Facing the Spectator

We investigated the familiar phenomenon of the uncanny feeling that represented people in frontal pose invariably appear to ‘‘face you’’ from wherever you stand. We deploy two different methods. The stimuli include the conventional one—a flat portrait rocking back and forth about a vertical axis—augmented with two novel variations. In one alternative, the portrait frame rotates whereas the actual portrait stays motionless and fronto-parallel; in the other, we replace the (flat!) portrait with a volumetric object. These variations yield exactly the same optical stimulation in frontal view, but become grossly different in very oblique views. We also let participants sample their momentary awareness through ‘‘gauge object’’ settings in static displays. From our results, we conclude that the psychogenesis of visual awareness maintains a number—at least two, but most likely more—of distinct spatial frameworks simultaneously involving ‘‘cue–scission.’’ Cues may be effective in one of these spatial frameworks but ineffective or functionally different in other ones

Stream biasing by different induction sequences: Evaluating stream capture as an account of the segregation-promoting effects of constant-frequency inducers

Stream segregation for a test sequence comprising high-frequency (H) and low-frequency (L) pure tones, presented in a galloping rhythm, is much greater when preceded by a constant-frequency induction sequence matching one subset than by an inducer configured like the test sequence; this difference persists for several seconds. It has been proposed that constant-frequency inducers promote stream segregation by capturing the matching subset of test-sequence tones into an on-going, pre-established stream. This explanation was evaluated using 2-s induction sequences followed by longer test sequences (12–20 s). Listeners reported the number of streams heard throughout the test sequence. Experiment 1 used LHL– sequences and one or other subset of inducer tones was attenuated (0–24 dB in 6-dB steps, and 1). Greater attenuation usually caused a progressive increase in segregation, towards that following the constant-frequency inducer. Experiment 2 used HLH– sequences and the L inducer tones were raised or lowered in frequency relative to their test-sequence counterparts (DfI¼ 0, 0.5, 1.0, or 1.5 DfT). Either change greatly increased segregation. These results are concordant with the notion of attention switching to new sounds but contradict the stream-capture hypothesis, unless a “proto-object” corresponding to the continuing subset is assumed to form during the induction sequence

A Gaze-Driven Evolutionary Algorithm to Study Aesthetic Evaluation of Visual Symmetry

Empirical work has shown that people like visual symmetry. We used a gaze-driven evolutionary algorithm technique to answer three questions about symmetry preference. First, do people automatically evaluate symmetry without explicit instruction? Second, is perfect symmetry the best stimulus, or do people prefer a degree of imperfection? Third, does initial preference for symmetry diminish after familiarity sets in? Stimuli were generated as phenotypes from an algorithmic genotype, with genes for symmetry (coded as deviation from a symmetrical template, deviation–symmetry, DS gene) and orientation (0° to 90°, orientation, ORI gene). An eye tracker identified phenotypes that were good at attracting and retaining the gaze of the observer. Resulting fitness scores determined the genotypes that passed to the next generation. We recorded changes to the distribution of DS and ORI genes over 20 generations. When participants looked for symmetry, there was an increase in high-symmetry genes. When participants looked for the patterns they preferred, there was a smaller increase in symmetry, indicating that people tolerated some imperfection. Conversely, there was no increase in symmetry during free viewing, and no effect of familiarity or orientation. This work demonstrates the viability of the evolutionary algorithm approach as a quantitative measure of aesthetic preference

Relative Pitch Perception and the Detection of Deviant Tone Patterns.

Most people are able to recognise familiar tunes even when played in a different key. It is assumed that this depends on a general capacity for relative pitch perception; the ability to recognise the pattern of inter-note intervals that characterises the tune. However, when healthy adults are required to detect rare deviant melodic patterns in a sequence of randomly transposed standard patterns they perform close to chance. Musically experienced participants perform better than naïve participants, but even they find the task difficult, despite the fact that musical education includes training in interval recognition.To understand the source of this difficulty we designed an experiment to explore the relative influence of the size of within-pattern intervals and between-pattern transpositions on detecting deviant melodic patterns. We found that task difficulty increases when patterns contain large intervals (5-7 semitones) rather than small intervals (1-3 semitones). While task difficulty increases substantially when transpositions are introduced, the effect of transposition size (large vs small) is weaker. Increasing the range of permissible intervals to be used also makes the task more difficult. Furthermore, providing an initial exact repetition followed by subsequent transpositions does not improve performance. Although musical training correlates with task performance, we find no evidence that violations to musical intervals important in Western music (i.e. the perfect fifth or fourth) are more easily detected. In summary, relative pitch perception does not appear to be conducive to simple explanations based exclusively on invariant physical ratios

