Rossana Actis-Grosso

Shifting the start: backward mislocation of the initial position of a motion.

Participants asked to judge the final position of a moving target typically indicate a position shifted forward. In the 6 experiments reported here, participants were asked to indicate both the starting position (SP) and the vanishing position (VP) at the onset and offset of a moving target. Results confirmed the forward displacement of the VP and showed a backward displacement of the SP. To test whether perceptual estimation was influenced by curvature of the trajectory, curvilinear motions were also used. Results showed that apparent displacements are along the geometrical tangents to the SP and VP. Relationships between the results and other findings such as the flash-lag effect the representational momentum, and the Fröhlich effect are discussed.

Simultaneous Lightness Contrast with Double Increments

In this paper we demonstrate the existence of simultaneous lightness contrast in displays in which the target patches are both more luminant than their surrounds. These effects are not predicted by theories of lightness that assume that the highest luminance in a scene is perceived as white, and anchors all the other luminances. We show that the strength of double-increment illusions depends crucially on the luminance of both the surrounds and the target patches. Such luminance prerequisites were not met in previous studies, which explains why simultaneous contrast with incremental targets has so far been regarded as extremely weak or nonexistent.

Simultaneous Lightness Contrast on Plain and Articulated Surrounds

Simultaneous lightness contrast is stronger when the dark and light backgrounds of the classic display (where one of the targets is an increment and the other is a decrement) are replaced by articulated fields of equivalent average luminances. Although routinely attributed to articulation per se, this effect may simply result from the increase in highest luminance in the light articulated, vs plain, background; by locally darkening the decremental target, such an increase would amplify the difference between the targets. We disentangled the effects of highest luminance and articulation by measuring, separately, the magnitude of lightness contrast on dark and light plain and articulated backgrounds. We found that highest luminance and articulation contribute separately to the final illusion.

Forward to the past

Our daily experience shows that the CNS is a highly efficient machine to predict the effect of actions into the future; are we so efficient also in reconstructing the past of an action? Previous studies demonstrated we are more effective in extrapolating the final position of a stimulus moving according to biological kinematic laws. Here we address the complementary question: are we more effective in extrapolating the starting position (SP) of a motion following a biological velocity profile? We presented a dot moving upward and corresponding to vertical arm movements that were masked in the first part of the trajectory. The stimulus could either move according to biological or non-biological kinematic laws of motion. Results show a better efficacy in reconstructing the SP of a natural motion: participants demonstrate to reconstruct coherently only the SP of the biological condition. When the motion violates the biological kinematic law, responses are scattered and show a tendency toward larger errors. Instead, in a control experiment where the full motions were displayed, no-difference between biological and non-biological motions is found. Results are discussed in light of potential mechanisms involved in visual inference. We propose that as soon as the target appears the cortical motor area would generate an internal representation of reaching movement. When the visual input and the stored kinematic template match, the SP is traced back on the basis of this memory template, making more effective the SP reconstruction.

The representation of time course events in visual arts and the development of the concept of time in children: a preliminary study.

By means of a careful search we found several representations of dynamic contents of events that show how the depiction of the passage of time in the visual arts has evolved gradually through a series of modifications and adaptations. The general hypothesis we started to investigate is that the evolution of the representation of the time course in visual arts is mirrored in the evolution of the concept of time in children, who, according to Piaget (1946), undergo three stages in their ability to conceptualize time. Crucial for our hypothesis is Stage II, in which children become progressively able to link the different phases of an event, but vacillate between what Piaget termed intuitive regulations, not being able to understand all the different aspects of a given situation. We found several pictorial representations - mainly dated back to the 14th to 15th century - that seem to fit within a Stage II of childrens comprehension of time. According to our hypothesis, this type of pictorial representations should be immediately understood only by those children who are at Piagets Stage II of time conceptualization. This implies that children at Stages I and III should not be able to understand the representation of time courses in the aforementioned paintings. An experiment was run to verify the agreement between childrens collocation within Piagets three stages - as indicated by an adaptation of Piagets original experiment - and their understanding of pictorial representations that should be considered as Stage II type of representations of time courses. Despite the small sample of children examined so far, results seem to support our hypothesis. A follow-up (Experiment 2) on the same children was also run one year later in order to verify other possible explanations. Results from the two experiments suggest that the study of the visual arts can aid our understanding of the development of the concept of time, and it can also help to distinguish between the perceptual and the cognitive constraints (i.e. representational or cultural) in the representation of the succession of events.

Can music be figurative? Exploring the possibility of crossmodal similarities between music and visual arts

According to both experimental research and common sense, classical music is a better fit for figurative art than jazz. We hypothesize that similar fits may reflect underlying cross-modal structural similarities between music and painting genres. We present two preliminary studies aimed at addressing our hypothesis. Experiment 1 tested the goodness of the fit between two music genres (classical and jazz) and two painting genres (figurative and abstract). Participants were presented with twenty sets of six paintings (three figurative, three abstract) viewed in combination with three sound conditions: 1) silence, 2) classical music, or 3) jazz. While figurative paintings scored higher aesthetic appreciation than abstract ones, a gender effect was also found: the aesthetic appreciation of paintings in male participants was modulated by music genre, whilst music genre did not affect the aesthetic appreciation in female participants. Our results support only in part the notion that classical music enhances the aesthetic appreciation of figurative art. Experiment 2 aimed at testing whether the conceptual categories ‘figurative’ and ‘abstract’ can be extended also to music. In session 1, participants were first asked to classify 30 paintings (10 abstract, 10 figurative, 10 ambiguous that could fit either category) as abstract or figurative and then to rate them for pleasantness; in session 2 participants were asked to classify 40 excerpts of music (20 classical, 20 jazz) as abstract or figurative and to rate them for pleasantness. Paintings which were clearly abstract or figurative were all classified accordingly, while the majority of ambiguous paintings were classified as abstract. Results also show a gender effect for painting’s pleasantness: female participants rated higher ambiguous and abstract paintings. More interestingly, results show an effect of music genre on classification, showing that it is possible to classify music as figurative or abstract, thus supporting the hypothesis of cross-modal similarities between the two sensory-different artistic expressions.

Gender related effects of music listening on aestethic appreciation of visual artwork

Introduction. In general terms, common sense tells us that classic music is a better fit for figurative artworks than jazz or “modern” (XXth century) classic music. It therefore appears reasonable to assume that admiring a painting while listening to music that matches in style the painting should increase its aesthetic appreciation. Past research has already focused on similar issues. In particular, Parrott (1982) reported additive effects of music and paintings on emotional judgements, however with a higher impact of paintings on music than vice versa. Limbert and Polzella (1998), instead, attempted to match paintings and music styles, finding that, with regards to paintings, matching music affected the level of aesthetic appreciation of paintings. However they also noticed that impressionist music incremented the appreciation of all paintings regardless of their style. While no gender effects were reported in their work, Polzella (2000) reported gender differences in painting appreciation related to artistic style, but not in relation to the simultaneous presentation of music and paintings. Finally, Koning and van Lier (2013) conducted a study in which they matched landscapes by William Turner to classical music and abstract paintings by Wassily Kandinsky to jazz, finding that matching music affected positively the aesthetic appreciation of both painting styles. No gender effects were reported.