Representing motion in a static image: constraints and parallels in art, science, and popular culture

Perceptual plausibility of exaggerated realistic motion

The informal heuristic practices of the fine arts have much to offer to our understanding of the appearance of phenomenological reality. One interesting example is the use of exaggeration to enhance the illusion of liveliness in both living and nonliving subjects. This further eases the uncomfortable sense that the motion is somehow uncanny - especially with inanimate objects. We performed a series of experiments to test the effects of exaggeration on the phenomenological perception of simple animated objects - bouncing balls. A physically plausible model of a bouncing ball was augmented with a frequently used form of exaggeration known as squash and stretch. Observers were shown a series of animated balls, depicted using systematic parameterizations of the exaggeration model, and asked to rate their plausibility. A range of rendering styles provided varying levels of information as to the type of ball. In all cases, balls with small amounts of exaggeration were seen as plausible as those without any exaggeration (e.g., with veridical motion). Furthermore, when the type of ball was not specified, observers tolerated a large amount of exaggeration before judging them as implausible. When the type of ball was indicated, observers narrowed the range of acceptable exaggeration somewhat but still tolerated exaggeration well beyond that which would be physically possible. We contend that, in this case, exaggeration acts to bridge the so-called uncanny valley for artificial depictions of physical reality.

Actions are characterized by 'canonical moments' in a sequence of movements

Understanding what others are doing is an essential aspect of social cognition that depends on our ability to quickly recognize and categorize their actions. To effectively study action recognition we need to understand how actions are bounded, where they start and where they end. Here we borrow a conceptual approach - the notion of 'canonicality' - introduced by Palmer and colleagues in their study of object recognition and apply it to the study of action recognition. Using a set of 50 video clips sourced from stock photography sites, we show that many everyday actions - transitive and intransitive, social and non-social, communicative - are characterized by 'canonical moments' in a sequence of movements that are agreed by participants to 'best represent' a named action, as indicated in a forced choice (Exp 1, n = 142) and a free choice (Exp 2, n = 125) paradigm. In Exp 3 (n = 102) we confirm that canonical moments from action sequences are more readily named as depicting specific actions and, mirroring research in object recognition, that such canonical moments are privileged in memory (Exp 4, n = 95). We suggest that 'canonical moments', being those that convey maximal information about human actions, are integral to the representation of human action.1.

The Meaning of Motion Lines?: A Review of Theoretical and Empirical Research on Static Depiction of Motion

Static depiction of motion, particularly lines trailing behind a mover, has long been of interest in the psychology literature. Empirical research has demonstrated that these "motion lines" benefited motion comprehension in static images by disambiguating the direction of movement. Yet, there is no consensus on how those lines derive their meaning. In this article, we review three accounts suggesting different interpretations of what motion lines represent. While a perceptual account considers motion lines originating from motion streaks in the primary visual cortex, metaphorical and lexical accounts propose them as graphical conventions that should be learned-either through resemblance to sensory experiences (e.g., natural path marks) or directly being mapped to a conceptual category of paths. To contrast these three accounts, we integrate empirical research on motion lines and their understanding. Overall, developmental, proficiency, and cross-cultural variances indicate that the understanding of motion lines is neither innate nor universal, thus providing less support for lines having a purely perceptual origin. Rather, we argue the empirical findings suggest that motion lines are not iconic depictions of visual percepts but are graphical conventions indexing conceptual path information, which need to be learned and encoded in a visual lexicon.

Connecting the beholder with the artwork: Thoughts on gaining liveliness by the usage of paraphernalia

When we attend sculptures in museums, they might fascinate us due to the mastery of the material, the inherent dynamics of body language or due to contrapposto or the sheer size of some of these statues such as Michelangelo's David. What is less convincing, however, is the life-alikeness of the face. Actually, most visitors experience dead faces, dead eyes, and static expressions. By merely adding paraphernalia to a face (e.g., a facemask or sunglasses), such unalive sculptures gain vividness and liveliness. This striking effect is demonstrated by applying a facemask and sunglasses to a sculpture on public display in Bamberg, but it can easily be demonstrated on any available sculpture. This simple method might help connect people with sculptures or artworks, in general, to lower the barrier between the beholder and artwork and increase their interaction.

Linguistic typology of motion events in visual narratives

Languages use different strategies to encode motion. Some use particles or "satellites" to describe a path of motion (Satellite-framed or S-languages like English), while others typically use the main verb to convey the path information (Verb-framed or V-languages like French). We here ask: might this linguistic variation lead to differences in the way paths are depicted in visual narratives like comics? We analyzed a corpus of 85 comics originally created by speakers of S-languages (comics from the United States, China, Germany) and V-languages (France, Japan, Korea) for both their depictions of path segments (source, route, and goal) and the visual cues signaling these paths and manner information (e.g., motion lines and postures). Panels from S-languages depicted more path segments overall, especially routes, than those from V-languages, but panels from V-languages more often isolated path segments into their own panels. Additionally, comics from S-languages depicted more motion cues than those from V-languages, and this linguistic typology also interacted with panel framing. Despite these differences across typological groups, analysis of individual countries' comics showed more nuanced variation than a simple S-V dichotomy. These findings suggest a possible influence of spoken language structure on depicting motion events in visual narratives and their sequencing.

