Effects of Mean Luminance Changes on Human Contrast Perception

Background When we are viewing natural scenes, every saccade abruptly changes both the mean luminance and the contrast structure falling on any given retinal location. Thus it would be useful if the two were independently encoded by the visual system, even when they change simultaneously. Recordings from single neurons in the cat visual system have suggested that contrast information may be quite independently represented in neural responses to simultaneous changes in contrast and luminance. Here we test to what extent this is true in human perception. Methodology/Principal Findings Small contrast stimuli were presented together with a 7-fold upward or downward step of mean luminance (between 185 and 1295 Td, corresponding to 14 and 98 cd/m2), either simultaneously or with various delays (50–800 ms). The perceived contrast of the target under the different conditions was measured with an adaptive staircase method. Over the contrast range 0.1–0.45, mainly subtractive attenuation was found. Perceived contrast decreased by 0.052±0.021 (N = 3) when target onset was simultaneous with the luminance increase. The attenuation subsided within 400 ms, and even faster after luminance decreases, where the effect was also smaller. The main results were robust against differences in target types and the size of the field over which luminance changed. Conclusions/Significance Perceived contrast is attenuated mainly by a subtractive term when coincident with a luminance change. The effect is of ecologically relevant magnitude and duration; in other words, strict contrast constancy must often fail during normal human visual behaviour. Still, the relative robustness of the contrast signal is remarkable in view of the limited dynamic response range of retinal cones. We propose a conceptual model for how early retinal signalling may allow this.

Divergencies of Perception : The Possibilities of Merleau-Pontian Phenomenology in Analyses of Contemporary Art

Maurice Merleau-Ponty (1908-1961) has been known as the philosopher of painting. His interest in the theory of perception intertwined with the questions concerning the artist s perception, the experience of an artwork and the possible interpretations of the artwork. For him, aesthetics was not a sub-field of philosophy, and art was not simply a subject matter for the aesthetic experience, but a form of thinking. This study proposes an opening for a dialogue between Merleau-Pontian phenomenology and contemporary art. The thesis examines his phenomenology through certain works of contemporary art and presents readings of these artworks through his phenomenology. The thesis both shows the potentiality of a method, but also engages in the critical task of finding the possible limitations of his approach. The first part lays out the methodological and conceptual points of departure of Merleau-Ponty s phenomenological approach to perception as well as the features that determined his discussion on encountering art. Merleau-Ponty referred to the experience of perceiving art using the notion of seeing with (voir selon). He stressed a correlative reciprocity described in Eye and Mind (1961) as the switching of the roles of the visible and the painter. The choice of artworks is motivated by certain restrictions in the phenomenological readings of visual arts. The examined works include paintings by Tiina Mielonen, a photographic work by Christian Mayer, a film by Douglas Gordon and Philippe Parreno, and an installation by Monika Sosnowska. These works resonate with, and challenge, his phenomenological approach. The chapters with case studies take up different themes that are central to Merleau-Ponty s phenomenology: space, movement, time, and touch. All of the themes are interlinked with the examined artworks. There are also topics that reappear in the thesis, such as the notion of écart and the question of encountering the other. As Merleau-Ponty argued, the sphere of art has a particular capability to address our being in the world. The thesis presents an interpretation that emphasises the notion of écart, which refers to an experience of divergence or dispossession. The sudden dissociation, surprise or rupture that is needed in order for a meeting between the spectator and the artwork, or between two persons, to be possible. Further, the thesis suggests that through artworks it is possible to take into consideration the écart, the divergence, that defines our subjectivity.

Generalized model for infrared perception from an engine exhaust

A comprehensive scheme has been developed for the prediction of radiation from engine exhaust and its incidence on an arbitrarily located sensor. Existing codes have been modified for the simulation of flows inside nozzles and jets. A novel view factor computation scheme has been applied for the determination of the radiosities of the discrete panels of a diffuse and gray nozzle surface. The narrowband model has been used to model the radiation from the gas inside the nozzle and the nonhomogeneous jet. The gas radiation from the nozzle inclusive of nozzle surface radiosities have been used as boundary conditions on the jet radiation. Geometric modeling techniques have been developed to identify and isolate nozzle surface panels and gas columns of the nozzle and jet to determine the radiation signals incident on the sensor. The scheme has been validated for intensity and heat flux predictions, and some useful results of practical importance have been generated to establish its viability for infrared signature analysis of jets.

Perception of time-varying signals: timbre and phonetic JND of diphthong

In this paper we propose a linear time-varying model for diphthong synthesis based on linear interpolation of formant frequencies. We, thence, determine the timbre just-noticeable difference (JND) for diphthong /a I/ (as in ‘buy’) with a constant pitch excitation through perception experiment involving four listeners and explore the phonetic JND of the diphthong. Their JND responses are determined using 1-up-3-down procedure. Using the experimental data, we map the timbre JND and phonetic JND onto a 2-D region of percentage change of formant glides. The timbre and phonetic JND contours for constant pitch show that the phonetic JND region encloses timbre JND region and also varies across listeners. The JND is observed to be more sensitive to ending vowel /I/ than starting vowel /a/ in some listeners and dependent on the direction of perturbation of starting and ending vowels.

Texture discriminability in monkey inferotemporal cortex predicts human texture perception

Shape and texture are both important properties of visual objects, but texture is relatively less understood. Here, we characterized neuronal responses to discrete textures in monkey inferotemporal (IT) cortex and asked whether they can explain classic findings in human texture perception. We focused on three classic findings on texture discrimination: 1) it can be easy or hard depending on the constituent elements; 2) it can have asymmetries, and 3) it is reduced for textures with randomly oriented elements. We recorded neuronal activity from monkey inferotemporal (IT) cortex and measured texture perception in humans for a variety of textures. Our main findings are as follows: 1) IT neurons show congruent selectivity for textures across array size; 2) textures that were easy for humans to discriminate also elicited distinct patterns of neuronal activity in monkey IT; 3) texture pairs with asymmetries in humans also exhibited asymmetric variation in firing rate across monkey IT; and 4) neuronal responses to randomly oriented textures were explained by an average of responses to homogeneous textures, which rendered them less discriminable. The reduction in discriminability of monkey IT neurons predicted the reduced discriminability in humans during texture discrimination. Taken together, our results suggest that texture perception in humans is likely based on neuronal representations similar to those in monkey IT.