An fMRI study of the reverse perspective illusion

Hughes's Reverspectives: Radical Uses of Linear Perspective on Non-Coplanar Surfaces

Two major uses of linear perspective are in planar paintings—the flat canvas is incongruent with the painted 3-D scene—and in forced perspectives, such as theater stages that are concave truncated pyramids, where the physical geometry and the depicted scene are congruent. Patrick Hughes pioneered a third major art form, the reverse perspective, where the depicted scene opposes the physical geometry. Reverse perspectives comprise solid forms composed of multiple planar surfaces (truncated pyramids and prisms) jutting toward the viewer, thus forming concave spaces between the solids. The solids are painted in reverse perspective: as an example, the left and right trapezoids of a truncated pyramid are painted as rows of houses; the bottom trapezoid is painted as the road between them and the top forms the sky. This elicits the percept of a street receding away, even though it physically juts toward the viewer. Under this illusion, the concave void spaces between the solids are transformed into convex volumes. This depth inversion creates a concomitant motion illusion: when a viewer moves in front of the art piece, the scene appears to move vividly. Two additional contributions by the artist are discussed, in which he combines reverse-perspective parts with forced and planar-perspective parts on the same art piece. The effect is spectacular, creating objects on the same planar surface that move in different directions, thus “breaking” the surface apart, demonstrating the superiority of objects over surfaces. We conclude with a discussion on the value of these art pieces in vision science.

The Triadic Roots of Human Cognition: "Mind" Is the Ability to go Beyond Dyadic Associations

Empirical evidence is reviewed indicating that the extraordinary aspects of the human mind are due to our species' ability to go beyond simple "dyadic associations" and to process the relations among three items of information simultaneously. Classic explanations of the "triadic" nature of human skills have been advocated by various scholars in the context of the evolution of human cognition. Here I summarize the core processes as found in (i) the syntax of language, (ii) tool-usage, and (iii) joint attention. I then review the triadic foundations of two perceptual phenomena of great importance in human aesthetics: (iv) harmony perception and (v) pictorial depth perception. In all five subfields of human psychology, most previous work has emphasized the recursive, hierarchical complexity of such "higher cognition," but a strongly reductionist approach indicates that the core mechanisms are triadic. It is concluded that the cognitive skills traditionally considered to be "uniquely" human require three-way associational processing that most non-Primate animal species find difficult or impossible, but all members of Homo sapiens - regardless of small cultural differences - find easy and inherently intriguing.

Convexity Bias and Perspective Cues in the Reverse-Perspective Illusion

The present experiment was designed to examine the roles of painted linear perspective cues, and the convexity bias that are known to influence human observers’ perception of three-dimensional (3D) objects and scenes. Reverse-perspective stimuli were used to elicit a depth-inversion illusion, in which far points on the stimulus appear to be closer than near points and vice versa, with a 2 (Type of stimulus) × 2 (Fixation mark position) design. To study perspective, two types of stimuli were used: a version with painted linear perspective cues and a version with blank (unpainted) surfaces. To examine the role of convexity, two locations were used for the fixation mark: either in a locally convex or a locally concave part of each stimulus (painted and unpainted versions). Results indicated that the reverse-perspective illusion was stronger when the stimulus contained strong perspective cues and when observers fixated a locally concave region within the scene.

Recovering 3-D shape: roles of absolute and relative disparity, retinal size, and viewing distance as studied with reverse-perspective stimuli

When viewing reverspective stimuli, data-driven signals such as disparity, motion parallax, etc, help to recover veridical three-dimensional (3-D) shape. They compete against schema-driven influences such as experience with perspective, foreshortening, and other pictorial cues that favor the perception of an illusory depth inversion. We used three scaled-size versions of a reverspective to study the roles of retinal size, binocular disparity, and viewing distance--that influences both vergence and accommodation--in recovering the true 3-D shape. Experiment 1 used three conditions, in each of which a parameter was kept fixed across the three stimulus sizes: (a) fixed retinal size, (b) fixed viewing distance, (c) fixed disparity. The predominance of the veridical percept was recorded. Generally, the illusion strength was the same when the viewing distance was fixed, despite significantly different disparities and retinal sizes; conversely, illusion strength changed significantly in fixed-disparity and fixed-retinal-size conditions. Experiment 2 confirmed the results of experiment 1b (roughly equal performances for fixed viewing distance, independent of size) for two additional distances. Viewing distance and "scaled disparity" (disparity divided by retinal size) are good predictors of the data trends. We propose that disparity scaling is supported by both mathematical and 3-D shape considerations.

Probing the neural basis of perceptual phenomenology with the touch-induced visual illusion

Using the touch-induced visual illusion we examine whether the brain regions involved in coding sensory information are dissociable from those that contain decision information. Activity in the intraparietal sulcus, as measured by functional magnetic resonance imaging, was associated with the illusion suggesting a sensory coding role whereas activity in the middle occipital gyrus differentially modulated activity according to the decisions made by subjects consistent with their reported perceptual phenomenology.

The representation of object distance: evidence from neuroimaging and neuropsychology

Perceived distance in two-dimensional (2D) images relies on monocular distance cues. Here, we examined the representation of perceived object distance using a continuous carry-over adaptation design for fMRI. The task was to look at photographs of objects and make a judgment as to whether or not the item belonged in the kitchen. Importantly, this task was orthogonal to the variable of interest: the object's perceived distance from the viewer. In Experiment 1, whole brain group analyses identified bilateral clusters in the superior occipital gyrus (approximately area V3/V3A) that showed parametric adaptation to relative changes in perceived distance. In Experiment 2, retinotopic analyses confirmed that area V3A/B reflected the greatest magnitude of response to monocular changes in perceived distance. In Experiment 3, we report that the functional activations overlap with the occipito-parietal lesions in a patient with impaired distance perception, showing that the same regions monitor implied (2D) and actual (three-dimensional) distance. These data suggest that distance information is automatically processed even when it is task-irrelevant and that this process relies on superior occipital areas in and around area V3A.