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Part II - Dynamics of Objects

Published online by Cambridge University Press:  04 August 2018

Timothy L. Hubbard
Affiliation:
Arizona State University

Summary

Information

Figure 0

Figure 7.1 Four localization errors with moving stimuli. When the onset position (a) or the offset position (b) of a moving target is localized, observers typically make localization errors in the direction of movement. Similarly, when they judge a moving target that is presented in alignment with a flash, the target appears to lead the flash (c). These errors are known as the Fröhlich effect, flash-lag effect, and representational momentum. In the onset repulsion effect (d), the onset position is judged opposite to the direction of motion.

Figure 1

Figure 7.2 Simplified assumptions (a) of lateral inhibition with stationary stimuli, (b) cumulative lateral inhibition with moving stimuli with regard to Geer and Schmidt (2006), and (c) metacontrast and visual focal attention with regard to Kirschfeld and Kammer (1999, fig. 6). The latter figure illustrates only the additional excitatory and inhibitory neuronal activity, which is elicited by the motion of the stimulus.

Figure 2

Figure 7.3 Trial contexts and findings of Müsseler and Kerzel (2004, Exp. 1). In the constant-trial context, the target always appeared at constant onset positions (OP, black dots) to the left or right from fixation. In the random-trial context, the target appeared mostly at random OPs (grey dots) in a 30 x 30° field of the computer screen, but in one-sixth of the trials also at the constant OPs. In the data analysis, only these trials were compared with the trials of the constant context. The results showed that the onset was localized opposite to the direction of motion with the random context (negative localization error of –0.5°; the onset-repulsion effect) and in the direction of motion with the constant context (positive localization error of 1.5°; the Fröhlich effect).

Figure 3

Figure 10.1 Systematic errors in the SVV when participants lie in a roll-tilted posture (60°, 105°, and 150°, from A to C, respectively). Z represents the orientation of the body axis. The SVV is aligned with gravity or undershoots the true vertical in the direction opposite to the body tilt (E-effects) for tilt angles smaller than 30°. The SVV overshoots the true vertical in the same direction as body tilt (A-effects) when the tilt angle is greater than 30°; this bias increase with tilt angle. An abrupt transition occurs from an A to an E effect at large tilts (≥135°).

Figure 4

Figure 10.2 Intersection points, for all targets, between the ball surface and the tip of the hand-held rod. Ellipses representing the frontal projections of the tolerance ellipsoids including 95% of the intersection points, centered on the mean intersection point, are drawn along with the first eigenvector (and its 95% confidence cone). Gray continuous lines represent the envelope of ball trajectory, whereas gray dotted lines represent the trajectory that would be followed by the ball if it continued moving on an extended inclined plane.

(modified from La Scaleia et al., 2015)
Figure 5

Figure 10.3 Distributions of positional errors in the occluded trials (average values among subjects ± SEM) for each ball acceleration. Positional error was the difference in centimeters between the horizontal position of the cursor at the time of the button press and the landing ball position. Negative values indicated horizontal underestimate of the landing position of the ball, while positive values indicated overestimate.

(modified from Bosco et al., 2015)
Figure 6

Figure 11.1 Schematic illustration of spatiotemporal positions of audiovisual stimuli in Freeman and Driver (2008). A bar was presented in alternation in the upper visual field. In the absence of any sounds, two discrete visual stimuli were perceived as “discrete,” consistent with the physical condition (left panel). In contrast, accompanying sounds changed the percept of these visual stimuli. When tone bursts were presented immediately after the left and before the right visual stimulus, smooth rightward apparent motion was usually perceived (middle panel). In contrast, when tone bursts were presented immediately after the right and before the left visual stimulus, smooth leftward apparent motion was usually perceived (right panel).

Figure 7

Figure 11.2 Example of the visual display and the presentation sequence used in Teramoto, Hidaka, Gyoba, and Suzuki (2010). A white square (target) moved laterally from either side of the CRT display to the center at a speed of 7.5°/s for 1,200 msec, and disappeared at an unpredictable position. A probe was presented 500 msec after the target disappeared. The participants’ task was to judge on which side (left or right) the probe was located relative to target offset position. On some trials, a sound was presented via headphones from the beginning of the target motion and stopped before, at, or after target offset. The magnitude of representational momentum (RM) decreased when the sound stopped before visual offset, and increased when the sound stopped after visual offset.

Figure 8

Figure 11.3 Schematic illustration of the sound-induced visual motion illusion (Hidaka et al., 2009). (A) A vertical bar blinking at a fixed position was presented, and its onset was synchronized with a tone burst alternating between the left and right ears. The visual stimuli in such an auditory condition could be perceived as moving laterally. This is the first demonstration of an auditory driving effect on visual motion perception. (B) The results of Hidaka et al. (2009). The auditory effect increased as retinal eccentricity of the visual stimuli increased.

Figure 9

Figure 11.4 Schematic illustration of perceptual associative learning effects between auditory and visual stimuli reported in Teramoto, Hidaka, and Sugita (2010). Two visual stimuli were presented in alternation. Each stimulus was paired with a tone of unique frequency (500 Hz or 2,000 Hz). After 3 min exposure to such audiovisual stimuli, the tone sequence induced lateral motion perception to a visual stimulus blinking at a fixed location, in the same manner as the audiovisual relationship at exposure.

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