Illusion as a Cognitive Clash Rooted in Perception.

Illusions are important 'tools' in the study of perceptual processes. Their conception is typically linked to the notion of veridicality in a dual-world framework, in which we either see the macro physical world as it is (ecological approaches) or we derive a faithful representation (cognitive approaches) of it. Within such theoretical views, illusions are errors caused by inadequate sensory information (because of poor quality, insufficient quantity, contradictory, etc.). From a phenomenological stance, however, experiencing an illusion does not relate to the physical quality of the distal or proximal stimulus; rather, it depends on a comparison between the actual perception and what one believes should be perceived given the knowledge s/he has gained about the physical stimulus. Within such a framework, illusions are still considered of extreme importance in the study of the processes underpinning perception, but they are not conceived as errors. They represent instead a cognitive clash between actual perception and hypothesized perception based on some sort of comparison, thus also showing their potential as a tool for studying the underpinnings of cognitive processes.

The influence of arm posture on the Uznadze haptic aftereffect.

The role of arm posture in the Uznadze haptic aftereffect is investigated: two identical test stimuli (i.e., spheres, TS) clenched simultaneously appear haptically different in size after hands have been adapted to two spheres (adapting stimuli, AS) differing in size: the hand adapted to a small AS feels TS bigger than the hand adapted to a big AS. In two experiments, participants evaluated the haptic impressions of two TS after adaptation by finding their match on a visual scale. In Experiment 1, all tasks were carried out with arms either uncrossed or crossed. In Experiment 2, only the matching task was performed with arms either uncrossed or crossed while adaptation was conducted by continuously changing arm posture from uncrossed to crossed and vice versa. The illusion occurred irrespectively of arm posture; however, its magnitude was smaller when adaptation was carried out in the classical condition of uncrossed arms. Results are discussed in light of two functional mechanisms: low-level somatotopic mapping (i.e., stimuli conformation) and high-level level factors (i.e., arm posture) that could modulate the haptic perception. (PsycInfo Database Record (c) 2023 APA, all rights reserved).

The Poggendorff illusion in Ruben's Descent from the Cross in Antwerp: Does the illusion even matter?

Two experiments are described, the purpose of which was to investigate the presence of a misalignment illusion caused by Poggendorff-like conditions in two paintings by Peter Paul Rubens, both depicting the Descent from the Cross, one located in Antwerp (Belgium), the other in Lille (France). The first shows a geometrical misalignment made by Rubens in a minor detail, which is considered proof that the artist observed the Poggendorff illusion. The second painting, instead, shows a perfect geometrical alignment in a similar detail. In experiment 1, participants were asked to align a top segment to a lower one in two types of stimuli: a full-size digitally manipulated reproduction of the painting and a Poggendorff-like configuration that recalled the painting's lines displacement and tilt. Adjustments were performed from two distances, one up close (painting distance) and one from below and far (observation distance). Results confirmed the presence of the Poggendorff illusion, but mean adjustments significantly differed from the misalignment perpetrated by Rubens. Experiment 2 was set up in a similar fashion with the Lille painting. Results confirmed the presence of the Poggendorff illusion also in this painting; however, the alignment by Rubens coincides with the geometrical one. Results from both experiments do not support the claim that Rubens observed the Poggendorff illusion and therefore corrected for it in the Antwerp painting. An alternative account is discussed, which relates to the structural layout of the painting.

Looking Into Mona Lisa's Smiling Eyes: Allusion to an Illusion.

We present results from two experiments aimed at studying the direction of Mona Lisa's gaze and its affective expression. In experiment 1 we studied the effect of retinal image size on the perception of her gaze by manipulating observation distances of a high-quality print of the painting. Participants (N = 30) were asked to answer a simple question (is the person portrayed looking at you?) from six different distances ranging from 55 to 755 cm. One group of participants started evaluations from 55 cm; the other group did the opposite. Results show an effect of distance on the perception of Mona Lisa's gaze as staring at the observer: from the furthest distances, the impression of a staring Mona Lisa is robust; from the nearest distances, such impression becomes ambiguous. Experiment 2 presents data concerning the direction of Mona Lisa's gaze and whether this appears to be smiling, derived from an experiment aimed at studying the impression of gaze (direction and emotional content) in portraits (paintings and photographs). Only data concerning Mona Lisa are reported. Participants (N = 41) were randomly assigned to one of two groups: on a LCD screen, one group saw the entire head, and the other group saw only a section reproducing Mona Lisa's eyes. Experimental sessions were two: in session 1 participants had to decide whether the image (whole-head or eyes only) was looking at them; in session 2 participants had to decide whether the head (or the eyes) was smiling. RTs from the two groups of participants were not statistically significant. Results for session 1 confirm experiment 1's general findings. Results for session 2 clearly show that Mona Lisa is not only smiling with her face, but also with her eyes. Results are discussed in relation to the literature on Mona Lisa's gaze and smile.

