1,721,306 research outputs found
The Bathtub Illusion
Full text linkWhen a person looks at the fingers of their own hand as they line up in depth, the impression may emerge that the little fingers, which are farther away, are located too far and if so they are not part of the same hand. I describe the conditions and suggest this is due to the size difference between fingers (size-distance scaling). A role of size on perceived distance here is more powerful than knowledge about our own body
The importance of being convex: an advantage for convexity when judging position
No full textPerception of contour polarity was investigated in five experiments in which observers had to judge the vertical position of a vertex. When the vertex was perceived as convex, the level of performance as measured by reaction time and errors was higher than when the same vertex was perceived as concave. I conclude that contour polarity affects how observers perceive shape, and in particular part structure, and that the position of a part is more readily available than the position of a boundary between parts
Detection of convexity and concavity in context
No full textSensitivity to shape changes was measured, in particular detection of convexity and concavity changes. The available data are contradictory. The author used a change detection task and simple polygons to systematically manipulate convexity/concavity. Performance was high for detecting a change of sign (a new concave vertex along a convex contour or a new convex vertex along a concave contour). Other things being equal, there was no evidence of an advantage for detecting a new concavity compared with a new convexity, for detecting a change of angle to a concave vertex compared with a convex vertex, for detecting a change within a concave region compared with a change within a convex region, or for an interaction between convexity and concavity and changes affecting or not affecting a vertex. The author concludes that change detection is affected by changes of sign of curvature (leading to changes in part structure). However, contrary to previous proposals, there is no special role for negative curvature or minima of curvature in guiding attention
Anisotropy and polarization of space: Evidence from naïve optics and phenomenological psychophysics.
No full textAdditional evidence is presented concerning the anisotropy between vertical and horizontal encoding, which emerges from studies of human perception and cognition of space in plane mirror reflections. Moreover, it is suggested that the non-metric characteristic of polarization – that Jeffery et al. discuss with respect to gravity – is not limited to the vertical dimension
Aesthetic Judgements of Abstract Dynamic Configurations
No full textTo date, aesthetic preference for abstract patterns has mainly been examined in the relation to static stimuli. However, dynamic art forms (e.g., motion pictures, kinetic art) are arguably more powerful in producing emotional responses. To start the exploration of aesthetic preferences for dynamic stimuli (stripped of meaning and context) we conducted three experiments. Symmetrical or random configurations were created. Each line element had a local rotation, and the whole configuration also underwent a global transformation (horizontal translation, rotation, expansion, horizontal shear). Participants provided explicit preference ratings for these patterns. As expected results showed a preference for dynamic symmetrical patterns over random. When global transformations were compared, expansion was the preferred dynamic transformation whilst participants liked the horizontal shear transformation the least. Overall, these results show that preference for symmetry persists and is enhanced for dynamic stimuli, and that there are systematic preferences for global transformations
Seeing a Work of Art Indirectly: When a Reproduction Is Better Than an Indirect View, and a Mirror Better Than a Live Monitor
Full text linkVisiting a museum and seeing an original artwork can be a special experience. We use a survey and a set of hypothetical questions to explore how such experience would be affected by changes in how the artwork is seen. In a first study, participants imagined that they had traveled to see a painting that they particularly like. They discover that it is impossible to directly see the original painting. Three alternatives are offered: seeing an optical reflection (using a mirror), seeing a video screening (a closed-circuit camera), or seeing a reproduction. In all cases, it is made clear that the size, brightness, and resolution will match that of the original. In addition, these options could be within the same room as the original, in the room next door, or in a different building. Results show that physical distance did not affect significantly the responses. However, there was an overall preference for seeing a reproduction as opposed to an optical or digital image. Contrary to the idea that the original is always superior to a copy, many people felt that a direct view of a copy is a preferable experience than an indirect view. The second study was focused directly on the comparison between a mirror and a monitor. Here we highlighted the fact that for the mirror light coming from the mirror originated from the painting. Data were collected in Britain and in China. In both cases, there was a clear preference for the mirror over the monitor
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