Disconjugate Eye Movements in Dyslexic Adolescents While Viewing Op Art: A Creative Handicap?

Op art was created, in part, to produce illusions of movement. Given that dyslexics have been shown to have impaired visuo-postural axis deficits, it may be possible that dyslexics see illusions different than their non-dyslexic peers. To test this theory, we measured eye movement and posture in 47 dyslexic (18 female, 29 male; mean age 15.4) and 44 non dyslexic (22 female, 22 male; mean age 14.8) adolescents while they viewed three works of art by Op artist Bridget Riley. They then responded to a questionnaire about how they felt while viewing the artworks. Dyslexics demonstrated significantly slower saccades in terms of average velocity that was particularly disturbed in paintings that manipulated depth. Subjectively, dyslexics felt much more destabilized compared to their peers; however, there was not a significant difference in objective postural measurements between the two groups. The sensation of destabilization was positively correlated with appreciation in non-dyslexic adolescents. These subjective results suggest that dyslexics may be more sensitive to movement in depth, which could be related to the instability in vergence movements. Whereas this instability represents a hinderance in relation to reading, it could be an advantage while viewing paintings such as these.

Aesthetic preferences for causality in biological movements arise from visual processes

"People watching" is a ubiquitous component of human activities. An important aspect of such activities is the aesthetic experience that arises naturally from seeing how elegant people move their bodies in performing different actions. What makes some body movements look better than others? We examine how the human visual system gives rise to aesthetic experience from observing actions, using "creatures" generated by spatially scrambling locations of a point-light walker's joints. Observers rated how aesthetically pleasing and lifelike creatures were when the trajectories of joints were generated either from an upright walker (thus exhibiting gravitational acceleration) or an inverted walker (thus defying gravity), and were either congruent to the direction of global body displacements or incongruent (as in the moonwalk). Observers gave both higher aesthetic and animacy ratings for creatures with upright compared to inverted trajectories, and congruent compared to incongruent movements. Moreover, after controlling for animacy, aesthetic preferences for causally plausible movements (those in accord with gravity and body displacement) persisted. This systematicity in aesthetic impressions, even in the absence of explicit recognition of the moving agents, suggests an important role of automatic perceptual mechanisms in determining aesthetic experiences.

Extension of Dancer's Legs: Increasing Angles Show Motion

Usain Bolt’s Lightning Bolt pose, one arm highly extended to one side, suggests action. Likewise, static pictures of animals, legs extended, show animation. We tested a new cue for motion perception—extension—and in particular extension of dancer’s legs. An experiment with pictures of a dancer finds larger angles between the legs suggest greater movement, especially with in-air poses and in lateral views. Leg positions graded from simply standing to very difficult front and side splits. Liking ratings (a small range) were more related to Difficulty ratings (a large range) than Movement ratings (a moderate range).

Photographs of Actions: What Makes Them Special Cues to Social Perception

I have reviewed studies on neural responses to pictured actions in the action observation network (AON) and the cognitive functions of these responses. Based on this review, I have analyzed the specific representational characteristics of action photographs. There has been consensus that AON responses provide viewers with knowledge of observed or pictured actions, but there has been controversy about the properties of this knowledge. Is this knowledge causally provided by AON activities or is it dependent on conceptual processing? What elements of actions does it refer to, and how generalized or specific is it? The answers to these questions have come from studies that used transcranial magnetic stimulation (TMS) to stimulate motor or somatosensory cortices. In conjunction with electromyography (EMG), TMS allows researchers to examine changes of the excitability in the corticospinal tract and muscles of people viewing pictured actions. The timing of these changes and muscle specificity enable inferences to be drawn about the cognitive products of processing pictured actions in the AON. Based on a review of studies using TMS and other neuroscience methods, I have proposed a novel hypothetical account that describes the characteristics of action photographs that make them effective cues to social perception. This account includes predictions that can be tested experimentally.