Distinct processes of lighting priors for lightness and 3-D shape perception.

The visual system often relies on prior assumptions when interpreting ambiguous visual inputs. A well-known example is the light-from-above prior, which aids the judgment of an object's three-dimensional (3-D) shape (i.e., convex or concave). Recent studies have revealed that the light-from-above prior also helps solve lightness ambiguity. This study aimed to examine whether 3-D shape perception and lightness perception share the same lighting prior. The study participants performed two tasks: one focusing on lightness perception and another focusing on 3-D shape perception. The dominant directions of the assumed lighting were calculated from participants' performance in the two tasks. The results showed that the assumed lighting direction for 3-D shape perception were considerably biased toward the left, whereas the one for lightness perception was almost from directly above. The clear difference between these two directions supports the hypothesis that the visual system uses distinct lighting priors for 3-D shape perception and lightness perception. Experiments 1 and 2 involved Japanese speaking participants and European participants, respectively. The Japanese language can be read and written both horizontally (i.e., left to right) and vertically (i.e., up to down) with lines progressing from right to left. Nevertheless, the two experiments still produced the same result, which suggests that the present finding is universal regardless of reading/writing direction.

The Interpretation of E-Motions in Faces and Bodies Derived from Static Artworks by Individuals with High Functioning Autistic Spectrum.

E-motions are defined as those affective states the expressions of which-conveyed either by static faces or body posture-embody a dynamic component and, consequently, convey a higher sense of dynamicity than other emotional expressions. An experiment is presented, aimed at testing whether e-motions are perceived as such also by individuals with autism spectrum disorders (ASDs), which have been associated with impairments in emotion recognition and in motion perception. To this aim we replicate with ASD individuals a study, originally conducted with typically developed individuals (TDs), in which we showed to both ASD and TD participants 14 bodiless heads and 14 headless bodies taken from eleven static artworks and four drawings. The Experiment was divided into two sessions. In Session 1 participants were asked to freely associate each stimulus to an emotion or an affective state (Task 1, option A); if they were unable to find a specific emotion, the experimenter showed them a list of eight possible emotions (words) and asked them to choose one from such list, that best described the affective state portrayed in the image (Task 1, option B). After their choice, they were asked to rate the intensity of the perceived emotion on a seven point Likert scale (Task 2). In Session 2 participants were requested to evaluate the degree of dynamicity conveyed by each stimulus on a 7 point Likert scale. Results showed that ASDs and TDs shared a similar range of verbal expressions defining emotions; however, ASDs (i) showed an impairment in the ability to spontaneously assign an emotion to a headless body, and (ii) they more frequently used terms denoting negative emotions (for both faces and bodies) as compared to neutral emotions, which in turn were more frequently used by TDs. No difference emerged between the two groups for positive emotions, with happiness being the emotion better recognized in both faces and in bodies. Although overall there are no significant differences between the two groups with respect to the emotions assigned to the images and the degree of perceived dynamicity, the interaction Artwork x Group showed that for some images ASDs assigned a different value than TDs to perceived dynamicity. Moreover, two images were interpreted by ASDs as conveying completely different emotions than those perceived by TDs. Results are discussed in light of the ability of ASDs to resolve ambiguity, and of possible different cognitive styles characterizing the aesthetical/emotional experience.

Asymmetric Brightness Effects With Dark Versus Light Glare-Like Stimuli.

The glare effect is a brightness illusion that has captured the attention of the vision community since its discovery. However, its photometrical reversal, which we refer to here as photometrical reversed glare (PRG) stimuli, remained relatively unexplored. We presented three experiments that sought to examine the perceived brightness of a target area surrounded by luminance gradients in PRG stimuli and compare them with conventional glare effect configurations. Experiment 1 measured the brightness of the central target area of PRG stimuli through an adjustment task; the results showed that the target appeared brighter than similar, comparative areas not surrounded by luminance gradients. This finding was unexpected given the recent report that PRG stimuli cause pupil dilation. Meanwhile, Experiments 2 and 3 implemented a rating task to further test the findings in Experiment 1. Again, the study found a robust brightening illusion in the target area of PRG stimuli in a wide range of target and background luminance. The results are discussed in comparison with the brightness enhancement of the glare effect.

