglect patients in either task. A difference in contrast sensitivity restricted to low spatial frequencies was present between controls and patients, independent of neglect. Overall, results indicated that spatial vision at threshold and suprathreshold levels is not selectively impaired in patients with hemi-neglect, a finding consistent with theories which postulate a post-perceptual locus of impairment in this syndrome.

Organizational versus Geometric Factors in Mental Rotation and Folding Tasks

The criteria used in performing mental rotation or mental folding tasks were studied with a paradigm that did not involve reaction times. The hypothesis was that, when perceptual-organizational factors come into conflict with the geometric features required for the correct execution of such tasks, it is the former that prevail. To verify this hypothesis two experiments were carried out. In experiment 1, subjects were asked to imagine quadrilaterals rotating round a rotation axis at different inclinations. Their responses were dependent both on the degree of tilt of the rotation axis and on the degree of tilt of the quadrilateral with respect to the rotation axis. Experiment 2 consisted of the mental execution of a folding task. In this case too, the responses depended on the degree of tilt of the folding axis and also on the complexity of the stimulus outline. In both experiments responses were divided into two groups: (i) geometrically correct responses and (ii) responses which, although incorrect, were based on perceptual-organizational criteria. In the light of the results, some theoretical implications regarding transformation operations executed by means of mental images are discussed.

The perception of spatial structure with oblique viewing: an explanation for Byzantine perspective?

Earlier work has confirmed that (i) observers can judge divergent receding lines, placed directly in front of them, to be parallel, and (ii) converging lines which are displaced laterally, so that they are viewed obliquely, can also be judged to be parallel. The former observation is in accord with traditional views of perspective while the latter, which is in accord with the depictions of objects found in Byzantine painting, is not in accord with perspective but is predicted by the relative magnitude of the visual angles subtended by the near and far ends of the pair of lines. To investigate whether these effects occurred when the stimulus was clearly three-dimensional, experiments were conducted with a novel apparatus, consisting of a framework of computer-controlled motor-driven luminous rods. This could be remotely adjusted so that all visible sides appeared to be parallel, ie to resemble a cube. Results showed that observers set the sides of this trapezohedron framework as diverging when it was viewed immediately in front of them, a result which is concordant with linear perspective, ie they see the normal projection of a cube as having converging edges. When the framework was displaced from the median plane so that it was viewed obliquely, the sides were set as converging and the magnitude of this effect was significantly related to angle of view, ie observers see the normal projection of a cube as having diverging sides. These results confirm the suggestion that ‘Byzantine perspective’ is a legitimate reflection of perceptual experience, but they do not provide an explanation why the perception of laterally viewed objects was adopted as a model for centrally depicted patterns.

Chapter 20 The study of vividness of images

Publisher Summary This chapter summarizes some studies that have carried out on vividness of images. In a first series of experiments, variables that may affect vividness ratings were examined. In a second series, the vividness rating procedure was used to contrast different conditions and groups of subjects. By focusing on vividness qualities of images, the chapter aims to suggest that the study of the structural properties of mental images is no less important than the study of their functional properties. To examine the effects on the vividness ratings of groups of different imagery ability, the IDQ imagery test was administered to 88 University students. The main result concerning vividness found in this series of experiments was that all of the six identified characteristics contributed in some way to the vividness of an image. The second series of experiments illustrates how the consideration of the different vividness properties of the images may help in studying critical problems concerning visual imagery.

A New Visual Problem: Phenomenic Folding

It is possible to produce outline drawings that are perceived as representations of sheets or plates folded over themselves. However, only some of the many possible representations are immediately and necessarily perceived as such. Investigations were carried out to find out which elements must be included in a drawing if a subject is to perceive folding. Four necessary, though not individually sufficient, factors were detected. Other factors which are not necessary but which can intensify the perception of folding were also found. The four necessary factors are: (i) the existence of two phenomenically overlapping figures; (ii) at least one side of the upper figure must perfectly coincide with one side of the lower figure, this common side being defined as the folding line; (iii) the two phenomenically overlapping areas must be on the same side of the folding line; (iv) three segments must converge at the ends of the folding line. Some cognitive processes which appear to be involved in the phenomenon are also discussed.

Colours in black and white : The depiction of lightness and brightness in achromatic engravings before the invention of photography

What is it like to see the world in black and white? In the pioneer days of cinema, when movies displayed grey worlds, was it true that no ‘colours’ were actually seen? Did every object seen in those projections appear grey in the same way? The answer is obviously no-people in those glorious days were seeing a world full of light, shadows, and objects in which colours were expressed in terms of lightness. But the marvels of grey worlds have not always been so richly displayed. Before the invention of photography, the depiction of scenes in black-and-white had to face some technical and perceptual challenges. We have studied the technical and perceptual constraints that XV-XVIII century engravers had to face in order to translate actual colours into shades of grey. An indeterminacy principle is considered, according to which artists had to prefer the representation of some object or scene features over others (for example brightness over lightness). The reasons for this lay between the kind of grey scale technically available and the kind of information used in the construction of 3-D scenes. With the invention of photography, photomechanical reproductions, and new printing solutions, artists had at their disposal a continuous grey scale that greatly reduces the constraints of the indeterminacy principle.