Pupil responses to implied motion in figurative and abstract paintings

Motion can be perceived in static images, such as photos and figurative paintings, representing realistic subjects in motion, with or without directional information (e.g., motion blur or speed lines). Motion impression can be achieved even in non-realistic static images such as motion illusions and abstract paintings. It has been shown that visual motion processing affects the diameter of the pupil, responding differently to real, illusory, and implied motion in photographs (IM). It has been suggested that these different effects might be due to top-down modulations from different cortical areas underlying their processing. It is worthwhile to investigate pupillary response to figurative paintings, since they require an even higher level of interpretation than photos representing the same kind of subjects, given the complexity of cognitive processes involved in the aesthetic experience. Also, pupil responses to abstract paintings allows to study the effect of IM perception in representations devoid of real-life motion cues. We measured pupil responses to IM in figurative and abstract artworks depicting static and dynamic scenes, as rated by a large group of individuals not participating in the following experiment. Since the pupillary response is modulated by the subjective image interpretation, a motion rating test has been used to correct individual pupil data according to whether participants actually perceived the presence of motion in the paintings. Pupil responses to movies showing figurative and abstract subjects, and to motion illusions were also measured, to compare real and illusory motion with painted IM. Movies, both figurative and abstract, elicit the largest pupillary dilation of all static stimuli, whereas motion illusions cause the smallest pupil size, as previously shown. Interestingly, pupil responses to IM depend on the paintings' style. Figurative paintings depicting moving subjects cause more dilation than those representing static figures, and pupil size increases with the strength of IM, as already found with realistic photos. The opposite effect is obtained with abstract artworks. Abstract paintings depicting motion produce less dilation than those depicting stillness. In any case, these results reflect the individual subjective perception of dynamism, as the very same paintings can induce opposite responses in observer which interpreted it as static or dynamic. Overall, our data show that pupil size depends on high-level interpretation of motion in paintings, even when they do not represent real-world scenes. Our findings further suggest that the pupil is modulated by multiple top-down cortical mechanisms, involving the processing of motion, attention, memory, imagination, and other cognitive functions necessary for enjoying a complete aesthetic experience.

Functional specificity and neural integration in the aesthetic appreciation of artworks with implied motion

Although there is growing interest in the neural foundations of aesthetic experience, it remains unclear how particular mental subsystems (e.g. perceptual, affective and cognitive) are involved in different types of aesthetic judgements. Here, we use fMRI to investigate the involvement of different neural networks during aesthetic judgements of visual artworks with implied motion cues. First, a behavioural experiment (N = 45) confirmed a preference for paintings with implied motion over static cues. Subsequently, in a preregistered fMRI experiment (N = 27), participants made aesthetic and motion judgements towards paintings representing human bodies in dynamic and static postures. Using functional region-of-interest and Bayesian multilevel modelling approaches, we provide no compelling evidence for unique sensitivity within or between neural systems associated with body perception, motion and affective processing during the aesthetic evaluation of paintings with implied motion. However, we show suggestive evidence that motion and body-selective systems may integrate signals via functional connections with a separate neural network in dorsal parietal cortex, which may act as a relay or integration site. Our findings clarify the roles of basic visual and affective brain circuitry in evaluating a central aesthetic feature-implied motion-while also pointing towards promising future research directions, which involve modelling aesthetic preferences as hierarchical interplay between visual and affective circuits and integration processes in frontoparietal cortex.

Moving beyond static snapshots: Protein dynamics and the Protein Data Bank

Proteins are the molecular machines of living systems. Their dynamics are an intrinsic part of their evolutionary selection in carrying out their biological functions. Although the dynamics are more difficult to observe than a static, average structure, we are beginning to observe these dynamics and form sound mechanistic connections between structure, dynamics, and function. This progress is highlighted in case studies from myoglobin and adenylate kinase to the ribosome and molecular motors where these molecules are being probed with a multitude of techniques across many timescales. New approaches to time-resolved crystallography are allowing simple “movies” to be taken of proteins in action, and new methods of mapping the variations in cryo-electron microscopy are emerging to reveal a more complete description of life’s machines. The results of these new methods are aided in their dissemination by continual improvements in curation and distribution by the Protein Data Bank and their partners around the world.

Critical Review of Visual Models for Police Use of Force Decision-Making

Recent calls for widespread police reform include re-examination of existing training and practice surrounding the use of force (UOF, e.g., verbal and non-verbal communication, physical tactics, firearms). Visual models representing police UOF decision-making are used for both police training and public communication. However, most models have not been empirically developed or assessed in either the applied police or vision science literatures, representing significant gaps in knowledge. The purpose of the current review is to provide a novel, relevant, and practical analysis of the visual components of three common police UOF decision-making model types (circular, cyclical, staircase). We begin with a critical evaluation of the visual features specific to each model type (i.e., shape), followed by critical reviews of common visual features, including colour, implied motion, text, and clarity. The insights provided by the current work afford scientists from visual disciplines a unique opportunity to contribute meaningfully to the improvement of existing police UOF practices, with the goal of promoting public and occupational safety. To this end, we conclude with evidence-based recommendations for designing visual models that effectively promote training of police and communication of police UOF decision-making to the public.

Motion-Sphere: Visual Representation of the Subtle Motion of Human Joints

Understanding and differentiating subtle human motion over time as sequential data is challenging. We propose Motion-sphere, which is a novel trajectory-based visualization technique, to represent human motion on a unit sphere. Motion-sphere adopts a two-fold approach for human motion visualization, namely a three-dimensional (3D) avatar to reconstruct the target motion and an interactive 3D unit sphere, that enables users to perceive subtle human motion as swing trajectories and color-coded miniature 3D models for twist. This also allows for the simultaneous visual comparison of two motions. Therefore, the technique is applicable in a wide range of applications, including rehabilitation, choreography, and physical fitness training. The current work validates the effectiveness of the proposed work with a user study in comparison with existing motion visualization methods. Our study’s findings show that Motion-sphere is informative in terms of quantifying the swing and twist movements. The Motion-sphere is validated in threefold ways: validation of motion reconstruction on the avatar, accuracy of swing, twist, and speed visualization, and the usability and learnability of the Motion-sphere. Multiple range of motions from an online open database are selectively chosen, such that all joint segments are covered. In all fronts, Motion-sphere fares well. Visualization on the 3D unit sphere and the reconstructed 3D avatar make it intuitive to understand the nature of human motion.