Brightness perception changes related to pupil size.

Dilating the pupils allow more quanta of light to impact the retina. Consequently, if one pupil is dilated with a pharmacological agent (Tropicamide), the brightness of a surface under observation should increase proportionally to the pupil dilation. Little is known about causal effects of changes in pupil size on perception of an object's brightness. In a psychophysical procedure of brightness adjustment and matching, we presented to one eye geometrical patterns with a central square (the reference pattern) that differed in physical brightness within backgrounds of constant luminance. Subsequently, with the other eye, participants (n = 30) adjusted to the same luminance a similar pattern (target) whose central square luminance was randomly set higher or lower in brightness than the reference. As only one eye was treated with Tropicamide, we assessed whether the subjective brightness of the target square shifted in a consistent direction when viewed with the dilated pupil compared to the untreated (control) eye. We found that, as the pupil increased post drug administration, so significantly did the sense of brightness of the pattern (i.e., higher brightness adjustments followed viewing the reference pattern with the treated (Tropicamide) eye). A reversed effect was observed when the control eye viewed the reference pattern first. The results confirm that even slight pupil dilations can result in an enhanced perceptual experience of brightness of the attended object, corresponding to an average increase of 2.09 cd/m2 for each 1 mm increase in pupil diameter.

See What You Feel: A Crossmodal Tool for Measuring Haptic Size Illusions.

The purpose of this research is to present the employment of a simple-to-use crossmodal method for measuring haptic size illusions. The method, that we call See what you feel, was tested by employing Uznadze's classic haptic aftereffect in which two spheres physically identical (test spheres) appear different in size after that the hands holding them underwent an adaptation session with other two spheres (adapting spheres), one bigger and the other smaller than the two test spheres. To measure the entity of the illusion, a three-dimensional visual scale was created and participants were asked to find on it the spheres that corresponded in size to the spheres they were holding in their hands out of sight. The method, tested on 160 right-handed participants, is robust and easily understood by participants.

Evidence of top-down modulation of the Brentano illusion but not of the glare effect by transcranial direct current stimulation.

Transcranial direct current stimulation (tDCS) has been widely used for modulating sensory, motor and cognitive functions, but there are only few attempts to induce and change illusory perception. Visual illusions have been the most traditional and effective way to investigate visual processing through the comparison between physical reality and subjective reports. Here we used tDCS to modulate two different visual illusions, namely the Brentano illusion and the glare effect, with the aim of uncovering the influence of top-down mechanisms on bottom-up visual perception in two experiments. In Experiment 1, to a first group of subjects, real and sham cathodal tDCS (2 mA, 10 min) were applied over the left and right posterior parietal cortices (PPC). In Experiment 2, real and sham cathodal tDCS were applied to the left and right occipital cortices (OC) to a second group of participants. Results showed that tDCS was effective in modulating only the Brentano illusion, but not the glare effect. tDCS increased the Brentano illusion but specifically for the stimulated cortical area (right PPC), illusion direction (leftward), visual hemispace (left), and illusion length (160 mm). These findings suggest the existence of an inhibitory modulation of top-down mechanisms on bottom-up visual processing specifically for the Brentano illusion, but not for the glare effect. The lack of effect of occipital tDCS should consider the possible role of ocular compensation or of the unstimulated hemisphere, which deserves further investigations.

The Influence of Physical Illumination on Lightness Perception in Simultaneous Contrast Displays.

Three experiments investigated the role of physical illumination on lightness perception in simultaneous lightness contrast (SLC). Four configurations were employed: the classic textbook version of the illusion and three configurations that produced either enhanced or reduced SLC. Experiment 1 tested the effect of ambient illumination on lightness perception. It simulated very dark environmental conditions that nevertheless still allowed perception of different shades of gray. Experiment 2 tested the effect of the intensity of Gelb lighting on lightness perception. Experiment 3 presented two conditions that integrated illumination conditions from Experiments 1 and 2. Our results demonstrated an illumination effect on both lightness matching and perceived SLC contrast: As the intensity of illumination increased, the target on the black background appeared lighter, while the target on the white background was little affected. We hypothesize the existence of two illumination ranges that affect lightness perception differently: low and normal. In the low range, the SLC contrast was reduced and targets appeared darker. In the normal range, the SLC contrast and lightness matchings for each background were little changed across illumination intensities.

Sensual Light? Subjective Dimensions of Ambient Illumination.

