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Pictorial awareness is addressed through experimental phenomenology involving over 90 naïve participants. Since one can't look at the "same" picture twice the study uses one-shot trials. The participant's fascination for the duration of a session is held through the artistic principle of theme and variation. Six variations focus on the theme of pictorial geometry, both two-dimensional and three-dimensional. Major findings are: Idiosyncratic deviations from veridical are huge as compared to common textbook "effects." Observers wield arbitrary heuristics for tasks that are "formally related." The assumption of a common formal framework is apparently unsound. The notion of "inverse optics" is misleading. A fair fraction of the population appears to lack monocular stereopsis as intuitive awareness. It suggests an as-yet unrecognized, but perhaps common variety of aphantasia., Competing Interests: The authors declared no potential conflicts of interest with respect to the research, authorship, and/or publication of this article., (© The Author(s) 2024.)

In recent years, awareness of the influence of different modalities on taste perception has grown. Although previous research in crossmodal taste perception has touched upon the bipolar distinction between softness/smoothness and roughness/angularity, ambiguity largely remains surrounding other crossmodal correspondences between taste and other specific textures we regularly use to describe our food, such as crispy or crunchy. Sweetness has previously been found to be associated with soft textures but our current understanding does not exceed the basic distinction made between roughness and smoothness. Specifically, the role of texture in taste perception remains relatively understudied. The current study consisted of two parts. First, because of the lack of clarity concerning specific associations between basic tastes and textures, an online questionnaire served to assess whether consistent associations between texture words and taste words exist and how these arise intuitively. The second part consisted of a taste experiment with factorial combinations of four tastes and four textures. The results of the questionnaire study showed that consistent associations are made between soft and sweet and between crispy and salty at the conceptual level. The results of the taste experiment largely showed evidence in support of these findings at the perceptual level. In addition, the experiment allowed for a closer look into the complexity found regarding the association between sour and crunchy, and bitter and sandy., Competing Interests: The author(s) declared no potential conflicts of interest with respect to the research, authorship, and/or publication of this article., (© The Author(s) 2023.)

How we perceptually organize a visual stimulus depends not only on the stimulus itself, but also on the temporal and spatial context in which the stimulus is presented and on the individual processing the stimulus and context. Earlier research found both attractive and repulsive context effects in perception: tendencies to organize visual input similarly to preceding context stimuli (i.e., hysteresis, attraction) co-exist with tendencies that repel the current percept from the organization that is most dominant in these contextual stimuli (i.e., adaptation, repulsion). These processes have been studied mostly on a group level (e.g., Schwiedrzik et al., 2014). Using a Bayesian hierarchical model comparison approach, the present study ( N = 75) investigated whether consistent individual differences exist in these attractive and repulsive temporal context effects, with multistable dot lattices as stimuli. In addition, the temporal stability of these individual differences in context effects was investigated, and it was studied how the strength of these effects related to the strength of individual biases for absolute orientations. The results demonstrate that large individual differences in the size of attractive and repulsive context effects exist. Furthermore, these individual differences are highly consistent across timepoints (one to two weeks apart). Although almost everyone showed both effects in the expected direction, not every single individual did. In sum, the study reveals differences in how individuals combine previous input and experience with current input in their perception, and more generally, this teaches us that different individuals can perceive identical stimuli differently, even within a similar context., Competing Interests: Declaration of conflicting interests: The authors declared no potential conflicts of interest with respect to the research, authorship, and/or publication of this article., (© The Author(s) 2022.)

In their quest for creating magical experiences, magicians rely on a host of psychological factors. Here, we compare tricks based on attentional misdirection with tricks based on amodal completion. Based on the notion that amodal completion is a cognitively impenetrable perceptual phenomenon, we predicted that the tricks based on this perceptual effect should-to a much larger extent than tricks based on attentional misdirection-retain their deceptive power when the tricks are repeated. The results of an experiment with four magic tricks involving attentional misdirection and four magic tricks based on amodal completion lend strong support to this prediction. Asking subjects to try to figure out the secret behind these tricks after one, two, or three presentations of each trick, we found that the observed solution rates for tricks based on attentional misdirection increased much more with repeated viewing than those for tricks based on amodal completion, which remained very low throughout. Thus, the results lend further support to the idea that amodal completion is based on cognitively impenetrable perceptual mechanisms.