Move Still: The Effects of Implied and Real Motion on the Duration Estimates of Dance Steps

It has been argued that movement can be implied by static cues of images depicting an instance of a dynamic event. Instances of implied motion have been investigated as a special type of stimulus with common processing mechanisms to those of real motion. Timing studies have reported a lengthening of the perceived time for moving as opposed to static stimuli and for stimuli of higher as compared to lower amounts of implied motion. However, the actual comparison of real versus implied motion on timing has never been investigated. In the present study, we compared directly the effect of two hypothetically analogous ballet steps with different amounts of movement and static instances of the dynamic peak of these events in a reproduction task. The analysis revealed an overestimation and lower response variability for real as compared to implied motion stimuli. These findings replicate and extend the apparent duration lengthening for moving as compared to static stimulation, even for static images containing implied motion, questioning whether or not the previously reported correspondence between real and implied motion transfers in the timing domain. This lack of correspondence was further supported by the finding that the amount of movement presented affected only displays of real motion.

Considerations for Visualizing Comparison

Supporting comparison is a common and diverse challenge in visualization. Such support is difficult to design because solutions must address both the specifics of their scenario as well as the general issues of comparison. This paper aids designers by providing a strategy for considering those general issues. It presents four considerations that abstract comparison. These considerations identify issues and categorize solutions in a domain independent manner. The first considers how the common elements of comparison-a target set of items that are related and an action the user wants to perform on that relationship-are present in an analysis problem. The second considers why these elements lead to challenges because of their scale, in number of items, complexity of items, or complexity of relationship. The third considers what strategies address the identified scaling challenges, grouping solutions into three broad categories. The fourth considers which visual designs map to these strategies to provide solutions for a comparison analysis problem. In sequence, these considerations provide a process for developers to consider support for comparison in the design of visualization tools. Case studies show how these considerations can help in the design and evaluation of visualization solutions for comparison problems.

Futurist Art: Motion and Aesthetics As a Function of Title

Very often the titles of Futurist paintings contain words denoting movement in order to satisfy their artistic poetic focused on motion and velocity. The aim of the present study is to investigate the reported dynamism and aesthetic quality of several Futurist artworks as a function of their title. Ten Futurist artworks with a movement-related word in the title were selected for this study. The titles were manipulated, resulting in four conditions for each painting: the “original title” with the movement word; an “increased” title in which an adjective was added in order to intensify the sense of dynamism; a “decreased” title, in which the movement word was eliminated; no title. Participants evaluated the movement suggested by each painting in the four different title conditions, rated their beauty and reported how much they liked the work. Results showed that the manipulation of the title had an effect on the reported movement: compared to the others, paintings presented with the “original” and with the “increased” title received significant higher movement scores. Of interest, beauty did not differ across conditions, but liking was higher for the conditions with more movement. Lastly, positive correlations between the quantity of perceived movement and aesthetic evaluation were found. From the present results it can be concluded that Futurists attributed much relevance to the titles of their artworks in order to effectively increase the expression of the movement represented.

Faces and Photography in 19th-Century Visual Science

Reading faces for identity, character, and expression is as old as humanity but representing these states is relatively recent. From the 16th century, physiognomists classified character in terms of both facial form and represented the types graphically. Darwin distinguished between physiognomy (which concerned static features reflecting character) and expression (which was dynamic and reflected emotions). Artists represented personality, pleasure, and pain in their paintings and drawings, but the scientific study of faces was revolutionized by photography in the 19th century. Rather than relying on artistic abstractions of fleeting facial expressions, scientists photographed what the eye could not discriminate. Photography was applied first to stereoscopic portraiture (by Wheatstone) then to the study of facial expressions (by Duchenne) and to identity (by Galton and Bertillon). Photography opened new methods for investigating face perception, most markedly with Galton's composites derived from combining aligned photographs of many sitters. In the same decade (1870s), Kühne took the process of photography as a model for the chemical action of light in the retina. These developments and their developers are described and fixed in time, but the ideas they initiated have proved impossible to stop.

A TMS study on the contribution of visual area V5 to the perception of implied motion in art and its appreciation

Over the last decade, researchers have sought to understand the brain mechanisms involved in the appreciation of art. Previous studies reported an increased activity in sensory processing regions for artworks that participants find more appealing. Here we investigated the intriguing possibility that activity in cortical area V5-a region in the occipital cortex mediating physical and implied motion detection-is related not only to the generation of a sense of motion from visual cues used in artworks, but also to the appreciation of those artworks. Art-naïve participants viewed a series of paintings and quickly judged whether or not the paintings conveyed a sense of motion, and whether or not they liked them. Triple-pulse TMS applied over V5 while viewing the paintings significantly decreased the perceived sense of motion, and also significantly reduced liking of abstract (but not representational) paintings. Our data demonstrate that V5 is involved in extracting motion information even when the objects whose motion is implied are pictorial representations (as opposed to photographs or film frames), and even in the absence of any figurative content. Moreover, our study suggests that, in the case of untrained people, V5 activity plays a causal role in the appreciation of abstract but not of representational art.