This work concerns the subjective impression of perceived illumination. The purpose of the study is to test attributes expressing qualitative experiences referring to ambient lighting that can be applied as descriptors. Seventy participants viewed an actual model room, with the fourth wall removed (viewing booth). Walls, floor, and ceiling were achromatic. Two achromatic cubes were placed inside the room: One was a reflectance increment to the walls, the other a decrement. The room was illuminated by two different light sources, Artificial Daylight (D65) or Tungsten Filament (F), the order of which was randomized across participants. The participants' task was to evaluate ambient illumination for each light source. A semantic differential method was employed with 27 pairs of adjectives on 1 to 7 rating scales, categorized in three groups: characteristics of atmosphere, time, and cross-modal. Only the ratings of nine pairs of adjectives were not influenced by the type of illumination. The most differentiated couples under different illuminants were hot/cold and modern/old, but large differences also appeared with the following couples: hard/soft, technological/primitive, summery/wintry, warm/cool, sensual/frigid, natural/artificial, and hospitable/inhospitable. The hypothesis that there would be consistency among the subjects in evaluations of the characteristics tested and that these would be differently perceived under different illuminants was confirmed. The results show that it is possible to identify subjective perceived illumination as a phenomenon endowed with specific filling-in qualities and that as a perceptual experience it can be categorized, with implications for application in architecture and design.

The Eye Pupil's Response to Static and Dynamic Illusions of Luminosity and Darkness.

Pupil diameters were recorded with an eye-tracker while participants observed cruciform patterns of gray-scale gradients that evoked illusions of enhanced brightness (glare) or of enhanced darkness. The illusions were either presented as static images or as dynamic animations which initially appeared as a pattern of filled squares that-in a few seconds-gradually changed into gradients until the patterns were identical to the static ones. Gradients could either converge toward the center, resulting in a central region of enhanced, illusory, brightness or darkness, or oriented toward each side of the screen, resulting in the perception of a peripheral ring of illusory brightness or darkness. It was found that pupil responses to these illusions matched both the direction and intensity of perceived changes in light: Glare stimuli resulted in pupil constrictions, and darkness stimuli evoked dilations of the pupils. A second experiment found that gradients of brightness were most effective in constricting the pupils than isoluminant step-luminance, local, variations in luminance. This set of findings suggest that the eye strategically adjusts to reflect in a predictive manner, given that these brightness illusions only suggest a change in luminance when none has occurred, the content within brightness maps of the visual scene.

The Glare Effect Test and the Impact of Age on Luminosity Thresholds.

The glare effect (GE) is an illusion in which a white region appears self-luminous when surrounded by linearly decreasing luminance ramps. It has been shown that the magnitude of the luminosity effect can be modulated by manipulating the luminance range of the gradients. In the present study we tested the thresholds for the GE on two groups of adults: young (20-30 years old) and elderly (60-75 years old). Purpose of our perspective study was to test the possibility of transforming the GE into a test that could easily measure thresholds for luminosity and discomfort glare. The Glare Effect Test (GET) consisted in 101 printed cards that differed from each other for the range of luminance ramps. Participants were assessed with GET and a battery of visual tests: visual acuity, contrast sensitivity, illusion of length perception, and Ishihara test. Specifically in the GET, participants were required to classify cards on the basis of two reference cards (solid black-no gradient; full range black to white gradient). PSEs of the GE show no correlation with the other visual tests, revealing a divergent validity. A significant difference between young and elderly was found: contrary to our original expectations, luminosity thresholds of GE for elderly were higher than those for young, suggesting a non-direct relationship between luminosity perception and discomfort glare.

The Poggendorff illusion before Poggendorff.

This paper is about the Poggendorff illusion in pictorial artworks. In particular, it deals with the role played by the Poggendorff illusion in the making of the geometrical misalignments in the mosaic known as Lunetta di San Lorenzo in Ravenna (Italy) and in Rubens's oil on panel Descent from the Cross in Antwerp (Belgium). Three experiments are presented. Experiment 1 tested the role of viewing distance in perceived collinearity in the mosaic by asking participants to adjust two ends of a cross in silhouette renderings of the saint projected so to mimic its original size. Results confirm an effect of viewing distance and support the hypothesis that the author of the mosaic became aware of the illusion and attempted to 'fix' it. Experiment 2 aimed at verifying perceived collinearity in a book-size version of Rubens's Descentfrom the Cross by employing a similar adjustment method. Results demonstrate that the Poggendorff illusion affects perceived collinearity in the painting, but perceptual collinearity does not agree with the actual geometrical misalignment in book-size reproductions of the masterpiece. Experiment 3 tested the role of viewing distance in a classic Poggendorff illusion configuration by employing the same setup as in experiment 1. Contrary to what was found in experiment 1, viewing distance did not modulate the magnitude of the illusion in the classic display, suggesting that the outcome of perceived collinearity is sensitive to the complexity of the visual scene. The difference in results between experiments 1 and 3 underscore the necessity of new tests before any reasonable conclusion can be drawn about the whys and wherefores of Rubens's misalignment.

