Anticipation and transfer of expert pattern perception

Conference Theme: Meeting New Challenges and Bridging Cultural Gaps in Sport and Exercise PsychologyINTRODUCTION: When an observer views a moving object that is abruptly halted, the human perceptual system continues to extrapolate the object’s movement, predicting it’s likely pathway and misrepresenting the final stopping point as being further along the original trajectory (Freyd & Johnson, 1987). This extrapolation of the temporal features is typically referred to as “representational momentum” (Freyd, 1987; Freyd & Finke, 1984; Intraub, 2002). It has been suggested that this phenomenon occurs because participants anticipate the trajectory of the object and remember that object by integrating its predicted motion with perceptions of its implied acceleration and velocity (Didierjean & Marmèche, 2005; Finke, Freyd, & Shyi, 1986). This anticipatory trace is then stored in memory and can be accessed for subsequent recall and recognition …postprin

Tracing Motion

This document explores the use of motion within design to defamiliarize a message. The objective is to expand a viewer’s level of understanding through prolonged perception. I experiment with this idea using present-day tools which afford my own movement during the capturing process to create various visual interpretations of motion. I look to László Moholy-Nagy, Aleksandr Rodchenko and Eadweard Muybridge who explored the use of the camera, the new technology of their day, to understand its potential to create a new visual language. They believed the lens of the camera was the eye of the future—and the public’s exposure to the camera’s possibilities an enlightening transcendence. I also believe in exploring newly developed tools; in visually researching their intended and unintended use to discover new perspectives in not only the way we see and represent the world, but the way we understand and represent ourselves in relation to the study of our field

Impaired identification of impoverished animate but not inanimate objects in adults with high-functioning autism spectrum disorder

The ability to identify animate and inanimate objects from impoverished images was investigated in adults with high-functioning autism spectrum disorder (HFA) and in matched typically developed (TD) adults, using a newly developed task. Consecutive frames were presented containing Gabor elements that slightly changed orientation from one frame to the next. For a subset of elements, the changes were such that these elements gradually formed the outline of an object. Elements enclosed within the object's outline gradually adopted one and the same orientation, outside elements adopted random orientations. The subjective experience was that of an object appearing out of a fog. The HFA group required significantly more frames to identify the impoverished objects than the TD group. Crucially, this difference depended on the nature of the objects: the HFA group required significantly more frames to identify animate objects, but with respect to the identification of inanimate objects the groups did not differ. The groups also did not differ with respect to the number and type of incorrect guesses they made. The results suggest a specific impairment in individuals with HFA in identifying animate objects. A number of possible explanations are discussed

Change blindness: eradication of gestalt strategies

Arrays of eight, texture-defined rectangles were used as stimuli in a one-shot change blindness (CB) task where there was a 50% chance that one rectangle would change orientation between two successive presentations separated by an interval. CB was eliminated by cueing the target rectangle in the first stimulus, reduced by cueing in the interval and unaffected by cueing in the second presentation. This supports the idea that a representation was formed that persisted through the interval before being 'overwritten' by the second presentation (Landman et al, 2003 Vision Research 43149–164]. Another possibility is that participants used some kind of grouping or Gestalt strategy. To test this we changed the spatial position of the rectangles in the second presentation by shifting them along imaginary spokes (by ±1 degree) emanating from the central fixation point. There was no significant difference seen in performance between this and the standard task [F(1,4)=2.565, p=0.185]. This may suggest two things: (i) Gestalt grouping is not used as a strategy in these tasks, and (ii) it gives further weight to the argument that objects may be stored and retrieved from a pre-attentional store during this task

Beyond Correlation Filters: Learning Continuous Convolution Operators for Visual Tracking

Discriminative Correlation Filters (DCF) have demonstrated excellent performance for visual object tracking. The key to their success is the ability to efficiently exploit available negative data by including all shifted versions of a training sample. However, the underlying DCF formulation is restricted to single-resolution feature maps, significantly limiting its potential. In this paper, we go beyond the conventional DCF framework and introduce a novel formulation for training continuous convolution filters. We employ an implicit interpolation model to pose the learning problem in the continuous spatial domain. Our proposed formulation enables efficient integration of multi-resolution deep feature maps, leading to superior results on three object tracking benchmarks: OTB-2015 (+5.1% in mean OP), Temple-Color (+4.6% in mean OP), and VOT2015 (20% relative reduction in failure rate). Additionally, our approach is capable of sub-pixel localization, crucial for the task of accurate feature point tracking. We also demonstrate the effectiveness of our learning formulation in extensive feature point tracking experiments. Code and supplementary material are available at http://www.cvl.isy.liu.se/research/objrec/visualtracking/conttrack/index.html.Comment: Accepted at ECCV 201