Depicting Visual Motion in Still Images: Forward Leaning and a Left to Right Bias for Lateral Movement

What artistic conventions are used to convey the motion of animate and inanimate items in still images, such as drawings and photographs? One graphic convention involves depicting items leaning forward into their movement, with greater leaning conveying greater speed. Though this convention could derive from the natural leaning forward of people and animals as they run, it is also applied to depictions of inanimate objects (eg cars and trains). It is proposed that it is this convention that allows the italicization of text to convey notions of motion and speed. Evidence for this is obtained from three sources: the use of italicization on book covers (in book titles); judgments of typeface connotations; and performance measures during the semantic classification of words appearing in italicized and non-italicized fonts. Inspection of the availability of italic fonts in Hebrew indicates an additional artistic convention for conveying motion, based on a fundamental bias, yet to be confirmed, for people to expect to see, or prefer to see, lateral movement (real or implied) in a left to right direction, rather than a right to left direction. Evidence for such a bias is found in photographs of a range of animate and inanimate items archived on Google Images. Whereas a rightward bias is found for photographs of animate and inanimate items in motion (the more so, the faster the motion being conveyed), either no bias or a leftward bias is found for the same items in static pose. Possible origins of a fundamental left to right bias for visual motion, and future lines of research able to evaluate them, are identified.

Eye movement instructions modulate motion illusion and body sway with Op Art

Op Art generates illusory visual motion. It has been proposed that eye movements participate in such illusion. This study examined the effect of eye movement instructions (fixation vs. free exploration) on the sensation of motion as well as the body sway of subjects viewing Op Art paintings. Twenty-eight healthy adults in orthostatic stance were successively exposed to three visual stimuli consisting of one figure representing a cross (baseline condition) and two Op Art paintings providing sense of motion in depth—Bridget Riley’s Movements in Squares and Akiyoshi Kitaoka’s Rollers. Before their exposure to the Op Art images, participants were instructed either to fixate at the center of the image (fixation condition) or to explore the artwork (free viewing condition). Posture was measured for 30 s per condition using a body fixed sensor (accelerometer). The major finding of this study is that the two Op Art paintings induced a larger antero-posterior body sway both in terms of speed and displacement and an increased motion illusion in the free viewing condition as compared to the fixation condition. For body sway, this effect was significant for the Riley painting, while for motion illusion this effect was significant for Kitaoka’s image. These results are attributed to macro-saccades presumably occurring under free viewing instructions, and most likely to the small vergence drifts during fixations following the saccades; such movements in interaction with visual properties of each image would increase either the illusory motion sensation or the antero-posterior body sway.

The role of implied motion in engaging audiences for health promotion: encouraging naps on a college campus

OBJECTIVE

Lack of sleep among college students negatively impacts health and academic outcomes. Building on research that implied motion imagery increases brain activity, this project tested visual design strategies to increase viewers' engagement with a health communication campaign promoting napping to improve sleep habits.

PARTICIPANTS

PARTICIPANTS (N = 194) were recruited from a large southwestern university in October 2012.

METHODS

Utilizing an experimental design, participants were assigned to 1 of 3 conditions: an implied motion superhero spokes-character, a static superhero spokes-character, and a control group.

RESULTS

The use of implied motion did not achieve the hypothesized effect on message elaboration, but superheroes are a promising persuasive tool for health promotion campaigns for college audiences.

CONCLUSIONS

Implications for sleep health promotion campaigns and the role of implied motion in message design strategies are discussed, as well as future directions for research on the depiction of implied motion as it relates to theoretical development.

Motion illusions in optical art presented for long durations are temporally distorted

Static figurative images implying human body movements observed for shorter and longer durations affect the perception of time. This study examined whether images of static geometric shapes would affect the perception of time. Undergraduate participants observed two Optical Art paintings by Bridget Riley for 9 or 36 s (group G9 and G36, respectively). Paintings implying different intensities of movement (2.0 and 6.0 point stimuli) were randomly presented. The prospective paradigm in the reproduction method was used to record time estimations. Data analysis did not show time distortions in the G9 group. In the G36 group the paintings were differently perceived: that for the 2.0 point one are estimated to be shorter than that for the 6.0 point one. Also for G36, the 2.0 point painting was underestimated in comparison with the actual time of exposure. Motion illusions in static images affected time estimation according to the attention given to the complexity of movement by the observer, probably leading to changes in the storage velocity of internal clock pulses.