Participants had to indicate the location of points on what might be called "amodal contours" in some works of art. The works represented mutually quite different cases. In one case, there were not even scattered modal cues, thus the amodal contour had to be hallucinated on the basis of generic familiarity. Here, observers indicated coherent geometrical structures (to a good approximation a smooth curve), although at idiosyncratic locations. In another case, we presented an ambiguous image that led to much more "fuzzy" amodal completions. We also presented an image that had at least some similarity to a configuration treated by Kanizsa. Here, observers were coherent and they mutually agreed, so the scarce modal cues apparently largely dictated the awareness.

We report results from an experiment showing that a tall pillar with a triangular base evokes radically different three-dimensional (3D) percepts depending on the vantage point from which it is observed. The base of the pillar is an isosceles right triangle, but the pillar is perceived as just a thin plane when viewed from some vantage points. Viewed from other vantage points, the perceived 3D shape of the pillar corresponds to a square or rectangular base. In general, our results suggest that the visual system uses a preference for rectangularity (or symmetry) to determine the 3D shape of objects. The amodal impressions of the invisible backside of the pillar are often quite compelling, and the corresponding illusions persist even when the observers know the true shape of the pillar. Interestingly, though, the compellingness and definiteness of the amodal impression of the pillar's backside depends on the vantage point. This is reflected in corresponding differences in the interobserver variability of the 3D shape judgments. We also discuss how variants of this illusion are used as a powerful tool in the art of magic.

Most recent studies in experimental aesthetics have focused on the cognitive processing of visual artworks. In contrast, the perception of formal compositional features of artworks has been studied less extensively. Here, we investigated whether fast and automatic processing of artistic image composition can lead to a stable and consistent aesthetic evaluation when cognitive processing is minimized or absent. To this aim, we compared aesthetic ratings on abstract artworks and their shuffled counterparts in a gist experiment. Results show that exposure times as short as 50 ms suffice for the participants to reach a stable and consistent rating on how ordered and harmonious the abstract stimuli were. Moreover, the rating scores for the 50 ms exposure time exhibited similar dependencies on image type and self-similarity and a similar pattern of correlations between different rating terms, as the rating scores for the long exposure time (3,000 ms). Ratings were less consistent for the term interesting and inconsistent for the term pleasing . Our results are compatible with a model of aesthetic experience, in which the early perceptual processing of the formal aspects of visual artworks can lead to a consistent aesthetic judgment, even if there is no cognitive contribution to this judgment.

Full-horizon cylindrical projections of the optic array are in common use. One wonders whether the public actually profits from such pictorial information, since the space behind one's back does not exist in visual awareness. In an experiment, a test image included six persons located at the corners of an irregular hexagon centred at the camera. Two persons faced the camera, two turned their back to the camera and two others faced a direction at right angles to the camera. The distances to the camera were unequal and varied from 1 to 2 m. Participants were asked to draw a ground plan of the perceived configuration, including actors and camera, on the basis of viewing the picture. As with any picture there exist many possible interpretations, the ambiguity grows even more when the angular scope of the picture is unknown. Almost all naïve viewers parse this planispheric (Mercator) representation so as to have the whole scene in front of them, with the actors standing in a circle, facing each other. They take the viewpoint to be outside the circle. Only a few placed the viewpoint inside the circle, which is indeed another reasonable interpretation (in this case the actual one).

Consider a mosaic image, the edges of the tesseræ being unrelated to pictorial content. Depending upon grout color, the picture is seen as uninterrupted "behind bars" or divided into tiles by "cracks" as in an ancient oil painting. The phenomenology is explored.