Example-based control of human motion

Thesis (S.M.)--Massachusetts Institute of Technology, Dept. of Electrical Engineering and Computer Science, 2004.Includes bibliographical references (p. 41-43).In human motion control applications, the mapping between a control specification and an appropriate target motion often defies an explicit encoding. This thesis presents a method that allows such a mapping to be defined by example, given that the control specification is recorded motion. The method begins by building a database of semantically meaningful instances of the mapping, each of which is represented by synchronized segments of control and target motion. A dynamic programming algorithm can then be used to interpret an input control specification in terms of mapping instances. This interpretation induces a sequence of target segments from the database, which is concatenated to create the appropriate target motion. The method is evaluated on two examples of indirect control. In the first, it is used to synthesize a walking human character that follows a sampled trajectory. In the second, it is used generate a synthetic partner for a dancer whose motion is acquired through motion capture.by Eugene Hsu.S.M

Typography in motion: A framework of moving type use

Typography is increasingly undertaken with and mediated through Information Technologies. One of the most visible manifestations of this change is the expansion from the printed page to screen environments and device displays. Moving type is an example of a new quality of text made possible by the use of new technologies. In this study we propose a framework that can help answer questions such as why type should move at all, what benefits moving type can offer, and how it can be best used to enhance the visual display of text. The framework categorises the uses of moving type, based on whether the movement of text enhances reading, viewing or using of a text, or a combination of the above. The categories are illustrated with examples of existing moving type works, which provided a basis for discussion of various challenges and issues specific to each category

Choreographic and Somatic Approaches for the Development of Expressive Robotic Systems

As robotic systems are moved out of factory work cells into human-facing environments questions of choreography become central to their design, placement, and application. With a human viewer or counterpart present, a system will automatically be interpreted within context, style of movement, and form factor by human beings as animate elements of their environment. The interpretation by this human counterpart is critical to the success of the system's integration: knobs on the system need to make sense to a human counterpart; an artificial agent should have a way of notifying a human counterpart of a change in system state, possibly through motion profiles; and the motion of a human counterpart may have important contextual clues for task completion. Thus, professional choreographers, dance practitioners, and movement analysts are critical to research in robotics. They have design methods for movement that align with human audience perception, can identify simplified features of movement for human-robot interaction goals, and have detailed knowledge of the capacity of human movement. This article provides approaches employed by one research lab, specific impacts on technical and artistic projects within, and principles that may guide future such work. The background section reports on choreography, somatic perspectives, improvisation, the Laban/Bartenieff Movement System, and robotics. From this context methods including embodied exercises, writing prompts, and community building activities have been developed to facilitate interdisciplinary research. The results of this work is presented as an overview of a smattering of projects in areas like high-level motion planning, software development for rapid prototyping of movement, artistic output, and user studies that help understand how people interpret movement. Finally, guiding principles for other groups to adopt are posited.Comment: Under review at MDPI Arts Special Issue "The Machine as Artist (for the 21st Century)" http://www.mdpi.com/journal/arts/special_issues/Machine_Artis

AN EXAMINATION OF THE IMPACT OF COMPUTER-BASED ANIMATIONS AND VISUALIZATION SEQUENCE ON LEARNERS' UNDERSTANDING OF HADLEY CELLS IN ATMOSPHERIC CIRCULATION

Research examining animation use for student learning has been conducted in the last two decades across a multitude of instructional environments and content areas. The extensive construction and implementation of animations in learning resulted from the availability of powerful computing systems and the perceived advantages the novel medium offered to deliver dynamic representations of complex systems beyond the human perceptual scale. Animations replaced or supplemented text and static diagrams of system functioning and were predicted to significantly improve learners' conceptual understanding of target systems. However, subsequent research has not consistently discovered affordances to understanding, and in some cases, has actually shown that animation use is detrimental to system understanding especially for content area novices (Lowe 2004; Mayer et al. 2005). This study sought to determine whether animation inclusion in an authentic learning context improved student understanding for an introductory earth science concept, Hadley Cell circulation. In addition, the study sought to determine whether the timing of animation examination improved conceptual understanding. A quasi-experimental pretest posttest design administered in an undergraduate science lecture and laboratory course compared four different learning conditions: text and static diagrams with no animation use, animation use prior to the examination of text and static diagrams, animation use following the examination of text and static diagrams, and animation use during the examination of text and static diagrams. Additionally, procedural data for a sample of three students in each condition were recorded and analyzed through the lens of self regulated learning (SRL) behaviors. The aim was to determine whether qualitative differences existed between cognitive processes employed. Results indicated that animation use did not improve understanding across all conditions. However learners able to employ animations while reading and examining the static diagrams and to a lesser extent, after reading the system description, showed evidence of higher levels of system understanding on posttest assessments. Procedural data found few differences between groups with one exception---learners given access to animations during the learning episode chose to examine and coordinate the representations more frequently. These results indicated a new finding from the use of animation, a sequence effect to improve understanding of Hadley Cells in atmospheric circulation