Bela Julesz in Depth

A brief tribute to Bela Julesz (1928−2003) is made in words and images. In addition to a conventional stereophotographic portrait, his major contributions to vision research are commemorated by two ‘perceptual portraits’, which try to capture the spirit of his main accomplishments in stereopsis and the perception of texture

Implicit Attentional Selection of Bound Visual Features

SummaryTraditionally, research on visual attention has been focused on the processes involved in conscious, explicit selection of task-relevant sensory input. Recently, however, it has been shown that attending to a specific feature of an object automatically increases neural sensitivity to this feature throughout the visual field. Here we show that directing attention to a specific color of an object results in attentional modulation of the processing of task-irrelevant and not consciously perceived motion signals that are spatiotemporally associated with this color throughout the visual field. Such implicit cross-feature spreading of attention takes place according to the veridical physical associations between the color and motion signals, even under special circumstances when they are perceptually misbound. These results imply that the units of implicit attentional selection are spatiotemporally colocalized feature clusters that are automatically bound throughout the visual field

Processing of spatial-frequency altered faces in schizophrenia: Effects of illness phase and duration

Low spatial frequency (SF) processing has been shown to be impaired in people with schizophrenia, but it is not clear how this varies with clinical state or illness chronicity. We compared schizophrenia patients (SCZ, n534), first episode psychosis patients (FEP, n522), and healthy controls (CON, n535) on a gender/facial discrimination task. Images were either unaltered (broadband spatial frequency, BSF), or had high or low SF information removed (LSF and HSF conditions, respectively). The task was performed at hospital admission and discharge for patients, and at corresponding time points for controls. Groups were matched on visual acuity. At admission, compared to their BSF performance, each group was significantly worse with low SF stimuli, and most impaired with high SF stimuli. The level of impairment at each SF did not depend on group. At discharge, the SCZ group performed more poorly in the LSF condition than the other groups, and showed the greatest degree of performance decline collapsed over HSF and LSF conditions, although the latter finding was not significant when controlling for visual acuity. Performance did not change significantly over time for any group. HSF processing was strongly related to visual acuity at both time points for all groups. We conclude the following: 1) SF processing abilities in schizophrenia are relatively stable across clinical state; 2) face processing abnormalities in SCZ are not secondary to problems processing specific SFs, but are due to other known difficulties constructing visual representations from degraded information; and 3) the relationship between HSF processing and visual acuity, along with known SCZ- and medication-related acuity reductions, and the elimination of a SCZ-related impairment after controlling for visual acuity in this study, all raise the possibility that some prior findings of impaired perception in SCZ may be secondary to acuity reductions

Hughes’s Reverspectives: Radical Uses of Linear Perspective on Non-Coplanar Surfaces

Two major uses of linear perspective are in planar paintings—the flat canvas is incongruent with the painted 3-D scene—and in forced perspectives, such as theater stages that are concave truncated pyramids, where the physical geometry and the depicted scene are congruent. Patrick Hughes pioneered a third major art form, the reverse perspective, where the depicted scene opposes the physical geometry. Reverse perspectives comprise solid forms composed of multiple planar surfaces (truncated pyramids and prisms) jutting toward the viewer, thus forming concave spaces between the solids. The solids are painted in reverse perspective: as an example, the left and right trapezoids of a truncated pyramid are painted as rows of houses; the bottom trapezoid is painted as the road between them and the top forms the sky. This elicits the percept of a street receding away, even though it physically juts toward the viewer. Under this illusion, the concave void spaces between the solids are transformed into convex volumes. This depth inversion creates a concomitant motion illusion: when a viewer moves in front of the art piece, the scene appears to move vividly. Two additional contributions by the artist are discussed, in which he combines reverse-perspective parts with forced and planar-perspective parts on the same art piece. The effect is spectacular, creating objects on the same planar surface that move in different directions, thus “breaking” the surface apart, demonstrating the superiority of objects over surfaces. We conclude with a discussion on the value of these art pieces in vision science