Peripheral vision is strongly limited by crowding, the deleterious influence of neighboring stimuli on target perception. Many quantitative aspects of this phenomenon have been characterized, but the specific nature of the perceptual degradation remains elusive. We utilized a drawing technique to probe the phenomenology of peripheral vision, using the Rey-Osterrieth Complex Figure, a standard neuropsychological clinical instrument. The figure was presented at 12° or 6° in the right visual field, with eye tracking to ensure that the figure was only presented when observers maintained stable fixation. Participants were asked to draw the figure with free viewing, capturing its peripheral appearance. A foveal condition was used to measure copying performance in direct view. To assess the drawings, two raters used standard scoring systems that evaluated feature positions, spatial distortions, and omission errors. Feature scores tended to decrease with increasing eccentricity, both within and between conditions, reflecting reduced resolution and increased crowding in peripheral vision. Based on evaluation of the drawings, we also identified new error classes unique to peripheral presentation, including number errors for adjacent similar features and distinctive spatial distortions. The multifaceted nature of the Rey-Osterrieth Complex Figure-containing configural elements, detached compound features, and texture-like components-coupled with the flexibility of the free-response drawing paradigm and the availability of standardized scoring systems, provides a promising method to probe peripheral perception and crowding.

According to Recognition-By-Components theory, object recognition relies on a specific subset of three-dimensional shapes called geons . In particular, these configurations constitute a powerful cue to three-dimensional object reconstruction because their two-dimensional projection remains viewpoint-invariant. While a large body of literature has demonstrated sensitivity to changes in these so-called nonaccidental configurations, it remains unclear what information is used in establishing such sensitivity. In this study, we explored the possibility that nonaccidental configurations can already be inferred from the basic constituents of objects, namely, their edges. We constructed a set of stimuli composed of two lines corresponding to various nonaccidental properties and configurations underlying the distinction between geons, including collinearity, alignment, curvature of contours, curvature of configuration axis, expansion, cotermination, and junction type. Using a simple visual search paradigm, we demonstrated that participants were faster at detecting targets that differed from distractors in a nonaccidental property than in a metric property. We also found that only some but not all of the observed sensitivity could have resulted from simple low-level properties of our stimuli. Given that such sensitivity emerged from a configuration of only two lines, our results support the view that nonaccidental configurations could be encoded throughout the visual processing hierarchy even in the absence of object context.

Although categorization can take place at different levels of abstraction, classic studies on semantic labeling identified the basic level, for example, dog, as entry point for categorization. Ultrarapid categorization tasks have contradicted these findings, indicating that participants are faster at detecting superordinate-level information, for example, animal, in a complex visual image. We argue that both seemingly contradictive findings can be reconciled within the framework of parallel distributed processing and its successor Leabra (Local, Error-driven and Associative, Biologically Realistic Algorithm). The current study aimed at verifying this prediction in an ultrarapid categorization task with a dynamically changing presentation time (PT) for each briefly presented object, followed by a perceptual mask. Furthermore, we manipulated two defining task variables: level of categorization (basic vs. superordinate categorization) and object presentation mode (object-in-isolation vs. object-in-context). In contradiction with previous ultrarapid categorization research, focusing on reaction time, we used accuracy as our main dependent variable. Results indicated a consistent superordinate processing advantage, coinciding with an overall improvement in performance with longer PT and a significantly more accurate detection of objects in isolation, compared with objects in context, at lower stimulus PT. This contextual disadvantage disappeared when PT increased, indicating that figure-ground separation with recurrent processing is vital for meaningful contextual processing to occur.

