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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.

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 Descent from 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.

The perception of luminosity is thought to depend upon the intensity of the stimulus: a surface begins to appear self-luminous when it emits or reflects a certain amount of light. This is known as the luminosity threshold. It is a common opinion among vision scientists that such a threshold is correlated to the intensity of a perceptually white surface, in the sense that only an area of the visual field with luminance higher than perceived surface-white will appear luminous. Here we show grey colours that appear luminous in virtue of surrounding luminance ramps. These ramps are intended to mimic halos seen around light sources in natural environments. The results of three experiments indicate that the phenomenon is in direct contradiction to the aforementioned assumptions and suggest the existence of separate perceptual pathways for self-luminosity perception and for surface-colour perception.

Three compelling luminance-gradient effects are described. The first effect concerns a brightness enhancement and a luminous mist spreading out from a central area having the same luminance as the white background and surrounded by four rectangular inducers shaded with a linear luminance gradient. The second effect is perceived with a photographically reversed configuration, and concerns what may be considered a brightness reduction or the enhancement of a darkness quality of a target area of the visual scene. The third effect concerns the perception of a self-luminous disk inside a somewhat foggy medium. The effects are worthy of further examination because they challenge current theories of luminosity perception and brightness perception in general.

The glare effect is an illusion in which a region appears self-luminous when flanked by gradients that decrease in luminance with distance from the region (Zavagno, 1999 Perception28 835–838). This region also appears brighter than a surface of the same luminance. We investigated, using the paradigm of afterimages, whether a low-level mechanism at the level of the retina or LGN could account for this apparent brighter sensation. We first replicated the result from the literature that brighter and longer-lasting physical stimuli generate longer-lasting afterimages. We then compared the glare-effect stimuli with their counterpart controls, and found that the glare-effect stimuli did not give rise to longer-lasting afterimages. This suggests that the apparent brighter sensation of the glare effect is not due to a retinal or LGN mechanism, but must have a cortical origin.

The impression of self-luminosity in the glare effect was studied in two experiments. In experiment 1 the target (CS) was set to the highest luminance of the field and subjects were asked to adjust the luminance ramp of the inducers (R) against five backgrounds (B) to the point where they began to see CS as self-luminous. It was found that there is a linear relationship between background and luminance ramp. Another group of subjects carried out the same task in experiment 2, but this time CS and R were linked together so that CS would always have the same luminance as the highest luminance level of R, as adjustments were performed. It was found that: (i) adjustments were always lower than the highest luminance available; (ii) the linear relationship between background and luminance ramp was confirmed; (iii) observers reported a compelling impression of self-luminous grays. Data are discussed in relation to Bonato and Gilchrist's model for the perception of luminosity. The authors advance the hypothesis that luminance ramps are used at an early stage of encoding for the perception of luminosity.

The impression of glare is caused by a very intense light source. However, here I show that this impression can also be generated with normal light intensities. The strength of the effect depends on the number of elements used to produce it. The elements are 2 cm × 5 cm rectangles. A single horizontal achromatic rectangle is first used on a homogeneous white or black background. From left to right, the brightness of the rectangle varies smoothly from black to white. The left part of the rectangle appears to progressively bend toward the background when the background is black, while the rectangle appears straight and to fade into an apparent white mist near its right side when the background is white. When the background is black, two horizontal rectangles, mirror-shaded from black to white, so that their black ends face each other with a 2 cm gap between them, appear either to bend toward the background or to be straight and to fade into a sort of dark ‘smoke’. When the background is white with the left rectangle varying in brightness from black to white and the right one from white to black, the rectangles look straight with a sort of white glare appearing to come out from the gap. The black ‘smoke’ and the white glare look more compelling when there are four rectangles forming a cross with a central square gap. It can be argued that this and the neon spreading effect are unrelated. Instead, psychophysical experiments suggest that the glare and smoke effects depend on a relation between the grey scale gradient and the background brightness.

Starting from an achromatic display used by Zavagno to study a glare and a ‘smoke’ effect, we show two new dynamic effects that we call (a) ‘light explosion’ and (b) ‘night crash’. On a uniform white or black background four black or white rectangles (inducers, 1 deg × 5.7 deg) were arranged to form an orthogonal cross with a square gap in its centre. (a) When the luminance of black inducers on a white background is transformed into a smooth gray scale gradient with the lighter ends facing the square gap, a luminous mist with a glare effect is seen. When such a transformation is performed dynamically by changing the gradient from outside to inside (with the outside ends remaining black and the inside changing toward white), a sudden explosion of light is seen. (b) When the luminance of white inducers on a black background is transformed into a smooth gray scale gradient with their darker ends facing the square gap, a sort of dark ‘smoke’ is seen. If such a transformation is performed dynamically by changing the gradient from inside to outside (with the outside ends remaining white and the inside changing toward black), a sudden and instantaneous black diffusion (a sort of night crash) is seen. Both the light explosion and the night crash effects have an exponential course followed by an immediate drop. Psychophysical data show that both effects depend on an interaction between the lightness of the background, the lightness of the square gap, and the transformation rate of the gray scale gradient.