"Warm," "cool," and the colors.

Participants judged affective cooler/warmer gradients around a 12-step color circle. Each pair of adjacent colors was presented twice (left-right reversed), all in random order. Participants readily performed the task, but their settings do not correlate very well. Individual responses were compared with a small number of canonical templates. For a little less than one-half of the participants responses or judgements correlate with such a template. We find a warm pole (in the orange environment) and a cool pole (in the teal environment) connected with two tracks that tend to have one or more gaps or weak, even inverted links. We conclude that the common artistic cool-warm polarity is only weakly reflected in responses of our observers. If it does, the observers apparently use categorical warm and cool poles and may be uncertain in relating adjacent hue steps along the 12-step color circle.

Eye contact avoidance in crowds: A large wearable eye-tracking study.

Eye contact is essential for human interactions. We investigated whether humans are able to avoid eye contact while navigating crowds. At a science festival, we fitted 62 participants with a wearable eye tracker and instructed them to walk a route. Half of the participants were further instructed to avoid eye contact. We report that humans can flexibly allocate their gaze while navigating crowds and avoid eye contact primarily by orienting their head and eyes towards the floor. We discuss implications for crowd navigation and gaze behavior. In addition, we address a number of issues encountered in such field studies with regard to data quality, control of the environment, and participant adherence to instructions. We stress that methodological innovation and scientific progress are strongly interrelated.

Perception of the Potential for Interaction in Social Scenes.

In urban environments, humans often encounter other people that may engage one in interaction. How do humans perceive such invitations to interact at a glance? We briefly presented participants with pictures of actors carrying out one of 11 behaviors (e.g., waving or looking at a phone) at four camera-actor distances. Participants were asked to describe what they might do in such a situation, how they decided, and what stood out most in the photograph. In addition, participants rated how likely they deemed interaction to take place. Participants formulated clear responses about how they might act. We show convincingly that what participants would do depended on the depicted behavior, but not the camera-actor distance. The likeliness to interact ratings depended both on the depicted behavior and the camera-actor distance. We conclude that humans perceive the "gist" of photographs and that various aspects of the actor, action, and context depicted in photographs are subjectively available at a glance. Our conclusions are discussed in the context of scene perception, social robotics, and intercultural differences.

Looking behavior and potential human interactions during locomotion.

As humans move through parts of their environment, they meet others that may or may not try to interact with them. Where do people look when they meet others? We had participants wearing an eye tracker walk through a university building. On the way, they encountered nine "walkers." Walkers were instructed to e.g. ignore the participant, greet him or her, or attempt to hand out a flyer. The participant's gaze was mostly directed to the currently relevant body parts of the walker. Thus, the participants gaze depended on the walker's action. Individual differences in participant's looking behavior were consistent across walkers. Participants who did not respond to the walker seemed to look less at that walker, although this difference was not statistically significant. We suggest that models of gaze allocation should take social motivation into account.

Geometry of Pictorial Relief.

Pictorial relief is a quality of visual awareness that happens when one looks into (as opposed to at) a picture. It has no physical counterpart of a geometrical nature. It takes account of cues, mentally identified in the tonal gradients of the physical picture-pigments distributed over a planar substrate. Among generally recognized qualities of relief are color, pattern, texture, shape, and depth. This review focuses on geometrical properties, the spatial variation of depth. To be aware of an extended quality like relief implies a "depth" dimension, a nonphysical spatial entity that may smoothly vary in a surface-like manner. The conceptual understanding is in terms of formal geometry. The review centers on pertinent facts and formal models. The facts are necessarily so-called brute facts (i.e., they cannot be explained scientifically). This review is a foray into the speculative and experimental phenomenology of the visual field.

Estimating the Illumination Direction From Three-Dimensional Texture of Brownian Surfaces.

We studied whether human observers can estimate the illumination direction from 3D textures of random Brownian surfaces, containing undulations over a range of scales. The locally Lambertian surfaces were illuminated with a collimated beam from random directions. The surfaces had a uniform albedo and thus texture appeared only through shading and shadowing. The data confirm earlier results with Gaussian surfaces, containing undulations of a single scale. Observers were able to accurately estimate the source azimuth. If shading dominated the images, the observers committed 180° errors. If cast shadows were present, they resolved this convex-concave-ambiguity almost completely. Thus, observers relied on second-order statistics in the shading regime and used an unidentified first-order cue in the shadow regime. The source elevations could also be estimated, which can be explained by the observers' exploitation of the statistical homogeneity of the stimulus set. The fraction of the surface that is in shadow and the median intensity are likely cues for these elevation estimates.

Chromatic Dimensions Earthy, Watery, Airy, and Fiery.

