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Amodal completion (AC) is analyzed, by looking at its historical roots and persisting conceptual difficulties. Looking at the origin of the concept, it becomes clear that it is not equivalent to perception of occluded parts. The role of fragment incompleteness is discussed, to clarify that it cannot be taken as a necessary factor for eliciting AC. The standard view of AC, depicted as a set of processes that extrapolate from veridically represented image fragments, is evaluated and rejected on the basis of evidence that AC modifies also modal parts. The theoretical importance of AC phenomena and their potential to reveal the inner forces of perceptual organization are emphasized, with specific reference to the minimum principle. Instances in which AC might be expected but does not occur are examined, to define the limits of such an integrative process.

Contains fulltext : 221350.pdf (Publisher’s version ) (Open Access) 4 p.

In the Magic Wand effect, an overlying figure of the same color as its background is revealed by the motion of a wand behind it. The occluding figure is inferred by integration of the occluding edge information over time. The overlying figure is perceived by modal completion, while the wand and the background underneath are perceived by amodal completion. This illusion is compared with its predecessor from nearly two centuries ago, the Plateau Anorthoscopic Illusion, in which an object is recognizable when moved behind a slit.

In this study, we report a novel visual illusion for rotational motion, in which the central rotation axis of a partially invisible (apparent) square is perceived as exhibiting oscillatory rotation. To investigate the cause of this illusion, we measured the central position of a static apparent shape using an adjustment method (Experiment 1) and manipulated the speed of the rotating apparent square to test whether the illusion could be cancelled out by counteracting rotation using a constant method (Experiment 2). The results revealed that the perceived central position of a static apparent shape was shifted toward the outside. The shifted position depended on the orientation of the stimulus, and its position was arranged as if it was moving in a circular trajectory. In addition, the cancellation technique using counteracting rotation was successful, and cancellation of faster rotation required a greater radius of counteracting rotation. These results indicated that the illusion is induced by an interaction between illusory shifts of the central position of the static shape and the summation of motion vectors or motion momentum (e.g., centrifugal force) derived from shape representation by perceptual completion.

We report two experiments on the role of mid-level processes in image segmentation and completion. In the primed matching task of Experiment 1, a cue→prime sequence was presented before the imperative stimulus consisting of target shapes with positive versus negative contour curvature polarity and one versus two axes of mirror symmetry. Priming shapes were included in two composite occlusion displays with the same T-junction information and different geometric features supporting a distinct balance between completion and mosaic solutions. A cue, either congruent or incongruent with targets, preceded the presentation of the composite priming display. Matching performance was affected by primes in the expected direction, while cue congruency participated only in a marginally significant three-way interaction, and prime duration had no effect. In Experiment 2, the cue→prime sequence was replaced by a fixation cross to control for the priming effect obtained in Experiment 1. The study confirmed that contour connectability and curvature polarity are effective structural factors capable of competing with symmetry in mid-level image segmentation and completion processes.

The planet Saturn is a familiar image for us, but it presents perceptual peculiarities that impeded the discovery of its structure and which can still be misleading today. Saturn appears to be surrounded by rings which hide it to a certain extent and then continue behind the outline of the planet. What we perceive is the result of a double amodal completion in which the planetary globe and the rings exchange the roles of occluding and occluded surface. Saturn was hidden to 17th-century astronomers for half a century because their rudimentary telescopes did not reveal the pictorial clues that are fundamental for discovering such a complex perceptual organization as that formed by a globe surrounded by rings. Moreover, the existence of a celestial body of this nature was inconceivable in light of the knowledge of those times. The improvement of telescopes has substantially enriched our knowledge of Saturn, but historic documents highlight the importance of perceptual organization factors. Astronomical observations were a rich source of information, but only Huygens was capable of integrating them and hypothesizing the true structure of Saturn. His drawings are the result of a particular ability to integrate observations and also the ability to use pictorial information. It is likely that these diagrams were an important instrument for the solution. The image of Saturn, however clear, will not find universal consensus. The planet has “residual (perceptual) capacities” of hiding itself which can even deceive modern instruments. Here, we will try to understand why.

Contains fulltext : 214525.pdf (Publisher’s version ) (Open Access) Images of Bruno Catalano's sculptures of incomplete bodies give rise to a remarkable depth confusion in which the background is partly pushed to the front. We argue that this confusion is related to what happens in the Kanizsa square, although the effect in the images of Catalano's sculpture appears to be driven by knowledge-based processing. 5 p.

Contains fulltext : 202720.pdf (Publisher’s version ) (Open Access) Amodal completion is the phenomenon of perceiving completed objects even though physically they are partially occluded. In this review, we provide an extensive overview of the results obtained from a variety of neuroimaging studies on the neural correlates of amodal completion. We discuss whether low-level and high-level cortical areas are implicated in amodal completion; provide an overview of how amodal completion unfolds over time while dissociating feedforward, recurrent, and feedback processes; and discuss how amodal completion is represented at the neuronal level. The involvement of low-level visual areas such as V1 and V2 is not yet clear, while several high-level structures such as the lateral occipital complex and fusiform face area seem invariant to occlusion of objects and faces, respectively, and several motor areas seem to code for object permanence. The variety of results on the timing of amodal completion hints to a mixture of feedforward, recurrent, and feedback processes. We discuss whether the invisible parts of the occluded object are represented as if they were visible, contrary to a high-level representation. While plenty of questions on amodal completion remain, this review presents an overview of the neuroimaging findings reported to date, summarizes several insights from computational models, and connects research of other perceptual completion processes such as modal completion. In all, it is suggested that amodal completion is the solution to deal with various types of incomplete retinal information, and highly depends on stimulus complexity and saliency, and therefore also give rise to a variety of observed neural patterns. 25 p.

