Memory colours affect colour appearance

An Au25 nanocluster/MoS2 vdWaals heterojunction phototransistor for chromamorphic visual-afterimage emulation

Color vision relies on three cone photoreceptors that are sensitive to different wavelengths of light. The interaction of three incident light wavelengths over time creates a fascinating color coupling perception, termed chromamorphic computing. However, the realization of this fascinating characteristic in semiconductor devices remains a great challenge. Herein, a mixed-dimensional optoelectronic transistor based on a novel metal nanocluster Au25(SC12H25)18 and two-dimensional MoS2 van der Waals (vdWaals) heterojunction is proposed for chromamorphic visual-afterimage emulation with red-green-blue three-color spatiotemporal coupling perception. This distinguished molecular-like electronic level of Au25 nanoclusters allows the transistor to have visible light-sensitive properties, endowing it with the ability to perceive color information. Moreover, the chromamorphic functions are realized using a color spatiotemporal coupling approach. By utilizing the photogating effect of light stimulus, the device exhibits visual experience-dependent plasticity in accordance with the Bienenstock-Cooper-Munro (BCM) learning rule. Most importantly, for the first time, intriguing visual afterimages could be implemented using a color sensitization approach based on a close relationship between visual persistence and negative afterimages. These results represent an important step towards a new generation of intelligent visual color perception systems for human-computer interaction, bionic robots, etc.

The color of fruits in photographs and still life paintings

Still life paintings comprise a wealth of data on visual perception. Prior work has shown that the color statistics of objects show a marked bias for warm colors. Here, we ask about the relative chromatic contrast of these object-associated colors compared with background colors in still life paintings. We reasoned that, owing to the memory color effect, where the color of familiar objects is perceived more saturated, warm colors will be relatively more saturated than cool colors in still life paintings as compared with photographs. We analyzed color in 108 slides of still life paintings of fruit from the teaching slide collection of the Fogg University Art Museum and 41 color-calibrated photographs of fruit from the McGill data set. The results show that the relatively higher chromatic contrast of warm colors was greater for paintings compared with photographs, consistent with the hypothesis.

Assessing the representational structure of softness activated by words

Softness is an important material property that can be judged directly, by interacting with an object, but also indirectly, by simply looking at an image of a material. The latter is likely possible by filling in relevant multisensory information from prior experiences with soft materials. Such experiences are thought to lead to associations that make up our representations about perceptual softness. Here, we investigate the structure of this representational space when activated by words, and compare it to haptic and visual perceptual spaces that we obtained in earlier work. To this end, we performed an online study where people rated different sensory aspects of soft materials, presented as written names. We compared the results with the previous studies where identical ratings were made on the basis of visual and haptic information. Correlation and Procrustes analyses show that, overall, the representational spaces of verbally presented materials were similar to those obtained from haptic and visual experiments. However, a classifier analysis showed that verbal representations could better be predicted from those obtained from visual than from haptic experiments. In a second study we rule out that these larger discrepancies in representations between verbal and haptic conditions could be due to difficulties in material identification in haptic experiments. We discuss the results with respect to the recent idea that at perceived softness is a multidimensional construct.

Screen size matches of familiar images are biased by canonical size, rather than showing a memory size effect

Being confronted with the depiction of a familiar object activates a number of properties of the object that are stored in memory. Memory properties such as color and size have been shown to interfere with the processing of the color and of the size of the depiction, so that that reaction times are longer when the color or size of the depiction are incongruent with the stored knowledge about the object. In the case of color, it is known that the memorized information also affects the appearance of the depiction, for example when a gray banana appears slightly yellow, a phenomenon known as memory color effect. Here, I tested whether a memory size effect also occurs. To this aim, I conducted one experiment where observers matched either the screen size or the real-world size of pairs of animals or vehicles. The results indicate that the screen matches are biased in the same direction as the real-world size matches, opposite of what would be predicted by a memory color effect. This result was replicated in a second experiment using a different and larger set of animal images. Overall, I confirm that observers cannot ignore the real-world size information when they attempt to match the screen size of two items, although this results in a bias towards the canonical size of the items, rather than in a memory size effect.

Color Perception: Objects, Constancy, and Categories

Color has been scientifically investigated by linking color appearance to colorimetric measurements of the light that enters the eye. However, the main purpose of color perception is not to determine the properties of incident light, but to aid the visual perception of objects and materials in our environment. We review the state of the art on object colors, color constancy, and color categories to gain insight into the functional aspects of color perception. The common ground between these areas of research is that color appearance is tightly linked to the identification of objects and materials and the communication across observers. In conclusion, we argue that research should focus on how color processing is adapted to the surface properties of objects in the natural environment in order to bridge the gap between the known early stages of color perception and the subjective appearance of color.

A Bayesian Model of the Memory Colour Effect

According to the memory colour effect, the colour of a colour-diagnostic object is not perceived independently of the object itself. Instead, it has been shown through an achromatic adjustment method that colour-diagnostic objects still appear slightly in their typical colour, even when they are colourimetrically grey. Bayesian models provide a promising approach to capture the effect of prior knowledge on colour perception and to link these effects to more general effects of cue integration. Here, we model memory colour effects using prior knowledge about typical colours as priors for the grey adjustments in a Bayesian model. This simple model does not involve any fitting of free parameters. The Bayesian model roughly captured the magnitude of the measured memory colour effect for photographs of objects. To some extent, the model predicted observed differences in memory colour effects across objects. The model could not account for the differences in memory colour effects across different levels of realism in the object images. The Bayesian model provides a particularly simple account of memory colour effects, capturing some of the multiple sources of variation of these effects.

Categorizing natural color distributions

The natural objects that we are surrounded with virtually always contain many different shades of color, yet the visual system usually categorizes them into a single color category. We examined various image statistics and their role in categorizing the color of leaves. Our subjects categorized photographs of autumn leaves and versions that were manipulated, including: randomly repositioned pixels, leaves uniformly colored with their mean color, leaves that were made by reflecting the original leaves' chromaticity distribution about their mean ("flipped leaves"), and simple patches colored with the mean colors of the original leaves. We trained a linear classifier with a set of image statistics in order to predict the category that each object was assigned to. Our results show that the mean hue of an object is highly predictive of the natural object's color category (>90% accuracy) and observers' choices are consistent with their use of unique yellow as a decision boundary for classification. The flipped leaves produced consistent changes in color categorization that are possibly explained by an interaction between the color distributions and the texture of the leaves.

The dress and individual differences in the perception of surface properties

This study investigates systematic individual differences in the way observers perceive different kinds of surface properties and their relationship to the dress, which shows striking individual differences in colour perception. We tested whether these individual differences have a common source, namely differences in perceptual strategies according to which observers attribute features in two-dimensional images to surfaces or to their illumination. First, we reanalysed data from two previous experiments on the dress and colour constancy. The comparison of the two experiments revealed that the colour perception of the dress is strongly related to individual differences in colour constancy. Second, two online surveys measured individual differences in the perception of colour-ambiguous images including the dress, in colour constancy, in gloss perception, in the subjective grey-point, in colour naming, and in the perception of an image with ambiguous shading. The results of the surveys replicated and extended previous findings according to which individual differences in the colour perception of the dress are due to implicit assumptions about the illumination. However, results also showed that the individual differences for other phenomena were independent of the dress and of each other. Overall, these results suggest that the striking individual differences in dress colour perception are due to individual differences in the interpretation of illumination cues to achieve colour constancy. At the same time, they undermine the idea of an overall perceptual strategy that encompasses other phenomena more generally related to the interpretation of illumination and surface properties.