Research on the influence of reference frames has generally focused on visual phenomena such as the oblique effect, the subjective visual vertical, the perceptual upright, and ambiguous figures. Another line of research concerns mental rotation studies in which participants had to discriminate between familiar or previously seen 2-D figures or pictures of 3-D objects and their rotated versions. In the present study, we disentangled the influence of the environmental and the viewer-centered reference frame, as classically done, by comparing the performances obtained in various picture and participant orientations. However, this time, the performance is the pictorial relief: the probed 3-D shape percept of the depicted object reconstructed from the local attitude settings of the participant. Comparisons between the pictorial reliefs based on different picture and participant orientations led to two major findings. First, in general, the pictorial reliefs were highly similar if the orientation of the depicted object was vertical with regard to the environmental or the viewer-centered reference frame. Second, a viewpoint-from-above interpretation could almost completely account for the shears occurring between the pictorial reliefs. More specifically, the shears could largely be considered as combinations of slants generated from the viewpoint-from-above, which was determined by the environmental as well as by the viewer-centered reference frame.

What are "natural parts" of pictorial reliefs? Intuitively, and suggested by common lore from the visual arts, they are the bulges that stick out toward the observer. Each such bulge contains a (locally) nearest point and is bounded by one or (usually) more curvilinear ruts. The latter meet in "passes" or saddle points. This divides the relief into "natural districts". From a formal analysis one knows that reliefs can be divided into "hill districts" or "dale districts", these two "natural" parcellations being fully distinct. We report empirical results that strongly suggest that visual awareness is based on a partition in bulges, which are mutually only weakly connected. Such a notion immediately explains why inverted reliefs or surfaces illuminated from below appear so different as to be mutually not recognizable.

Local solid shape applies to the surface curvature of small surface patches-essentially regions of approximately constant curvatures-of volumetric objects that are smooth volumetric regions in Euclidean 3-space. This should be distinguished from local shape in pictorial space. The difference is categorical. Although local solid shape has naturally been explored in haptics, results in vision are not forthcoming. We describe a simple experiment in which observers judge shape quality and magnitude of cinematographic presentations. Without prior training, observers readily use continuous shape index and Casorati curvature scales with reasonable resolution.

Three observers performed a task designed to quantify their "pictorial relief" in visual awareness for a photograph of a piece of sculpture. In separate sessions, they were instructed to assume one of two "mental viewpoints." The main objective was to investigate whether human observers have such command. All three observers could redirect their "mental view direction" by up to 20°. These observers experience "paradoxical monocular" stereopsis, whereas a sizable fraction of the population does not. Moreover, they had some experience in assuming various "viewing modes." Whereas one cannot generalize to the population at large, these findings at least prove that it is possible to direct the mental viewpoint actively. This is of importance to the visual arts. For instance, academic drawings require one to be simultaneously aware of a "viewing" (for the drawing) and an "illumination direction" (for the shading). Being able to mentally deploy various vantage points is a crucial step from the "visual field" to the "visual space."

In many magic tricks, magicians fool their audience by performing a mock action (a so-called "ruse"), which merely serves the purpose of providing a seemingly natural explanation for visible movements that are actually part of the secret move they want to hide from the audience. Here, we discuss a special magic ruse in which the action of secretly putting something somewhere is "explained away" by the mock action of fetching something from the same place, or vice versa . Interestingly, the psychological principles underlying the amazing potency and robustness of this technique seem to be very similar to the general perceptual principles underlying figure-ground perception and the assignment of border ownership. This analogy may be useful for exploring the possibility that this and similar magical effects involve immediate "unconscious inferences" about intentions more akin to perceptual processing than to explicit deliberations based on a reflective "theory" of mind.

Does human vision deploy a generic template for open landscapes that might fit the gist of current optical input? In an experiment, participants judged depth order in split-field images in which the two fuzzily delineated half-images were filled with different hues. For the majority of observers, we find a systematic dependence of depth order of these half-images on their hue and/or brightness difference. After minor cleaning of the data, we are left with two mutually well-separated clusters. Correlation with the statistical distribution of hue and brightness in generic "open landscape" photographs reveals that one cluster correlates with hue, the other with brightness. This suggests that human observers indeed at least partly rely on "generic landscape" templates in the psychogenesis of their visual awareness.