The distinction between modal and amodal completion is ubiquitous in the perception literature. It goes back to the seminal publication “Les compléments amodaux des structures perceptives” by A. Michotte, G. Thinès, and G. Crabbé (Publications Universitaires de Louvain: Louvain) in 1964. We review and discuss this work in this article and show commonalities and differences to today’s view. We then argue that the dichotomous distinction between modal and amodal completions is problematic in phenomenological, empirical, logical, and theoretical terms. Finally, we propose alternative criteria allowing for a more differentiated classification scheme for completion phenomena. This scheme seems to be consistent with all known empirical findings and can also be generalized to nonvisual domains of perception.

When searching for a target object in cluttered environments, our visual system appears to complete missing parts of occluded objects—a mechanism known as “amodal completion.” This study investigated how different variants of completion influence visual search for an occluded target object. In two experiments, participants searched for a target among distractors in displays that either presented composite objects (notched shapes abutting an occluding square) or corresponding simple objects. The results showed enhanced search performance when composite objects were interpreted in terms of a globally completed whole. This search benefit for global completions was found to be dependent on the availability of a coherent, informative simple-object context. Overall, these findings suggest that attentional guidance in visual search may be based on a target “template” that represents a globally completed image of the occluded (target) object in accordance with prior experience.

Ambiguous bounce/stream collision points were hidden behind an occluder so that observers had to complete them amodally. In Movie 1, straight or curved static lines were painted on the occluder. In Movie 2, dotted textures flowed in straight or curved lines across the front of the occluder. In Movie 3, moving eyes, painted on the occluder, either moved in straight lines, as if tracking streaming spots, or else followed curved paths, as if tracking bouncing spots. The straight (or curved) lines, texture flow or eye movements led to judgments of streaming (or bouncing). These effects demonstrate the role of attention and expectations in disambiguating bounce/stream stimuli.

Amodal completion is the representation of those parts of the perceived object that we get no sensory stimulation from. In the case of vision, it is the representation of occluded parts of objects we see: When we see a cat behind a picket fence, our perceptual system represents those parts of the cat that are occluded by the picket fence. The aim of this piece is to argue that amodal completion plays a constitutive role in our everyday perception and trace the theoretical consequences of this claim.

A new class of dynamic volume completion is introduced, where image elements (e.g., occluding semi-ellipses placed at the edge of an object) can link across a gap between two or more objects, leading to the perception of illusory volumes that deform as those image elements are set into relative motion. These new demonstrations provide further evidence that volume completion is not dictated solely by contour relatability constraints, but is instead a dynamic process of 3D shape construction that also takes into account dynamic cues to object shape, even in the absence of any contour relatability whatsoever.

Building on the modal and amodal completion work of Kanizsa, Carman and Welch showed that binocular stereo viewing of two disparate images can give rise to a percept of 3D curved, nonclosed illusory contours and surfaces. Here, it is shown that binocular presentation can also give rise to the percept of closed curved surfaces or volumes that appear to vary smoothly across discrete depths in binocularly fused images, although in fact only two binocular disparities are discretely defined between corresponding contour elements of the inducing elements. Surfaces are filled in from one depth layer's visible contours to another layer's visible contours within virtual contours that are interpolated on the basis of good contour continuation between the visible portions of contour. These single depth contour segments are taken not to arise from surface edges, as in Kanizsa's or Carman and Welch's examples, but from segments of "rim" where the line of sight just grazes a surface that continues behind and beyond the rim smoothly. When there are two or more surface-propagating contour segments, the propagated surfaces can continue away from the inferred rim, merge, and then close behind the self-occluding visible surface into an everywhere differentiable closed surface or volume. Illusory surfaces can possess a depth and perceived surface curvature that is consistent with all visible contour segments, despite the absence of local disparity cues at interpolated 3D surface locations far from any visible contour. These demonstrations cannot be easily explained by existing models of visual processing. They place constraints on the surface and volume generation processes that construct our 3D world under normal viewing conditions.

Humans can recognize faces in the presence of environmental noise. Here, we explore whether ensemble perception of faces is similarly robust. Is summary statistical information available from crowds of faces that are visually incomplete? Observers viewed sets of faces varying in identity or expression and adjusted a test face to match the perceived average. In one condition, faces amodally completed behind horizontal bars. In another condition, identical facial information was presented, but in the foreground (i.e., face parts appeared on fragmented strips in front of a background). Baseline performance was determined by performance on sets of fully visible faces. The results revealed that the ensemble representation of amodally completing sets was significantly better than the fragmented sets and marginally worse than in the fully visible condition. These results suggest that some ensemble information is available given limited visual input and supports a growing body of work suggesting that ensembles may be represented in the absence of complete visual information.

Amodal completion has various functional effects, including an apparent slimming effect achieved by clothes. Local and global completion factors have been examined in previous studies, which also apply to the apparent slimming effect. Exposed parts of the body constitute the local factor at the junction area, while the shape or cut of the clothes is concerned with the whole configuration. This study investigated which is more important, the local or whole factors, for amodal completion in relation to the apparent slimming effect using drawings as stimuli. In Experiment 1, we examined the effects of the length and cut of a skirt. The length of the skirt corresponds to the local factor of the body, that is, the legs, because the exposed parts of the legs depend on skirt length (assuming a person of consistent height). We found that skirts' cut influenced their effect more than their length did. Experiments 2 and 3 revealed that the vertical form of clothes affects slimming by hiding thicker parts of the body and highlighting thinner parts. A supplemental experiment using geometrical figures suggested that the apparent slimming effect of clothes might occur only in the human body configuration.

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. ispartof: I-PERCEPTION vol:9 issue:3 ispartof: location:United States status: published