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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. [ABSTRACT FROM AUTHOR]

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. [ABSTRACT FROM AUTHOR]

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. [ABSTRACT FROM AUTHOR]

Objective: The aim of our study was to investigate which text-background (TB) color combinations improve legibility and pleasantness of texts either presented on a computer screen or projected on a wider surface.Background: Our work stems from the observation that multimedia presentations, even those by professionals in visual disciplines, are often spoiled by illegibility, which affects readability and the pleasantness of attending to such presentations.Methods: We investigated this problem through three experiments. Experiment 1 assessed the best TB color combinations in slides presented on a laptop. Experiment 2 verified the correlation between legibility and pleasantness for TB presentations. Experiment 3 investigated the legibility of a slide projected on a wide screen in different room lighting conditions. In all experiments participants expressed a rating score for stimulus legibility or pleasantness.Results: Experiments 1 and 3 showed that it is best to have a dark text on a light background for both displayed and projected texts. Experiment 2 showed that pleasantness is tightly correlated with legibility, though legibility depends on contrast between text and background.Conclusions: Our findings are not in complete agreement with the literature concerning legibility of text displayed on a computer screen, and they are in contrast with the common belief that for projection purposes it is best to have a light text on a dark background.Applications: Some practical rules on combining TB colors are given to enhance the legibility of presentations, especially important for the legibility of projected texts. [ABSTRACT FROM AUTHOR]

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. [ABSTRACT FROM AUTHOR]

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. [ABSTRACT FROM AUTHOR]

Introduction: The aim of the study was to evaluate the effects of postoperative administration of glutamine on the subjective perception of fatigue after major surgery. A prospective controlled clinical trial was conducted with a quasi-randomization method, enrolling cancer patients undergoing major elective surgery and treated with intravenous glutamine supplementation. Materials and Methods: Twenty-two well-nourished or slightly undernourished cancer patients were enrolled and divided into 2 groups. Both groups received isocaloric and protein-sparing nutritional support (1215 Kcal; 7.3 g N) by a peripheral parenteral nutrition device for 7 days after the operation. The glutamine group also received an intravenous glutamine supplement (20 g/day) on the first 6 postoperative days. We measured biochemical, clinical and anthropometric parameters including prealbumin, albumin, retinol-binding protein, transferrin, C-reactive protein, lymphocytes, fatigue (by visual analogue scale), handgrip force (by dynamometer), weight, height, mid-arm circumference and triceps skinfold thickness. Results: Each group was analyzed for significant values with Student’s t-test. A better response of transferrin and retinol-binding protein was measured in the glutamine group (p<0.05). Within each group, the time course of parameters was analyzed. The results were presented in the form of a paired t-test and showed a favorable trend for prealbumin, albumin and mid-arm circumference. A controversial result was obtained during the first postoperative days for C-reactive protein and postoperative fatigue. Conclusions: Glutamine supplementation in well-nourished or slightly undernourished cancer patients undergoing major elective surgery does not seem to improve postoperative fatigue, but ameliorates biohumoral recovery and nutritional status after major surgery [ABSTRACT FROM AUTHOR]

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. [ABSTRACT FROM AUTHOR]

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. [ABSTRACT FROM AUTHOR]

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 Perception 28 835–838). 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. [ABSTRACT FROM AUTHOR]

What is it like to see the world in black and white? In the pioneer days of cinema, when movies displayed grey worlds, was it true that no 'colours' were actually seen? Did every object seen in those projections appear grey in the same way? The answer is obviously no-people in those glorious days were seeing a world full of light, shadows, and objects in which colours were expressed in terms of lightness. But the marvels of grey worlds have not always been so richly displayed. Before the invention of photography, the depiction of scenes in black-and-white had to face some technical and perceptual challenges. We have studied the technical and perceptual constraints that XV-XVIII century engravers had to face in order to translate actual colours into shades of grey. An indeterminacy principle is considered, according to which artists had to prefer the representation of some object or scene features over others (for example brightness over lightness). The reasons for this lay between the kind of grey scale technically available and the kind of information used in the construction of 3-D scenes. With the invention of photography, photomechanical reproductions, and new printing solutions, artists had at their disposal a continuous grey scale that greatly reduces the constraints of the indeterminacy principle. [ABSTRACT FROM AUTHOR]

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. [ABSTRACT FROM AUTHOR]

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. [ABSTRACT FROM AUTHOR]