Previous studies using binocular rivalry have shown that signals in a modality other than the visual can bias dominance durations depending on their congruency with the rivaling stimuli. More recently, studies using continuous flash suppression (CFS) have reported that multisensory integration influences how long visual stimuli remain suppressed. In this study, using CFS, we examined whether the contrast thresholds for detecting visual looming stimuli are influenced by a congruent auditory stimulus. In Experiment 1, we show that a looming visual stimulus can result in lower detection thresholds compared to a static concentric grating, but that auditory tone pips congruent with the looming stimulus did not lower suppression thresholds any further. In Experiments 2, 3, and 4, we again observed no advantage for congruent multisensory stimuli. These results add to our understanding of the conditions under which multisensory integration is possible, and suggest that certain forms of multisensory integration are not evident when the visual stimulus is suppressed from awareness using CFS.

In everyday life, we are generally able to dynamically understand and adapt to socially (ir)elevant encounters, and to make appropriate decisions about these. All of this requires an impressive ability to directly filter and obtain the most informative aspects of a complex visual scene. Such rapid gist perception can be assessed in multiple ways. In the ultrafast categorization paradigm developed by Simon Thorpe et al. (1996), participants get a clear categorization task in advance and succeed at detecting the target object of interest (animal) almost perfectly (even with 20 ms exposures). Since this pioneering work, follow-up studies consistently reported population-level reaction time differences on different categorization tasks, indicating a superordinate advantage (animal versus dog) and effects of perceptual similarity (animals versus vehicles) and object category size (natural versus animal versus dog). In this study, we replicated and extended these separate findings by using a systematic collection of different categorization tasks (varying in presentation time, task demands, and stimuli) and focusing on individual differences in terms of e.g., gender and intelligence. In addition to replicating the main findings from the literature, we find subtle, yet consistent gender differences (women faster than men).

The Poggendorff illusion is one of the most exhaustively studied illusions. Can it be revived as an interesting problem? Perhaps by moving it to a slightly different domain. Here, we consider the occlusion of a subjectively linear ramp of tonal values. In a simple experiment, we find results closely resembling those of the geometrical Poggendorff. Yet, the "explanations" offered for the latter hardly apply to the former case. Depending upon one's perspective, this may be taken to "revive" the Poggendorff illusion.

How is pictorial relief represented in visual awareness? Certainly not as a "depth map," but perhaps as a map of local surface attitudes (Koenderink & van Doorn, 1995). Here we consider the possibility that observers might instead, or concurrently, represent local surface shape, a geometrical invariant with respect to motions. Observers judge local surface shape, in a picture of a piece of sculpture, on a five-point categorical scale. Categories are cap-ridge-saddle-rut-cup-flat, where "flat" denotes the absence of shape. We find that observers readily perform such a task, with full resolution of a shape index scale (cap-ridge-saddle-rut-cup), and with excellent self-consistency over days. There exist remarkable inter-observer differences. Over a group of 10 naive observers we find that the dispersion of judgments peaks at the saddle category. There may be a relation of this finding to the history of the topic-Alberti's (1827) omission of the saddle category in his purportedly exhaustive catalog of local surface shapes.

"Exocentric pointing in the visual field" involves the setting of a pointer so as to visually point to a target, where both pointer and target are objects in the visual field. Phenomenologically, such pointings show systematic deviations from veridicality of several degrees. The errors are very small in the vertical and horizontal directions, but appreciable in oblique directions. The magnitude of the error is largely independent of the distance between pointer and target for stretches in the range 2-27°. A general conclusion is that the visual field cannot be described in terms of one of the classical homogeneous spaces, or, alternatively, that the results from pointing involve mechanisms that come after geometry proper has been established.

In a popular magic routine known as "multiplying billiard balls", magicians fool their audience by using an empty shell that the audience believes to be a complete ball. Here, we present some observations suggesting that the spectators do not merely entertain the intellectual belief that the balls are all solid, but rather automatically and immediately perceive them as such. Our observations demonstrate the surprising potency and genuinely perceptual origin of amodal volume completion.

