Translation Invariance in Object Recognition, and Its Relation to Other Visual Transformations

Human object recognition is generally considered to tolerate changes of the stimulus position in the visual field. A number of recent studies, however, have cast doubt on the completeness of translation invariance. In a new series of experiments we tried to investigate whether positional specificity of short-term memory is a general property of visual perception. We tested same/different discrimination of computer graphics models that were displayed at the same or at different locations of the visual field, and found complete translation invariance, regardless of the similarity of the animals and irrespective of direction and size of the displacement (Exp. 1 and 2). Decisions were strongly biased towards same decisions if stimuli appeared at a constant location, while after translation subjects displayed a tendency towards different decisions. Even if the spatial order of animal limbs was randomized ("scrambled animals"), no deteriorating effect of shifts in the field of view could be detected (Exp. 3). However, if the influence of single features was reduced (Exp. 4 and 5) small but significant effects of translation could be obtained. Under conditions that do not reveal an influence of translation, rotation in depth strongly interferes with recognition (Exp. 6). Changes of stimulus size did not reduce performance (Exp. 7). Tolerance to these object transformations seems to rely on different brain mechanisms, with translation and scale invariance being achieved in principle, while rotation invariance is not.

Reciprocal Interactions Between Motion and Form Perception

The processes underlying the perceptual analysis of visual form are believed to have minimal interaction with those subserving the perception of visual motion (Livingstone and Hubel, 1987; Victor and Conte, 1990). Recent reports of functionally and anatomically segregated parallel streams in the primate visual cortex seem to support this hypothesis (Ungerlieder and Mishkin, 1982; VanEssen and Maunsell, 1983; Shipp and Zeki, 1985; Zeki and Shipp, 1988; De Yoe et al., 1994). Here we present perceptual evidence that is at odds with this view and instead suggests strong symmetric interactions between the form and motion processes. In one direction, we show that the introduction of specific static figural elements, say 'F', in a simple motion sequence biases an observer to perceive a particular motion field, say 'M'. In the reverse direction, the imposition of the same motion field 'M' on the original sequence leads the observer to perceive illusory static figural elements 'F'. A specific implication of these findings concerns the possible existence of (what we call) motion end-stopped units in the primate visual system. Such units might constitute part of a mechanism for signalling subjective occluding contours based on motion-field discontinuities.

Role of Low-level Mechanisms in Brightness Perception

Brightness judgments are a key part of the primate brain's visual analysis of the environment. There is general consensus that the perceived brightness of an image region is based not only on its actual luminance, but also on the photometric structure of its neighborhood. However, it is unclear precisely how a region's context influences its perceived brightness. Recent research has suggested that brightness estimation may be based on a sophisticated analysis of scene layout in terms of transparency, illumination and shadows. This work has called into question the role of low-level mechanisms, such as lateral inhibition, as explanations for brightness phenomena. Here we describe experiments with displays for which low-level and high-level analyses make qualitatively different predictions, and with which we can quantitatively assess the trade-offs between low-level and high-level factors. We find that brightness percepts in these displays are governed by low-level stimulus properties, even when these percepts are inconsistent with higher-level interpretations of scene layout. These results point to the important role of low-level mechanisms in determining brightness percepts.

The Perception of Subjective Surfaces

It is proposed that subjective contours are an artifact of the perception of natural three-dimensional surfaces. A recent theory of surface interpolation implies that "subjective surfaces" are constructed in the visual system by interpolation between three-dimensional values arising from interpretation of a variety of surface cues. We show that subjective surfaces can take any form, including singly and doubly curved surfaces, as well as the commonly discussed fronto-parallel planes. In addition, it is necessary in the context of computational vision to make explicit the discontinuities, both in depth and in surface orientation, in the surfaces constructed by interpolation. It is proposed that subjective surfaces and subjective contours are demonstrated. The role played by figure completion and enhanced brightness contrast in the determination of subjective surfaces is discussed. All considerations of surface perception apply equally to subjective surfaces.