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Portrait painters are experts at examining faces and since emotional content may be expressed differently on each side of the face, consider that Rembrandt biased his male portraits to show their right-cheek more often and female portraits to show their left-cheek more often. This raises questions regarding the emotional significance of such biased positions. I presented rightward and leftward facing male and female portraits. I measured observers' pupil size while asking observers to report how (dis)pleasing they found each image. This was a methodological improvement over the type of research initially done by Eckhard Hess who claimed that pupils dilate to pleasant images and constrict to unpleasant images. His work was confounded since his images' luminances and contrasts across conditions were inconsistent potentially affecting pupil size. To overcome this limitation I presented rightward or leftward facing male and female portraits by Rembrandt to observers in either their original or mirror-reversed position. I found that in viewing male portraits pupil diameter was a function of arousal. That is, larger pupil diameter occurred for images rated both low and high in pleasantness. This was not the case with female portraits. I discuss these findings in regard to the perceived dominance of males and how emotional expressions may be driven by hemispheric laterality.

In studies of lightness and color constancy, the terms lightness and brightness refer to the qualia corresponding to perceived surface reflectance and perceived luminance, respectively. However, what has rarely been considered is the fact that the volume of space containing surfaces appears neither empty, void, nor black, but filled with light. Helmholtz (1866/1962) came closest to describing this phenomenon when discussing inferred illumination, but previous theoretical treatments have fallen short by restricting their considerations to the surfaces of objects. The present work is among the first to explore how we infer the light present in empty space. It concludes with several research examples supporting the theory that humans can infer the differential levels and chromaticities of illumination in three-dimensional space.

Lindquist et al. provide a compelling summary of the brain bases of the onset of emotion. Their conclusions, however, are constrained by typical fMRI techniques that do not assess a key ingredient in emotional experience - timing. We discuss the importance of timing in theories of emotion as well as the implications of neural temporal dynamics for psychological constructionism.

In the psychophysical phenomenon visual bias, an accurately localized irrelevant signal, such as a light, impairs localization of a spatially discrepant target, such as a sound, when the two stimuli are perceived as unified. Many studies have demonstrated visual bias in azimuth, but none have tested directly or found this effect in depth. The current study was able to produce over 90% bias in azimuth and somewhat less (83%) bias in depth. A maximum likelihood estimate can predict bias by the variance in the localization of each unimodal signal in each dimension in space.

Eckhard Hess claimed that pupils dilate to pleasant images and constrict to unpleasant images. However, his work was confounded since his image's luminances and contrasts across conditions were inconsistent. We overcome this limitation and suggest a new, promising methodology for research in this area. We presented rightward or leftward facing male and female portraits by Rembrandt to observers in either their original or mirror-reversed position. Since emotional content may be expressed differently on each side of the face, we used Rembrandt's portraits since most of his males had their right-cheek exposed and females had their left-cheek exposed. This raises questions regarding the emotional and cognitive significance of such biased positioning. Simultaneously, we measured observers pupil size while asking observers to report how (dis)pleasing they found each image. We found that in viewing male portraits pupil diameter was a function of arousal. That is, larger pupil diameter occurred for images rated both low and high in pleasantness. We discuss these findings in regard to the perceived dominance of males and how emotional expressions may be driven by hemispheric laterality.

The purpose of this work is to describe how the visual system groups surfaces of unequal lightness under complex patterns of illumination. We propose that the Gestalt principle of Grouping by Regularity explains this process better than the more often cited principle of Grouping by Similarity. In our first experiment we demonstrate that in a perceptual organization task, pitting proximity against illumination gradients, discounting the illuminant was contingent upon the periodicity of the illuminant. Traditional theories of lightness constancy and discounting the illuminant (Rock, Nijhawan, Palmer, & Tudor, 1992) cannot account for such effects. Three more experiments show that grouping is affected more by local luminance ratios than constant reflectance ratios. We conclude from these findings that Grouping by Regularity is a powerful grouping principle that operates pre-constancy., (Copyright © 2011 Elsevier Ltd. All rights reserved.)