We report converging evidence that higher stages of the visual system are critically required for the whole to become more than the sum of its parts by studying patient DF with visual agnosia using a configural superiority paradigm. We demonstrate a clear dissociation between this patient and normal controls such that she could more easily report information about parts, demonstrating a striking reversal of the normal configural superiority effect. Furthermore, by comparing DF's performance to earlier neuroimaging and novel modeling work, we found a compelling consistency between her performance and representations in the early visual areas, which are spared in this patient. The reversed pattern of performance in this patient highlights that in some cases visual Gestalts do not emerge early on without processing in higher visual areas. More broadly, this study demonstrates how neuropsychological patients can be used to unmask representations maintained at early stages of processing.

SFS (Shape From Shading) theory is based upon the Lambertian paradigm. Our visual demonstrations imply that this paradigm fails to apply to the conventional stimuli used to probe vision.

Pellicano and Burr (2012) argue that a Bayesian framework can help us understand the perceptual peculiarities in autism. We agree, but we think that their assumption of uniformly flat or equivocal priors in autism is not empirically supported. Moreover, we argue that any full account has to take into consideration not only the nature of priors in autism, but also how these priors are constructed or learned. We argue that predictive coding provides a more constrained framework that very naturally explains how priors are constructed in autism leading to strong, but overfitted, and non-generalizable predictions.

We investigated the role of spatial arrangement of texture elements in three psychophysical experiments on texture discrimination and texture segregation. In our stimuli, oriented Gabor elements formed an iso-oriented and a randomly oriented texture region. We manipulated (1) the orientation similarity in the iso-oriented region by adding orientation jitter to the orientation of each Gabor; (2) the spatial arrangement of the Gabors: quasi-random or regular; and (3) the shape of the edge between the two texture regions: straight or curved. In Experiment 1, participants discriminated an iso-oriented stimulus from a stimulus with only randomly oriented elements. Experiment 2 required texture segregation to judge the shape of the texture edge. Experiment 3 replicated Experiment 2 with Gabors of a smaller spatial extent in a denser arrangement. We found comparable performance levels with regular and quasi-random Gabor positions in the discrimination task but not in the segregation tasks. We conclude that spatial arrangement plays a role in a texture segregation task requiring shape discrimination of the texture edge but not in a texture discrimination task in which it is sufficient to discriminate an iso-oriented region from a completely random region.

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.

We previously tested the identifiability of six versions of Gaborized outlines of everyday objects, differing in the orientations assigned to elements inside and outside the outline. We found significant differences in identifiability between the versions, and related a number of stimulus metrics to identifiability [Sassi, M., Vancleef, K., Machilsen, B., Panis, S., & Wagemans, J. (2010). Identification of everyday objects on the basis of Gaborized outline versions. i-Perception, 1(3), 121-142]. In this study, after retesting the identifiability of new variants of three of the stimulus versions, we tested their robustness to local orientation jitter in a detection experiment. In general, our results replicated the key findings from the previous study, and allowed us to substantiate our earlier interpretations of the effects of our stimulus metrics and of the performance differences between the different stimulus versions. The results of the detection task revealed a different ranking order of stimulus versions than the identification task. By examining the parallels and differences between the effects of our stimulus metrics in the two tasks, we found evidence for a trade-off between shape detectability and identifiability. The generally simple and smooth shapes that yield the strongest contour integration and most robust detectability tend to lack the distinguishing features necessary for clear-cut identification. Conversely, contours that do contain such identifying features tend to be inherently more complex and, therefore, yield weaker integration and less robust detectability.

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.

The i-Perception special issue Art & Perception is based on the Art & Perception Conference 2010 in Brussels. Our vision with this conference was to bring together artists and vision scientists from different backgrounds to exchange views and state-of-the-art knowledge on art perception and aesthetics. The complexity of the experience of art and of aesthetic phenomena, in general, calls for specific research approaches, for which interdisciplinarity seems to be key. Following this logic, the special issue Art & Perception contains contributions by artists and vision scientists with different methodological approaches. The contributions span a wide range of topics, but are all centred around two questions: How can one understand art perception and aesthetics from a psychological point of view, and how is this reflected in art itself?

