Misperception of aspect ratio in binocularly viewed surfaces

The horizontal-vertical illusion, in which the vertical dimension is overestimated relative to the horizontal direction, has been explained in terms of the statistical relationship between the lengths of lines in the world, and the lengths of their projections onto the retina (Howe & Purves, 2002). The current study shows that this illusion affects the apparent aspect ratio of shapes, and investigates how it interacts with binocular cues to surface slant. One way in which statistical information could give rise to the horizontal-vertical illusion would be through prior assumptions about the distribution of slant. This prior would then be expected to interact with retinal cues to slant. We determined the aspect ratio of stereoscopically viewed ellipses that appeared circular. We show that observers' judgements of aspect ratio were affected by surface slant, but that the largest image vertical:horizontal aspect ratio that was considered to be a surface with a circular profile was always found for surfaces close to fronto-parallel. This is not consistent with a Bayesian model in which the horizontal-vertical illusion arises from a non-uniform prior probability distribution for slant. Rather, we suggest that assumptions about the slant of surfaces affect apparent aspect ratio in a manner that is more heuristic, and partially dissociated from apparent slant. © 2012 Elsevier Ltd

More English than the English, more Roman than Rome? Historical signifiers and cultural memory at Westminster Cathedral

Westminster Cathedral, the Metropolitan church of English Roman Catholicism since 1903, occupies an ambivalent space in the heart of the modern metropolis. It was intended as a repository and symbol of a national, very English, Catholic heritage in central London, replicating and re-using medieval signs and rituals to lay claim to a history that stretched back to the original conversion of England in the late 6th century. Drawing on studies of cultural memory, the authors examine how successive Cardinals of Westminster from the late 19th century onwards designed, constructed, and used the Cathedral to define Catholic identity in the first decades of the 20th century. In this they steered a difficult and often contested course between twin loyalties to the nation and to Rome. The limits of institutional power to reshape cultural memory are also explored through a case study of the Cathedral's resident martyr-saint, John Southworth, acquired in 1930 and similarly revealing the uneasiness of English Catholicism regarding its ‘otherness’ within a national culture