To better understand temporal and spatial cross-modal interactions, two signal detection experiments were conducted in which an auditory target was sometimes accompanied by an irrelevant flash of light. In the first, a psychometric function for detecting a unisensory auditory target in varying signal-to-noise ratios (SNRs) was derived. Then auditory target detection was measured while an irrelevant light was presented with light/sound stimulus onset asynchronies (SOAs) between 0 and ±700 ms. When the light preceded the sound by 100 ms or was coincident, target detection (d') improved for low SNR conditions. In contrast, for larger SOAs (350 and 700 ms), the behavioral gain resulted from a change in both d' and response criterion (β). However, when the light followed the sound, performance changed little. In the second experiment, observers detected multimodal target sounds at eccentricities of ±8°, and ±24°. Sensitivity benefits occurred at both locations, with a larger change at the more peripheral location. Thus, both temporal and spatial factors affect signal detection measures, effectively parsing sensory and decision-making processes.

Correctly integrating sensory information across different modalities is a vital task, yet there are illusions which cause the incorrect localization of multisensory stimuli. A common example of these phenomena is the "ventriloquism effect". In this illusion, the localization of auditory signals is biased by the presence of visual stimuli. For instance, when a light and sound are simultaneously presented, observers may erroneously locate the sound closer to the light than its actual position. While this phenomenon has been studied extensively in azimuth at a single depth, little is known about the interactions of stimuli at different depth planes. In the current experiment, virtual acoustics and stereo-image displays were used to test the integration of visual and auditory signals across azimuth and depth. The results suggest that greater variability in the localization of sounds in depth may lead to a greater bias from visual stimuli in depth than in azimuth. These results offer interesting implications for understanding multisensory integration.

Studies of facial asymmetry have revealed that the left and the right sides of the face differ in emotional attributes. This paper reviews many of these distinctions to determine how these asymmetries influence portrait paintings. It does so by relating research involving emotional expression to aesthetic pleasantness in portraits. For example, facial expressions are often asymmetrical-the left side of the face is more emotionally expressive and more often connotes negative emotions than the right side. Interestingly, artists tend to expose more of their poser's left cheek than their right. This is significant, in that artists also portray more females than males with their left cheek exposed. Reasons for these psychological findings lead to explanations for the aesthetic leftward bias in portraiture.

Observers prefer Mondrian's paintings in their original orientation compared to when rotated--"the oblique effect" (Latto et al, 2000 Perception 29 981-987). We tested whether eye movements could provide any insight into this aesthetic bias. While recording fixation duration and saccade length, we presented eight Mondrian paintings dated 1921-1944 on a CRT in either their original or seven rotated positions to ten observers who used a Likert scale to report how (dis)pleasing they found each image. We report on eye-movement patterns from nine pairs of images that had a significant orientation effect. During the 20 s scans, fixation durations increased linearly, more so for pleasing images than for non-pleasing images. Moreover, saccade distances oscillated over the viewing interval, with larger saccade-distance oscillations for the pleasing images than the non-pleasing images. Both of these findings agree with earlier work by Nodine et al (1993 Leonardo 26 219-227), and confirm that as an abstract painting becomes more aesthetically pleasing, it shows both a greater amount of diversive/specific types of image exploration and balance. Thus, any increase in visual fluency in localizing vertical and horizontal versus oblique lines can lead to an increase in the aesthetic pleasure of viewing Mondrian's work.

In 64% of Rembrandt's female portraits the poser's left-cheek faces the viewer. However, this occurs in only 33% of his male portraits. This asymmetry is consistent with viewers rating Rembrandt's left-cheeked male portraits as likely to be avoided, which may reflect that aggressive displays of dominance are governed by the contralateral right-hemisphere, while rating left-cheeked female faces as likely to be approached may indicate sexual attractiveness. Rembrandt's exposed-cheek gender difference paints both sexual selection and dominance as being governed by the right cerebral hemisphere.

By displaying a risk reduction of 50% graphically rather than numerically, Stone, Yates, and Parker significantly increased professed risk-avoidant behavior. The current experiments replicated this effect at various risk ratios. Specifically, participants were willing to spend more money to reduce a risk when the risk information was displayed by asterisks rather than by numbers for risk-reduction ratios ranging from 3% to 97%. Transforming the amount participants were willing to spend to logarithms significantly improved a linear fit to the data, suggesting that participants convert this variable within the decision-making process. Moreover, a log-linear model affords an exceptional fit to both the graphical and numerical data, suggesting that a graphical presentation elicits the same decision-making mechanism as does the numerical display. In addition, the data also suggest that each person removed from harm is weighted more by some additional factor in the graphical compared to the numerical presentations.