The Effect of Motion Lines on Apparent-Motion Correspondence under Dichoptic Presentation

Motion lines enhance the impression of motion when viewing static/dynamic images. I investigated the binocularity of the motion-enhancing effect in an ambiguous apparent-motion display. Even in the dichoptic presentation condition, the effect of motion lines on apparent-motion correspondence was as strong as that in the monoptic condition. Additionally, there were no effects of stereo-depth separation. These results suggest that the effect of motion lines arises from a higher-level motion-processing mechanism that occurs after integrating information from both eyes.

Video Snapshots: Creating High-Quality Images from Video Clips

We describe a unified framework for generating a single high-quality still image ("snapshot") from a short video clip. Our system allows the user to specify the desired operations for creating the output image, such as super resolution, noise and blur reduction, and selection of best focus. It also provides a visual summary of activity in the video by incorporating saliency-based objectives in the snapshot formation process. We show examples on a number of different video clips to illustrate the utility and flexibility of our system.

Time dilation caused by static images with implied motion

The present study examined whether implicit motion information from static images influences perceived duration of image presentation. In Experiments 1 and 2, we presented observers with images of a human and an animal character in running and standing postures. The results revealed that the perceived presentation duration of running images was longer than that of standing images. In Experiments 3 and 4, we used abstract block-like images that imitated the human figures used in Experiment 1, presented with different instructions to change the observers' interpretations of the stimuli. We found that the perceived duration of the block image presented as a man running was longer than that of the image presented as a man standing still. However, this effect diminished when the participants were told the images were green onions (objects with no implied motion), suggesting that the effect of implied motion cannot be attributed to low-level visual differences. These results suggest that implied motion increases the perceived duration of image presentation. The potential involvement of higher-order motion processing and the mirror neuron system is discussed.

Ventral and dorsal streams processing visual motion perception (FDG-PET study)

BACKGROUND

Earlier functional imaging studies on visually induced self-motion perception (vection) disclosed a bilateral network of activations within primary and secondary visual cortex areas which was combined with signal decreases, i.e., deactivations, in multisensory vestibular cortex areas. This finding led to the concept of a reciprocal inhibitory interaction between the visual and vestibular systems. In order to define areas involved in special aspects of self-motion perception such as intensity and duration of the perceived circular vection (CV) or the amount of head tilt, correlation analyses of the regional cerebral glucose metabolism, rCGM (measured by fluorodeoxyglucose positron-emission tomography, FDG-PET) and these perceptual covariates were performed in 14 healthy volunteers. For analyses of the visual-vestibular interaction, the CV data were compared to a random dot motion stimulation condition (not inducing vection) and a control group at rest (no stimulation at all).

RESULTS

Group subtraction analyses showed that the visual-vestibular interaction was modified during CV, i.e., the activations within the cerebellar vermis and parieto-occipital areas were enhanced. The correlation analysis between the rCGM and the intensity of visually induced vection, experienced as body tilt, showed a relationship for areas of the multisensory vestibular cortical network (inferior parietal lobule bilaterally, anterior cingulate gyrus), the medial parieto-occipital cortex, the frontal eye fields and the cerebellar vermis. The "earlier" multisensory vestibular areas like the parieto-insular vestibular cortex and the superior temporal gyrus did not appear in the latter analysis. The duration of perceived vection after stimulus stop was positively correlated with rCGM in medial temporal lobe areas bilaterally, which included the (para-)hippocampus, known to be involved in various aspects of memory processing. The amount of head tilt was found to be positively correlated with the rCGM of bilateral basal ganglia regions responsible for the control of motor function of the head.

CONCLUSIONS

Our data gave further insights into subfunctions within the complex cortical network involved in the processing of visual-vestibular interaction during CV. Specific areas of this cortical network could be attributed to the ventral stream ("what" pathway) responsible for the duration after stimulus stop and to the dorsal stream ("where/how" pathway) responsible for intensity aspects.

Vection can be induced in the absence of explicit motion stimuli

The present study utilized two separate experiments to demonstrate that illusory self-motion (vection) can be induced/modulated by cognition. In the first experiment, two curved lines, which simulated road edges seen while driving at night, were employed. Although the lines induced adequate strength of forward vection, when one of the lines was horizontally reversed, vection was significantly reduced. In the second experiment, two static converging lines with moving characters, which simulated side edges of a straight road with a traffic sign, were utilized. The road sign moved only during the first 5 s. After the sign disappeared, only static lines or a blank screen were able to induce vection. These results suggested that vection was largely affected by cognitive factors and that vection could be induced by implicit motion stimuli.

Wheatstone and the Origins of Moving Stereoscopic Images

The recent resurgence of stereoscopic films and television programmes occasions reflection on their origins. Experimental studies of stroboscopic (apparent) motion and stereoscopic vision have their origins in London in the decade from 1825 to 1835. Instruments were devised which simulated motion and depth: sequences of still images could appear to move, and paired pictures (with small horizontal disparities and presented to different eyes) were seen in depth. Until that time, the experience of motion was almost always a consequence of object or observer movement: apparent motion was a novelty. By contrast, stereoscopic vision was the near-universal experience of using two eyes in the natural environment, but its basis remained mysterious. The stereoscope rendered the normal conditions for seeing depth from disparity experimentally tractable. The instruments were called philosophical toys because they fulfilled the dual roles of furthering scientific experiment on the senses and of providing popular amusement. The investigations were initially driven by the need for stimulus control so that the methods of physics could be applied to the study of perceptual phenomena. Many varieties of stroboscopic discs and stereoscopes were devised thereafter and their popularity increased enormously after 1840, when combined with photography. Presenting sequences of stereoscopic photographs in apparent motion was attempted in the 1850s, but proved less successful. The catalyst involved in all these developments was Charles Wheatstone.