In distinguishing individual shapes (defined by their contours), older children (6.5 years of age on average) performed better than younger children (4 years of age on average), and, although the task did not involve any categorization or generalization, the error pattern was qualitatively affected by shape differences that are generally common distinctions between objects belonging to different categories. The influence of these shape differences was also observed for unfamiliar shapes, demonstrating that the influence of categorization experience was not modulated by the retrieval of shape features from known categories but rather related to a different perception of shape by age. The results suggest a direct influence of categorization experience on more abstract shape processing. When children were distinguishing shapes, new words were paired with the target shapes, and in 2 additional tasks, the acquired name-shape associations were tested. The younger age group was able to remember more words correctly.

Despite the importance of the arts in human life, psychologists still know relatively little about what characterises their experience for the recipient. The current research approaches this problem by studying people's word usage in aesthetics, with a focus on three important art forms: visual art, film, and music. The starting point was a list of 77 words known to be useful to describe aesthetic impressions of visual art (Augustin et al 2012, Acta Psychologica139 187-201). Focusing on ratings of likelihood of use, we examined to what extent word usage in aesthetic descriptions of visual art can be generalised to film and music. The results support the claim of an interplay of generality and specificity in aesthetic word usage. Terms with equal likelihood of use for all art forms included beautiful, wonderful, and terms denoting originality. Importantly, emotion-related words received higher ratings for film and music than for visual art. To our knowledge this is direct evidence that aesthetic experiences of visual art may be less affectively loaded than, for example, experiences of music. The results render important information about aesthetic word usage in the realm of the arts and may serve as a starting point to develop tailored measurement instruments for different art forms.

A shape bias for extending names to objects that look visually similar has been commonly accepted but it is hard to define which kind of shape dissimilarities are diagnostic for the identity of an object. Here, we present a transformational approach to describe shape differences that can incorporate many significant shape features. We introduce two kinds of transformations: one kind concerns linear transformations of the image plane (affine transformations), generally limiting shape variations within the borders of basic-level categories; the other kind concerns nonlinear continuous transformations of the image plane (topological transformations), allowing all kinds of shape variation crossing and not crossing the borders of basic-level categories. We administered stimulus pairs differing in these shape transformations to children of 3 years to 7 years old in a delayed match-to-sample task. With increasing age, especially between 5 years and 6 years, children became more sensitive to the topological deformations that are relevant for between-category distinctions, indicating that acquired categorical knowledge in early years induces perceptual learning of the relevant generic shape differences between categories.

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 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.

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.

Experimental psycho-aesthetics-the science aimed at understanding the factors that determine aesthetic experience-is reviewed briefly as background to describe the Parallellepipeda project, a cross-over project between artists and scientists in Leuven. In particular, I sketch how it started and developed further, with close interactions between the participating artists and scientists. A few examples of specific research projects are mentioned to illustrate the kind of research questions we address and the methodological approach we have taken. We often found an effect of providing participants with additional information, a difference between novice and expert participants, and a shift with increasing experience with an artwork, in the direction of tolerating more complexity and acquiring more order from it. By establishing more connections between parts of an artwork and more associations to the artwork, it becomes a stronger Gestalt, which is more easily mastered by the viewer and leads to increased appreciation. In the final part of the paper, I extract some general lessons from the project regarding a possible new way of doing psycho-aesthetics research, which is able to solve some of the problems of traditional experimental psycho-aesthetics (eg, trade-off between experimental control and ecological validity).