Mishaps, errors, and cognitive experiences: on the conceptualization of perceptual illusions.

Although a visual illusion is often viewed as an amusing trick, for the vision scientist it is a question that demands an answer, which leads to even more questioning. All researchers hold their own chain of questions, the links of which depend on the very theory they adhere to. Perceptual theories are devoted to answering questions concerning sensation and perception, but in doing so they shape concepts such as reality and representation, which necessarily affect the concept of illusion. Here we consider the macroscopic aspects of such concepts in vision sciences from three classic viewpoints-Ecological, Cognitive, Gestalt approaches-as we see this a starting point to understand in which terms illusions can become a tool in the hand of the neuroscientist. In fact, illusions can be effective tools in studying the brain in reference to perception and also to cognition in a much broader sense. A theoretical debate is, however, mandatory, in particular with regards to concepts such as veridicality and representation. Whether a perceptual outcome is considered as veridical or illusory (and, consequently, whether a class of phenomena should be classified as perceptual illusions or not) depends on the meaning of such concepts.

The size illusion and lightness contrast effect in Delboeuf-like displays: possible evidence of percept-percept coupling.

We conducted two experiments to test the relationship between Delboeuf's size-contrast illusion and a concomitant lightness contrast effect that can be observed when achromatic disks are employed as targets. In experiment 1 participants were asked to adjust the diameter of a target (D1) surrounded by a small circular size-inducer (C1) to match in size a comparison target (D2) surrounded by a circular size-inducer (C2) either equal or greater in diameter than C1. Experiment 2 was similar to experiment 1, except that D1 and D2 were physically equal in size, and participants were asked to adjust the luminance of D1 to match D2 in lightness. Results confirm an effect of the difference in diameter between C1 and C2 on the magnitude of the size illusion but not on the magnitude of the lightness effect, the emergence of which is linked to the appearance of the size illusion. Results support a percept-percept coupling relationship.

Seeing further than your nose.

Among monocular depth cues, ocular parallax (first described formally by Brewster in 1844) remains mostly unknown, its role in perception still not investigated scientifically. Given that every single eye movement induces ocular parallax, it is a potentially useful depth cue. This paper is an attempt to revive interest in the topic. As a monocular depth cue, ocular parallax naturally leads us to consider its benefit for a monocularly enucleated individual. Throughout history, numerous illustrious personalities coped with this fate in various ways. Here, we consider some historical insights into the visual life of the erstwhile duke of Urbino, Federico da Montefeltro (1422-1482), warlord and patron to the painter Piero della Francesca, and the Japanese warlord, Masamune Date (1567-1636), a vocal patron of exploration and the arts.

Lightness effects in Delboeuf and Ebbinghaus size-contrast illusions.

We examined lightness effects observed in Delboeuf and Ebbinghaus size-contrast illusions. Results of four experiments are reported. Experiment 1 was conducted with Delboeuf-like stimuli and shows that the disk that appears bigger appears either lighter or darker than the disk that appears smaller, depending on the contrast polarity between disks and background. Experiment 2 shows that the direction of these lightness effects is not influenced by the luminance of the size-contrast inducers. Experiment 3 shows that a similar lightness effect is also observed in modified Ebbinghaus size-contrast displays. Experiment 4 tested the presence of the size-contrast illusion in the stimuli used in experiments 2 and 3.

Measuring the meter: on the constancy of lightness scales seen against different backgrounds.

The constancy of a 16-step achromatic Munsell scale was tested with regards to background variations in two experiments. In experiment 1 three groups of observers were asked to find lightness matches for targets in simultaneous lightness displays by using a 16-step achromatic Munsell scale placed on a white, black, or white-black checkered background. In experiment 2, a yellow-blue checkered background and a green-red checkered background replaced Munsell scales on the black and on the white backgrounds. Significant effects of scale background on matches were found only in experiment 1, suggesting that background luminance is a crucial factor in the overall appearance of the scale. The lack of significant differences in experiment 2, however, may stand for an overall robustness of the scale with respect to background luminance changes occurring within certain luminance ranges.