In our study, for a small number of antonyms, we investigate whether they are cross-modally or ideaesthetically related to the space of colors. We analyze the affinities of seven antonyms (cold-hot, dull-radiant, dead-vivid, soft-hard, transparent-chalky, dry-wet, and acid-treacly) and their intermediate connotations (cool-warm, matt-shiny, numb-lively, mellow-firm, semi-transparent-opaque, semi-dry-moist, and sour-sweet) as a function of color. We find that some antonyms relate to chromatic dimensions, others to achromatic ones. The cold-hot antonym proves to be the most salient dimension. The dry-wet dimension coincides with the cold-hot dimension, with dry corresponding to hot and wet to cold. The acid-treacly dimension proves to be transversal to the cold-hot dimension; hence, the pairs mutually span the chromatic domain. The cold-hot and acid-treacly antonyms perhaps recall Hering's opponent color system. The dull-radiant, transparent-chalky, and dead-vivid pairs depend little upon chromaticity. Of all seven antonyms, only the soft-hard one turns out to be independent of the chromatic structure.

Awareness of the light field: the case of deformation.

Human observers group local shading patterns into global super-patterns that appear to be illuminated in some unitary fashion. Many years ago, this was noticed for the case of uniform, unidirectional illumination. Recently, we found that it also applies to convergent and divergent illumination flows, but that human observers are blind to rotational light flow patterns (in the sense of being unable to group the local shading patterns). We now report that human observers are also blind to deformation patterns. This is perhaps interesting because convergent, divergent, rotational, and deformation patterns all occur in natural light fields. This is an idiosyncrasy of the human visual system, on par with the fact that visual awareness fails to present the observer with saddle shapes.

Interaction of depth probes and style of depiction.

We study the effect of stylistic differences on the nature of pictorial spaces as they appear to an observer when looking into a picture. Four pictures chosen from diverse styles of depiction were studied by 2 different methods. Each method addresses pictorial depth but draws on a different bouquet of depth cues. We find that the depth structures are very similar for 8 observers, apart from an idiosyncratic depth scaling (up to a factor of 3). The differences between observers generalize over (very different) pictures and (very different) methods. They are apparently characteristic of the person. The differences between depths as sampled by the 2 methods depend upon the style of the picture. This is the case for all observers except one.

Depth in box spaces.

Human observers adjust the frontal view of a wireframe box on a computer screen so as to look equally deep and wide, so that in the intended setting the box looks like a cube. Perspective cues are limited to the size-distance effect, since all angles are fixed. Both the size on the screen, and the viewing distance from the observer to the screen were varied. All observers prefer a template view of a cube over a veridical rendering, independent of picture size and viewing distance. If the rendering shows greater or lesser foreshortening than the template, the box appears like a long corridor or a shallow slab, that is, like a 'deformed' cube. Thus observers ignore 'veridicality'. This does not fit an 'inverse optics' model. We discuss a model of 'vision as optical user interface'.

Shading, a view from the inside.

Shape from shading arose from artistic practice, and later experimental psychology, but its formal structure has only been established recently by computer vision. Some of its algorithms have led to useful applications. Psychology has reversely borrowed these formalisms in attempts to come to grips with shading as a depth cue. Results have been less than spectacular. The reason might well be that these formalisms are all based on Euclidean geometry and physics (radiometry), which, are the right tools in third person accounts, but have little relevance to first person accounts, and thus are biologically (and consequently psychologically) of minor interest. We propose a formal theory of the shading cue in the first person account, 'a view from the inside'. Such a perspective is also required for autonomous robots in AI. This formalism cannot be based on Euclidean geometry, nor on radiometry, but on the structure of pictorial space, and the structure of brightness space. The formalism, though different in kind, has a simple relation to the computer vision accounts. It has great robustness, is free from calibration issues, and allows purely local shape inferences. It is especially suited to biological (and thus AI) implementation. We consider a number of predictions and confront them with available empirical evidence.

Geometry of imaginary spaces.

"Imaginary space" is a three-dimensional visual awareness that feels different from what you experience when you open your eyes in broad daylight. Imaginary spaces are experienced when you look "into" (as distinct from "at") a picture for instance. Empirical research suggests that imaginary spaces have a tight, coherent structure, that is very different from that of three-dimensional Euclidean space. This has to be due to some constraints on psychogenesis, that is the development of awareness. I focus on the topic of how, and where, the construction of such geometrical structures, that figure prominently in one's awareness, is implemented in the brain. My overall conclusion-with notable exceptions-is that present day science has no clue. I indicate some possibly rewarding directions of research.

Cast shadows in wide perspective.

We investigated the apparent spatial layout of cast shadows up to very wide fields of view. We presented up to 130 degrees wide images in which two 'flat poles' were standing on a green lawn under a cloudless blue sky on a sunny day. The poles threw sharp cast shadows on the green, of which one was fixed. The observer's task was to adjust the azimuth of the shadow of the other pole such that it fitted the scene. The source elevation was kept constant. The two cast shadows are, of course, parallel in physical space, but generically not in the picture plane because of the wide perspective. We found that observers made huge systematic errors, indicating that, generically, they fail to account for these perspective effects. The systematic deviations could be well described by a weighted linear combination of the directions in the picture plane and in the physical space, with weights that depended on the positions of, and distance between, the poles.