The predictive coding model is increasingly and fruitfully used to explain a wide range of findings in perception. Here we discuss the potential of this model in explaining the mechanisms underlying aesthetic experiences. Traditionally art appreciation has been associated with concepts such as harmony, perceptual fluency, and the so-called good Gestalt. We observe that more often than not great artworks blatantly violate these characteristics. Using the concept of prediction error from the predictive coding approach, we attempt to resolve this contradiction. We argue that artists often destroy predictions that they have first carefully built up in their viewers, and thus highlight the importance of negative affect in aesthetic experience. However, the viewer often succeeds in recovering the predictable pattern, sometimes on a different level. The ensuing rewarding effect is derived from this transition from a state of uncertainty to a state of increased predictability. We illustrate our account with several example paintings and with a discussion of art movements and individual differences in preference. On a more fundamental level, our theorizing leads us to consider the affective implications of prediction confirmation and violation. We compare our proposal to other influential theories on aesthetics and explore its advantages and limitations.

We address the topic of "pictorial depth" in cases of pictures that are unlike photographic renderings. The most basic measure of "depth" is no doubt that of depth order. We establish depth order through the pairwise depth-comparison method, involving all pairs from a set of 49 fiducial points. The pictorial space for this study was evoked by a capriccio (imaginary landscape) by Francesco Guardi (1712-1793). In such a drawing pictorial space is suggested by the artist through a small set of conventional depth cues. As a result typical Western observers tend to agree largely in their visual awareness when looking at such art. We rank depths for locations that are not on a single surface and far apart in pictorial space. We find that observers resolve about 40 distinct depth layers and agree largely in this. From a previous experiment we have metrical data for the same observers. The rank correlations between the results are high. Perhaps surprisingly, we find no correlation between the number of distinct depth layers and the total metrical depth range. Thus, the relation between subjective magnitude and discrimination threshold fails to hold for pictorial depth.

The shading cue is supposed to be a major factor in monocular stereopsis. However, the hypothesis is hardly corroborated by available data. For instance, the conventional stimulus used in perception research, which involves a circular disk with monotonic luminance gradient on a uniform surround, is theoretically 'explained' by any quadric surface, including spherical caps or cups (the conventional response categories), cylindrical ruts or ridges, and saddle surfaces. Whereas cylindrical ruts or ridges are reported when the outline is changed from circular to square, saddle surfaces are never reported. We introduce a method that allows us to differentiate between such possible responses. We report observations on a number of variations of the conventional stimulus, including variations of shape and quality of the boundary, and contexts that allow the observer to infer illumination direction. We find strong and expected influences of outline shape, but, perhaps surprisingly, we fail to find any influence of context, and only partial influence of outline quality. Moreover, we report appreciable differences within the generic population. We trace some of the idiosyncrasies (as compared to shape from shading algorithms) of the human observer to generic properties of the environment, in particular the fact that many objects are limited in size and elliptically convex over most of their boundaries.

Some shape changes are more important for object perception than others. We used a habituation paradigm to measure visual sensitivity to a nonaccidental shape change-that is, the transformation of a trapezium into a triangle and vice versa-and a metric shape change-that is, changing the aspect ratio of the shapes. Our data show that an enhanced perceptual sensitivity to nonaccidental changes is already present in infancy and remains stable into toddlerhood. We have thus established an example of how early visual perception deviates from the null hypothesis of representing similarity as a function of physical overlap between shapes, and does so in agreement with more cognitive, categorical demands.

Using outlines derived from a widely used set of line drawings, we created stimuli geared towards the investigation of contour integration and texture segmentation using shapes of everyday objects. Each stimulus consisted of Gabor elements positioned and oriented curvilinearly along the outline of an object, embedded within a larger Gabor array of homogeneous density. We created six versions of the resulting Gaborized outline stimuli by varying the orientations of elements inside and outside the outline. Data from two experiments, in which participants attempted to identify the objects in the stimuli, provide norms for identifiability and name agreement, and show differences in identifiability between stimulus versions. While there was substantial variability between the individual objects in our stimulus set, further analyses suggest a number of stimulus properties which are generally predictive of identification performance. The stimuli and the accompanying normative data, both available on our website (http://www.gestaltrevision.be/sources/gaboroutlines), provide a useful tool to further investigate contour integration and texture segmentation in both normal and clinical populations, especially when top-down influences on these processes, such as the role of prior knowledge of familiar objects, are of main interest.