Automated Illustration of Molecular Flexibility

In this paper, we present an approach to creating illustrations of molecular flexibility using normal mode analysis (NMA). The output of NMA is a collection of points corresponding to the locations of atoms and associated motion vectors, where a vector for each point is known. Our approach abstracts the complex object and its motion by grouping the points, models the motion of each group as an affine velocity, and depicts the motion of each group by automatically choosing glyphs such as arrows. Affine exponentials allow the extrapolation of nonlinear effects such as near rotations and spirals from the linear velocities. Our approach automatically groups points by finding sets of neighboring points whose motions fit the motion model. The geometry and motion models for each group are used to determine glyphs that depict the motion, with various aspects of the motion mapped to each glyph. We evaluated the utility of our system in real work done by structural biologists both by utilizing it in our own structural biology work and quantitatively measuring its usefulness on a set of known protein conformation changes. Additionally, in order to allow ourselves and our collaborators to effectively use our techniques we integrated our system with commonly used tools for molecular visualization.

Static images with different induced intensities of human body movements affect subjective time

Modulation of subjective time was examined using static images eliciting perceptions of different intensities of body movement. Undergraduate students were exposed to photographs of dancer sculptures in different dance positions for 36 sec. and asked to estimate the exposure duration. Lower movement intensities were related to shorter estimated durations. Mean durations for images of unmoving dancers were underestimated and for dancers taking a ballet step were overestimated. Temporal estimations were also related to the order of presentation of the stimuli, which suggested that subjective time estimations were influenced by the experimental context. Subjective time is related not only to the visual perception of moving images, but also of elicited perceptions of movement in static images, suggesting an embodiment effect on subjective time estimation.

Contemporary experimental aesthetics: State of the art technology

The purpose of this essay is to provide the reader with a brief overview of several recent person-artifact-context relational models that explain the complex interaction of the processes that underlie an ongoing aesthetic experience with visual art forms. Recent progress towards a comprehensive understanding of these processes has been made possible in large part by experimental approaches that take advantage of recent advances in computer technology and electronic sophistication. To illustrate this point, three experimental techniques at the forefront of the field of experimental aesthetics are highlighted here. They include the investigation of viewers— body postural adjustments to depicted pictorial depth and movement in paintings; the use of hand-held computers known as personal data assistants to record audience members— on-going emotional reactions to live performances of dance; and the contribution of audio tour information to museum visitors— interaction with and aesthetic evaluation of sculptures and paintings. Finally, the eMotion: Mapping Museum Experience project, which has the potential to make a tremendous contribution to the understanding of the complex interaction of factors that contribute to a museum visitor's experience, is described.

The effect of left-right reversal on film: Watching Kurosawa reversed

The mirror reversal of an image is subtly different from the original. Often such change goes unnoticed in pictures, although it can affect preference. For the first time we studied the effect of mirror reversal of feature films. People watched Yojimbo or Sanjuro in a cinema, both classic films by Akira Kurosawa. They knew that this was a study and filled out a questionnaire. On one day Yojimbo was shown in its original orientation, and on another day the film was mirror reversed. Sanjuro was shown reversed on one day and non-reversed on another day. Viewers did not notice the reversal, even when they had seen the film before and considered themselves fans of Kurosawa. We compared this with estimates from a survey. In addition, the question about the use of space (scenography) revealed that although people who had seen the film before gave higher ratings compared with those who had not, this was only true when the film was not reversed.

Motion impressions enhanced by converging motion lines

We investigated how motion lines drawn in the background of a running human silhouette affect motion impressions of a runner in a static image. Observers evaluated the strength and direction of motion impression. The results show that parallel lines do not enhance frontoparallel motion impressions, while converging lines do so in an in-depth direction. This is a counter-example to the hypothesis that motion lines in the background represent motion streaks of the background when one visually tracks a moving object.

Implied motion because of instability in Hokusai Manga activates the human motion-sensitive extrastriate visual cortex: an fMRI study of the impact of visual art

The recent development of cognitive neuroscience has invited inference about the neurosensory events underlying the experience of visual arts involving implied motion. We report functional magnetic resonance imaging study demonstrating activation of the human extrastriate motion-sensitive cortex by static images showing implied motion because of instability. We used static line-drawing cartoons of humans by Hokusai Katsushika (called 'Hokusai Manga'), an outstanding Japanese cartoonist as well as famous Ukiyoe artist. We found 'Hokusai Manga' with implied motion by depicting human bodies that are engaged in challenging tonic posture significantly activated the motion-sensitive visual cortex including MT+ in the human extrastriate cortex, while an illustration that does not imply motion, for either humans or objects, did not activate these areas under the same tasks. We conclude that motion-sensitive extrastriate cortex would be a critical region for perception of implied motion in instability.