Optimal measurement of visual motion across spatial and temporal scales

Sensory systems use limited resources to mediate the perception of a great variety of objects and events. Here a normative framework is presented for exploring how the problem of efficient allocation of resources can be solved in visual perception. Starting with a basic property of every measurement, captured by Gabor's uncertainty relation about the location and frequency content of signals, prescriptions are developed for optimal allocation of sensors for reliable perception of visual motion. This study reveals that a large-scale characteristic of human vision (the spatiotemporal contrast sensitivity function) is similar to the optimal prescription, and it suggests that some previously puzzling phenomena of visual sensitivity, adaptation, and perceptual organization have simple principled explanations.Comment: 28 pages, 10 figures, 2 appendices; in press in Favorskaya MN and Jain LC (Eds), Computer Vision in Advanced Control Systems using Conventional and Intelligent Paradigms, Intelligent Systems Reference Library, Springer-Verlag, Berli

No effect of auditory–visual spatial disparity on temporal recalibration

It is known that the brain adaptively recalibrates itself to small (∼100 ms) auditory–visual (AV) temporal asynchronies so as to maintain intersensory temporal coherence. Here we explored whether spatial disparity between a sound and light affects AV temporal recalibration. Participants were exposed to a train of asynchronous AV stimulus pairs (sound-first or light-first) with sounds and lights emanating from either the same or a different location. Following a short exposure phase, participants were tested on an AV temporal order judgement (TOJ) task. Temporal recalibration manifested itself as a shift of subjective simultaneity in the direction of the adapted audiovisual lag. The shift was equally big when exposure and test stimuli were presented from the same or different locations. These results provide strong evidence for the idea that spatial co-localisation is not a necessary constraint for intersensory pairing to occur

Auditory grouping occurs prior to intersensory pairing: evidence from temporal ventriloquism

The authors examined how principles of auditory grouping relate to intersensory pairing. Two sounds that normally enhance sensitivity on a visual temporal order judgement task (i.e. temporal ventriloquism) were embedded in a sequence of flanker sounds which either had the same or different frequency (Exp. 1), rhythm (Exp. 2), or location (Exp. 3). In all experiments, we found that temporal ventriloquism only occurred when the two capture sounds differed from the flankers, demonstrating that grouping of the sounds in the auditory stream took priority over intersensory pairing. By combining principles of auditory grouping with intersensory pairing, we demonstrate that capture sounds were, counter-intuitively, more effective when their locations differed from that of the lights rather than when they came from the same position as the lights

Visual Exploration and Object Recognition by Lattice Deformation

Mechanisms of explicit object recognition are often difficult to investigate and require stimuli with controlled features whose expression can be manipulated in a precise quantitative fashion. Here, we developed a novel method (called “Dots”), for generating visual stimuli, which is based on the progressive deformation of a regular lattice of dots, driven by local contour information from images of objects. By applying progressively larger deformation to the lattice, the latter conveys progressively more information about the target object. Stimuli generated with the presented method enable a precise control of object-related information content while preserving low-level image statistics, globally, and affecting them only little, locally. We show that such stimuli are useful for investigating object recognition under a naturalistic setting – free visual exploration – enabling a clear dissociation between object detection and explicit recognition. Using the introduced stimuli, we show that top-down modulation induced by previous exposure to target objects can greatly influence perceptual decisions, lowering perceptual thresholds not only for object recognition but also for object detection (visual hysteresis). Visual hysteresis is target-specific, its expression and magnitude depending on the identity of individual objects. Relying on the particular features of dot stimuli and on eye-tracking measurements, we further demonstrate that top-down processes guide visual exploration, controlling how visual information is integrated by successive fixations. Prior knowledge about objects can guide saccades/fixations to sample locations that are supposed to be highly informative, even when the actual information is missing from those locations in the stimulus. The duration of individual fixations is modulated by the novelty and difficulty of the stimulus, likely reflecting cognitive demand