Light fields and shape from shading.

From a theoretical point of view, the use of the shading cue involves estimates of the light field and thus observers need to judge the light field and the shape simultaneously. The conventional stimulus in perceptual experiments, a circular disk filled with a monotonic gradient on a uniform surround, represents a local shading or tonal gradient. In typical scenes, such gradients vary smoothly from point to point over large areas, whereas light fields are globally defined and tend to be invariant over large parts of the scene. Hence, it is hardly surprising that multi-local shape estimates tend to synchronize although previous reports of such synchronies involved uniform, homogeneous light fields. Here, we consider more complicated and more realistic light fields. We present extensive, highly structured, quantitative observations using novel paradigms. Human observers are able to deal with some structured light fields but totally fail in others, even though these may be formally similar (like radial and circular fields). Observers respond very differently in some cases where the light fields differ only by sign, like converging and diverging fields. These results can be qualitatively understood on the basis of a few simple assumptions, mainly global top-down template matching of peripheral local data.

Aging and the haptic perception of 3D surface shape.

Two experiments evaluated the ability of older and younger adults to perceive the three-dimensional (3D) shape of object surfaces from active touch (haptics). The ages of the older adults ranged from 64 to 84 years, while those of the younger adults ranged from 18 to 27 years. In Experiment 1, the participants haptically judged the shape of large (20 cm diameter) surfaces with an entire hand. In contrast, in Experiment 2, the participants explored the shape of small (5 cm diameter) surfaces with a single finger. The haptic surfaces varied in shape index (Koenderink, Solid shape, 1990; Koenderink, Image and Vision Computing, 10, 557-564, 1992) from -1.0 to +1.0 in steps of 0.25. For both types of surfaces (large and small), the participants were able to judge surface shape reliably. The older participants' judgments of surface shape were just as accurate and precise as those of the younger participants. The results of the current study demonstrate that while older adults do possess reductions in tactile sensitivity and acuity, they nevertheless can effectively perceive 3D surface shape from haptic exploration.

Measuring 3D point configurations in pictorial space.

We propose a novel method to probe the depth structure of the pictorial space evoked by paintings. The method involves an exocentric pointing paradigm that allows one to find the slope of the geodesic connection between any pair of points in pictorial space. Since the locations of the points in the picture plane are known, this immediately yields the depth difference between the points. A set of depth differences between all pairs of points from an N-point (N > 2) configuration then yields the configuration in depth up to an arbitrary depth offset. Since an N-point configuration implies N(N-1) (ordered) pairs, the number of observations typically far exceeds the number of inferred depths. This yields a powerful check on the geometrical consistency of the results. We report that the remaining inconsistencies are fully accounted for by the spread encountered in repeated observations. This implies that the concept of 'pictorial space' indeed has an empirical significance. The method is analyzed and empirically verified in considerable detail. We report large quantitative interobserver differences, though the results of all observers agree modulo a certain affine transformation that describes the basic cue ambiguities. This is expected on the basis of a formal analysis of monocular optical structure. The method will prove useful in a variety of potential applications.

Depth.

Depth is the feeling of remoteness, or separateness, that accompanies awareness in human modalities like vision and audition. In specific cases depths can be graded on an ordinal scale, or even measured quantitatively on an interval scale. In the case of pictorial vision this is complicated by the fact that human observers often appear to apply mental transformations that involve depths in distinct visual directions. This implies that a comparison of empirically determined depths between observers involves pictorial space as an integral entity, whereas comparing pictorial depths as such is meaningless. We describe the formal structure of pictorial space purely in the phenomenological domain, without taking recourse to the theories of optics which properly apply to physical space-a distinct ontological domain. We introduce a number of general ways to design and implement methods of geodesy in pictorial space, and discuss some basic problems associated with such measurements. We deal mainly with conceptual issues.

Pictorial depth probed through relative sizes.

In the physical environment familiar size is an effective depth cue because the distance from the eye to an object equals the ratio of its physical size to its angular extent in the visual field. Such simple geometrical relations do not apply to pictorial space, since the eye itself is not in pictorial space, and consequently the notion "distance from the eye" is meaningless. Nevertheless, relative size in the picture plane is often used by visual artists to suggest depth differences. The depth domain has no natural origin, nor a natural unit; thus only ratios of depth differences could have an invariant significance. We investigate whether the pictorial relative size cue yields coherent depth structures in pictorial spaces. Specifically, we measure the depth differences for all pairs of points in a 20-point configuration in pictorial space, and we account for these observations through 19 independent parameters (the depths of the points modulo an arbitrary offset), with no meaningful residuals. We discuss a simple formal framework that allows one to handle individual differences. We also compare the depth scale obtained by way of this method with depth scales obtained in totally different ways, finding generally good agreement.