Logvinenko [Perception 31, 201 (2002)] asserts that Adelson's wall-of-blocks illusion [Science 262, 2042 (1993)], where identical gray-cube surface tops appear to differ in brightness, arises when the surfaces surrounding the cube tops are shadow compatible, creating a concomitant illusion of transparency. We replicated Logvinenko's main findings in the chromatic domain across three experiments in which observers match cube tops in hue, saturation, and brightness. A second set of stimuli adjusted cone-excitation ratios across the apparent transparency border [Proc. R. Soc. London 257, 115 (1994)], which enhanced lightness and brightness constancy but only when the stimuli varied in both chromaticity and intensity.

The brain integrates information from multiple sensory modalities and, through this process, generates a coherent and apparently seamless percept of the external world. Although multisensory integration typically binds information that is derived from the same event, when multisensory cues are somewhat discordant they can result in illusory percepts such as the "ventriloquism effect." These biases in stimulus localization are generally accompanied by the perceptual unification of the two stimuli. In the current study, we sought to further elucidate the relationship between localization biases, perceptual unification and measures of a participant's uncertainty in target localization (i.e., variability). Participants performed an auditory localization task in which they were also asked to report on whether they perceived the auditory and visual stimuli to be perceptually unified. The auditory and visual stimuli were delivered at a variety of spatial (0 degrees, 5 degrees, 10 degrees, 15 degrees ) and temporal (200, 500, 800 ms) disparities. Localization bias and reports of perceptual unity occurred even with substantial spatial (i.e., 15 degrees ) and temporal (i.e., 800 ms) disparities. Trial-by-trial comparison of these measures revealed a striking correlation: regardless of their disparity, whenever the auditory and visual stimuli were perceived as unified, they were localized at or very near the light. In contrast, when the stimuli were perceived as not unified, auditory localization was often biased away from the visual stimulus. Furthermore, localization variability was significantly less when the stimuli were perceived as unified. Intriguingly, on non-unity trials such variability increased with decreasing disparity. Together, these results suggest strong and potentially mechanistic links between the multiple facets of multisensory integration that contribute to our perceptual Gestalt.

The brightnesses (i.e., perceived luminance) of surfaces within a three-dimensional scene are contingent on both the luminances and the spatial arrangement of the surfaces. Observers viewed a CRT through a haploscope that presented simulated achromatic surfaces in three dimensions. They set a test patch to be approximately 33% more intense than a comparison patch to match the comparison patch in brightness, which is consistent with viewing a real scene with a simple lightning interpretation from which to estimate a different level of illumination in each depth plane. Randomly positioning each surface in either depth plane minimized any simple lighting interpretation, concomitantly reducing brightness differences to approximately 8.5%, although the immediate surrounds of the test and comparison patches continued to differ by a 5:1 luminance ratio.

The ability of a visual signal to influence the localization of an auditory target (i.e., "cross-modal bias") was examined as a function of the spatial disparity between the two stimuli and their absolute locations in space. Three experimental issues were examined: (a) the effect of a spatially disparate visual stimulus on auditory localization judgments; (b) how the ability to localize visual, auditory, and spatially aligned multisensory (visual-auditory) targets is related to cross-modal bias, and (c) the relationship between the magnitude of cross-modal bias and the perception that the two stimuli are spatially "unified" (i.e., originate from the same location). Whereas variability in localization of auditory targets was large and fairly uniform for all tested locations, variability in localizing visual or spatially aligned multisensory targets was much smaller, and increased with increasing distance from the midline. This trend proved to be strongly correlated with biasing effectiveness, for although visual-auditory bias was unexpectedly large in all conditions tested, it decreased progressively (as localization variability increased) with increasing distance from the midline. Thus, central visual stimuli had a substantially greater biasing effect on auditory target localization than did more peripheral visual stimuli. It was also apparent that cross-modal bias decreased as the degree of visual-auditory disparity increased. Consequently, the greatest visual-auditory biases were obtained with small disparities at central locations. In all cases, the magnitude of these biases covaried with judgments of spatial unity. The results suggest that functional properties of the visual system play the predominant role in determining these visual-auditory interactions and that cross-modal biases can be substantially greater than previously noted.

Luminance edges in the environment can be due to regions that differ in reflectance or in illumination. In three experiments, we varied the spatial organization of 10 achromatic (simulated) surfaces so that some arrangements were consistent with an ecologically valid and parsimonious interpretation of 5 surfaces under two different illuminants. A constant contrast-ratio along a luminance edge in the scene allows this interpretation. The brightness of patches in this condition was compared to their brightness with minimally different spatial arrangements that fail to maintain the constant contrast-ratio criterion. When the spatial arrangement of the 10 surfaces included a luminance edge satisfying the constant contrast-ratio criterion, brightness changed systematically, compared to arrangements without such a luminance edge. We account for the results by positing that a luminance edge with a constant contrast-ratio segments the scene into regions of lower and higher illumination, with the same effect as a difference in real physical illumination: all else equal, a given surface appears brighter under higher than under lower illumination.