Why anamorphoses look as they do: an experimental study.

The aim of this research was to understand why anamorphic images break up until they are unrecognizable when the observers eye moves away from the regularization point. An experimental device was set up allowing the anamorphic deformation of images, consisting of a rotating screen on which figures were projected. The point from which subjects observed the screen was far from the projecting point. The projected figures lengthened equally when the screen rotated either clockwise or counterclockwise. On the other hand, the perceptual result was the opposite: in the former case, a rigid figure was seen rotating around its own vertical axis; in the latter case, the same figure was seen elongating or shortening in a non-rigid manner, without rotating. Since we were in a projective condition, the invariance of the cross-ratio was maintained. Therefore, we were in a situation of non-rigidity, in spite of the invariance of the cross-ratio. Three stimuli, white on a black background, were used in experiment 1. They were a segment, three aligned points, and four aligned points. Subjects had to rotate the screen at will and stop it at the point when they saw the transformation of movement from rigid rotation to non-rigid elongation. The results showed that: (i) in spite of being a projective invariant, the cross-ratio is not always a perceptual invariant too; (ii) the threshold screen position between the two motions was located at the position where the modifications of the solid angle subtended to the stimulus assumed a different trend from that of a sinusoid. Two stimuli were used in experiment 2: a continuous segment and one intersected by four vertical lines. The aim was the same as for experiment 1, but subjects had to repeat it from five different points of observation. The results showed that: (1) there was no significant difference depending on type of stimulus, indicating that the computability of the cross-ratio is not a necessary condition for the execution of the task; (2) the more the observer moved away from the projection axis, the more evident the distortion of the stimulus appeared, in accordance with what happens when observing an anamorphosis; (3) when the metamorphosis from rigid motion to elastic motion was seen the visual angle subtended to the stimulus was constant for all distances from the projection axis, in accordance with the hypothesis of rigidity.

Perceptual Illusions in Imagery

A mental image is in many ways analogous to a percept but it is not completely identical to it. In some respects, visual perception and visual imagery work in different ways. One area which is worth examining with regard to similarities and asymmetries between perception and imagery is the initial phases of visual information processing. The literature includes some references to the equivalence of imagery and perception in optical illusions, but data are contradictory. In our view, a mental image should not be particularly sensitive to variables which are critical in producing an optical illusion, i.e., variables affecting the early phases of information processing and field global effects. Our hypothesis is that an optical illusion will be present in a perception condition but not in an equivalent imagery condition. To test this, we carried out two experiments using the Ebbinghaus illusion and the Ponzo illusion. The results confirmed our hypothesis, demonstrating that there are indeed asymmetries betwe...

The perception of surface folding in static and animated displays

How do we interpret outline drawings of surfaces? Although pictorial depictions are projectively ambiguous, observers demonstrate definite preferences of interpretation. Additionally, they commit typical errors. A study is reported of one specific arrangement of surfaces as it is represented in outline drawings, namely the arrangement that results when two arbitrary surfaces are joined at a common edge to form an angle in 3-D (‘phenomenic folding’). With some of these arrangements, observers report that the angle formed by the two surfaces is zero (complete folding). With others, they report that the angles are greater than zero (incomplete folding). Both interpretations are actually valid. Several investigators have proposed that observer preferences such as these are due to a tendency to prefer a 3-D interpretation that will make the depicted 3-D shape regular. Three experiments were performed to test this regularisation hypothesis. In the first, observers were shown pairs of four-sided polygons joined at one equal side. Their task was to imagine how the smaller polygon could be folded completely towards the larger, and, subsequently, to report on its position after the folding (‘mental folding’). Reported positions were consistent with 3-D interpretations that caused figural regularisations. In the second and third experiments, observers were shown drawings of diamonds and parallelograms folded along a number of differently positioned and oriented segments (‘folding edge’). Their task was to estimate verbally the extent of the dihedral angle formed by the two surfaces. Results indicated that the perception of incomplete folding is determined by 3-D interpretation of the orientation of the drawing with respect to the picture plane. In a fourth experiment, observers were asked whether projective equivalences might be disambiguated by animating two kinds of displays that yield the ‘incomplete folding’ effect but that should be distinguishable on the basis of the trajectories of the vertexes of the folding parts. Results demonstrated that even in these conditions observers are unable to interpret the foldings correctly. These results might be taken to indicate that projective, static information leading to a simpler and more regular interpretation of the display can prevail over explicit motion information that should force the system to achieve a nonregular solution.