Perception
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White's effect (also known as the Munker White effect) is a lightness illusion in which, contrary to expectations based on simultaneous contrast and Wallach's rule, a gray rectangle predominantly surrounded by white appears lighter than an identical rectangle that is mainly surrounded by black. The illusion is often explained in terms of T-junctions that are formed by the three-way intersection of the gray rectangle, a black stripe, and a white stripe. I present a circular variant of White's effect in which all the junctions have been removed without significantly affecting the strength of the illusion, suggesting that junctions are not an important consideration in all versions of White's effect.
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Perceiving egocentric distance is not only a function of the optical variables to which it relates, but also a function of people's current physiological potential to perform intended actions. In a set of experiments, we showed that, as the effort associated with walking increases, perceived distance increases if the perceiver intends to walk the extent, but not if the perceiver intends to throw. Conversely, as the effort associated with throwing increases, perceived distance increases if people intend to throw to the target, but not if they intend to walk. Perceiving distance combines the geometry of the world with our behavior goals and the potential of our body to achieve these goals.
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Biography Historical Article
"A moment's monument": the central vision of Italian sculptor Medardo Rosso (1858-1928).
One of the basic limitations on visual perception is that it is impossible, in any given moment, to see the world sharply and full of colors beyond the central area of the visual field. This fact was popularized and brought to the attention of artists in the nineteenth century. To accurately represent the 'impression', or vision of a single glance, an artistic work should contain only a central area in focus surrounded by a progressively greater blur. ⋯ Despite using the medium of sculpture, typically three-dimensional, Rosso conceived of his art as two-dimensional because in a given moment it is possible to view a scene from only one viewpoint. The analysis of Rosso's photographs of his own sculptures emphasizes the areas of detail and relative blur, allowing a reconstruction of his point de vue unique--where the observer should stand when viewing that specific sculpture. We argue that the role of central and peripheral vision in subjective perception is critical to understanding the work of Rosso, aptly defined by critics as monument d'un instant.
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The apparent lightness of a surface can be strongly modulated by the spatial context in which it is embedded. Early theories of such context dependence emphasized the role of low-level mechanisms that sense border contrast, whereas a number of recent authors have emphasized the role of perceptual organization in determining perceived lightness. One of the simplest and most theoretically challenging lightness illusions was described by White. ⋯ Here, I present a new method for determining the organizational forces that shape this illusion. I show that the spatial context of White's pattern not only transforms the apparent lightness of homogeneous target patches. but can also induce dramatic inversions of figure-ground relationships of textured target regions. These phenomena provide new evidence for the role of scission in causing the lightness illusion experienced in White's effect.
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In White's display the gray target surrounded more by black than white appears darker than the target of the same physical luminance surrounded more by white than black. Several subsequent studies have shown that this effect occurs only when the luminance of the test regions lies between the minimum and maximum luminance values of the inducing stripes. With targets either lighter or darker than both inducing stripes, the direction of the effect is reversed and the effect is known as the 'inverted' White's effect. ⋯ Consistent with previously reported findings, we found that the direction of the classical effect did not depend on the amount of black or white border in immediate contact with the test patch. On the other hand, perceived lightness in the inverted White's effect was affected by such variations, suggesting that induction in classical and inverted White's configurations is governed by different mechanisms. These results confirm the critical importance of the interaction between luminance and geometric relationships in induced brightness.