Color matches between two small patches were made in a display containing ten larger regions of different chromaticities. The spatial organization of the ten regions was varied while keeping constant the immediate surround of each patch as well as the space-average chromaticity of the entire stimulus. Different spatial arrangements were designed to alter the perceptual organization inferred by the observer without changing the ensemble of chromaticities actually in view. For example, one arrangement of the ten regions was consistent with five surfaces under two distinct illuminations, with one edge within the display (an "apparent illumination edge") dividing the stimulus into two areas, one under illuminant A and the other under illuminant C. Another spatial arrangement had the ten regions configured to induce an observer to infer ten surfaces under a single illumination. When the ten regions were arranged with an apparent illumination edge, the patch within the area of illuminant C was perceived as bluer than when the same patch and immediate surround were presented without an apparent illumination edge. The results are accounted for by positing that observers group together regions sharing the same inferred illumination, with a consequent effect on color perception: A fixed patch-within-surround shifts in hue and saturation toward the perceived illumination. We suggest that the change in color perception in a complex scene that results from a difference in real illumination may be caused by the inferred illumination at the perceptual level, not directly by the physical change in the light absorbed by photoreceptors.

For centuries painters have predominantly painted portraits with the model's left-cheek facing the viewer. This has been even more prevalent with females ( approximately 68%) than males ( approximately 56%). Numerous portraits painted by Rembrandt typify this unexplained phenomenon. In a preliminary experiment, subjects judged 24 emotional and social character traits in 20 portraits by Rembrandt. A factor analysis revealed that females with their left cheek exposed were judged to be much less socially appealing than less commonly painted right-cheeked females. Conversely, the more commonly painted right-cheeked males were judged to be more socially appealing than either left-cheeked males or females facing either direction. It is hypothesized that hemispheric asymmetries regulating emotional facial displays of approach and avoidance influenced the side of the face Rembrandt's models exposed due to prevailing social norms. A second experiment had different subjects judge a different collection of 20 portraits by Rembrandt and their mirror images. Mirror-reversed images produced the same pattern of results as their original orientation counterparts. Consequently, hemispheric asymmetries that specify the emotional expression on each side of the face are posited to account for the obtained results.

In an inhomogeneous checkerboard surround, the lighter check darkens an incremental test patch more than the darker check lightens it. However, decremental test patches are influenced equally [Schirillo & Shevell, 1996. Vision Research, 36, 1783-1796]. In the current study, we manipulate the spatial arrangement of a checkerboard surround to produce T-junctions that perceptually group the checks with the test patch. These stimuli alter the inducing effects of the checks. For one modified surround, increments appeared approximately 8% darker and decrements appeared approximately 10% lighter over the original checkerboard surround prior to modification. In a second modified surround, that resembled White's illusion [White, 1979. Perception, 8, 413-416], increments again appeared approximately 8% darker, while decrements appeared a dramatic approximately 23% lighter over the original checkerboard surround prior to modification. These enhanced induction effects are postulated to result from the addition of specific T-junctions. However, these grouping effects remain subservient to the asymmetrical induction effects found by Schirillo and Shevell (1996).

It has been hypothesized that brightness judgments require an estimate of the illuminant. Making this estimate is difficult since luminance edges can be the result of changes in either illumination or reflectance. Articulation is the addition of equally spaced incremental and decremental patches within a surround while preserving the surround's space-average luminance. It is proposed that articulation enhances the inference that the surround's luminance edge is due to a change in illumination rather than in reflectance. Articulation results in a corresponding shift in brightness judgments for test-patch increments but not for decrements. This finding concurs with Arend and Goldstein's [J. Opt. Soc. Am. A 4, 2281 (1987)] reported shifts in brightness as simple center-surround stimuli are transformed into more complex ecologically valid Mondrians.

It has been hypothesized that to achieve color constancy, lightness judgments require an estimate of the illuminant. A companion paper [J. Opt. Soc. Am. A 16, 793 (1999)] suggests that surround articulation enhances the likelihood that a global luminance edge will be interpreted as being due to changes in illumination rather than in reflectance. Articulation is the process of adding equally spaced incremental and decremental patches within a surround while preserving the surround's space-average luminance. Such a process results in lightness judgments that correlate perfectly with equal local ratio matches. For decrements, lightness constancy does not require articulation. These findings help explain why Arend and Goldstein [J. Opt. Soc. Am. A 4, 2281 (1987)] obtained color constancy with complex Mondrian surrounds but not with simple center surrounds.

Achromatic brightness matches between two small patches were measured in a display containing ten larger regions of different luminances. The spatial organization of the ten regions was varied while keeping constant the immediate surround (and thus local contrast) of each patch as well as the average luminance of the entire stimulus. Various spatial arrangements were designed to alter the illumination inferred by the observer without changing the ensemble of luminances actually in view. Some spatial arrangements of the ten regions were consistent with five (simulated) surfaces under two distinct levels of illumination, with one luminance edge within the display (an 'apparent illumination edge') dividing the stimuli into an area of lower illumination and an area of higher illumination. In other spatial arrangements the ten regions were configured so that no luminance edge in the display could be interpreted as an ecologically valid illumination edge that provides a parsimonious interpretation of the ten regions; these conditions were designed to induce observers to infer ten surfaces under a single illuminant. When the ten regions were arranged with an apparent illumination edge, the patch within the area of lower perceived illumination was perceived as dimmer than when the same patch and immediate surround were presented with no apparent illumination edge. The results are interpreted by positing that the apparent illumination edge causes an observer to group together regions under the same perceived illuminant, with a consequent effect on brightness: lowering or raising the level of a perceived illuminant causes a patch of fixed contrast to be perceived as less bright or more bright, respectively, just as occurs when lowering or raising the level of real illumination. It is suggested that changes in brightness in a complex scene that result from a change in real illumination may be caused by a difference in inferred illumination at the perceptual level, not by simply a change in the amount of light absorbed by photoreceptors.

The luminance of a test within an inhomogeneous ("checkerboard") surround was adjusted to match the brightness of a comparison patch within a uniform surround. All stimuli were achromatic. Both surrounds had the same space-averaged luminance. With an incremental comparison patch, a test-within-checkerboard at a luminance between the luminances of the brighter and dimmer checks appears dimmer than if viewed within the uniform surround. A decremental comparison patch, however, is matched by a test luminance that is little affected by the inhomogeneity of the surround. In general, the brightness of the test is mediated neither by the space-averaged luminance of an inhomogeneous surround, nor by any equivalent uniform surround, regardless of luminance. We consider alternative models for the brightness of a region that is neither strictly an increment nor decrement with respect to contiguous surrounding surfaces.

The field additivity of the M-cone pathway was measured with psychometric functions at 10 times absolute threshold on monochromatic fields and their mixtures. Observers detected a 500 nm test on 530 or 610 nm fields, and a 530 nm test on 481 or 622 nm fields. For both sets of wavelengths, field additivity held with the 1 deg test, 10 deg field condition which defines II-4 and with the 3.6 min are test on a 8.6 min arc field used to isolate the M fundamental by Stockman [(1983) Ph. D. thesis, Trinity College, Cambridge University, Cambridge]. Sub-additivity occurred for a 1 deg test on a 1 deg field, a condition for Foster's "spectral sharpening" which may evince opponency.

Lightness constancy requires that a surface retain its lightness not only when the illumination is changed but also when the surface is moved from one background to another. Occlusion of one surface by another frequently results in a retinal juxtaposition of patches under different illuminations. At such edges, retinal luminance ratios can be much higher than in scenes with a single illumination. We demonstrate that such retinal adjacencies can produce failures of lightness constancy. We argue that they are responsible for departures from perfect lightness constancy in two prior experiments that examined the effects of depth relations on lightness constancy.

Several experiments reveal that judgments of lightness and brightness of an achromatic surface depend, in part, on the luminances of other surfaces perceived to share the same depth plane, even if the surfaces are well separated on the retina. Two Mondrians, simulated on a CRT, were viewed through a haploscope. The more highly illuminated Mondrian contained a comparison patch and appeared nearer than the more dimly illuminated Mondrian, which contained the test patch. By independently varying the disparity of the test patch, observers could make the test patch appear to be in the depth plane of either the dimly or the highly illuminated Mondrian. Observers set the luminance of the test patch to match that of the comparison patch. The test was set as high as 15% more luminous when it was perceived in the depth plane of the highly illuminated rather than the dimly illuminated Mondrian. Both brightness and lightness judgments were affected by the perceived depth of the test, although the lightness judgments of inexperienced observers sometimes were dominated by local-contrast matching.