Recognition of natural scenes from global properties: seeing the forest without representing the trees

Human observers are able to rapidly and accurately categorize natural scenes, but the representation mediating this feat is still unknown. Here we propose a framework of rapid scene categorization that does not segment a scene into objects and instead uses a vocabulary of global, ecological properties that describe spatial and functional aspects of scene space (such as navigability or mean depth). In Experiment 1, we obtained ground truth rankings on global properties for use in Experiments 2-4. To what extent do human observers use global property information when rapidly categorizing natural scenes? In Experiment 2, we found that global property resemblance was a strong predictor of both false alarm rates and reaction times in a rapid scene categorization experiment. To what extent is global property information alone a sufficient predictor of rapid natural scene categorization? In Experiment 3, we found that the performance of a classifier representing only these properties is indistinguishable from human performance in a rapid scene categorization task in terms of both accuracy and false alarms. To what extent is this high predictability unique to a global property representation? In Experiment 4, we compared two models that represent scene object information to human categorization performance and found that these models had lower fidelity at representing the patterns of performance than the global property model. These results provide support for the hypothesis that rapid categorization of natural scenes may not be mediated primarily though objects and parts, but also through global properties of structure and affordance.

Ambiguities and conventions in the perception of visual art

Vision perception is ambiguous and visual arts play with these ambiguities. While perceptual ambiguities are resolved with prior constraints, artistic ambiguities are resolved by conventions. Is there a relationship between priors and conventions? This review surveys recent work related to these ambiguities in composition, spatial scale, illumination and color, three-dimensional layout, shape, and movement. While most conventions seem to have their roots in perceptual constraints, those conventions that differ from priors may help us appreciate how visual arts differ from everyday perception.

New Motion Illusion Caused by Pictorial Motion Lines

Motion lines (MLs) are a pictorial technique used to represent object movement in a still picture. This study explored how MLs contribute to motion perception. In Experiment 1, we reported the creation of a motion illusion caused by MLs: random displacements of objects with MLs on each frame were perceived as unidirectional global motion along the pictorial motion direction implied by MLs. In Experiment 2, we showed that the illusory global motion in the peripheral visual field captured the perceived motion direction of random displacement of objects without MLs in the central visual field, and confirmed that the results in Experiment 1 did not stem simply from response bias, but resulted from perceptual processing. In Experiment 3, we showed that the spatial arrangement of orientation information rather than ML length is important for the illusory global motion. Our results indicate that the ML effect is based on perceptual processing rather than response bias, and that comparison of neighboring orientation components may underlie the determination of pictorial motion direction with MLs.

Tempo subjetivo e percepção de movimento em obras de arte

O estudo de imagens em movimento e de imagens estáticas que representam algum movimento contribui para o esclarecimento do papel do tempo como modulador da experiência humana. Diferentes formas de representar ou induzir movimento em estímulos ou distintas obras das artes visuais devem envolver não somente técnicas específicas, mas diferentes formas de interação que só ocorrem quando se dá o encontro entre obra e expectador. A percepção de movimento, muito provavelmente, não está confinada a uma simples decomposição ou soma das suas grandezas constituintes (tempo, espaço e velocidade), pois na sua cognição estão combinadas sensações e percepções internas e externas, que ocorrem em sistemas e níveis perceptuais distintos. Entretanto, processos correlatos devem responder pela percepção de movimentos reais, induzidos e representados. Sendo oriundo da intersecção espaço-temporal, a utilização do movimento em pesquisas de estética experimental pode contribuir para o esclarecimento dos processos que atuam na percepção subjetiva de tempo.

Representation of dynamic events triggered by motion lines and static human postures

Artists and cartoonists are able to dexterously depict a running person on paper with the aid of 'motion lines'. We scientifically examined whether the cognitive system can exploit motion lines in constructing memory representations of the location of a running person depicted in a still image. A target depicting a standing or a running person with or without motion lines was presented to participants for 500 ms. Observers were required to reproduce the location of the target 1 s after its disappearance. Data from depicted leftward and rightward moving persons were collapsed. Memory displacement of the target was shown to be largest in the presence of motion lines and a posture indicating an identical direction of movement. By assessing the absolute localization error, we showed that there was no localization advantage toward a target with a symmetrical (standing) posture over one with an asymmetrical (running) posture. Our findings indicate synergetic interaction between the mechanisms responsible for processing of motion lines and human postures in the representation of dynamic events.

Perceived dynamics of static images enables emotional attribution

Perception of intentions and dispositions of others is an essential ingredient of adaptive daily-life social behaviour. Dynamics of moving images leads to veridical perception of social attributes. Anecdotal observations in art, science, and popular culture indicate that dynamic imbalance can be revealed in static images. Here, we ask whether perceived dynamics of abstract figures is related to emotional attribution. Participants first estimated instability of geometric shapes rotated in 15 degrees steps in the image plane, and then rated the intensity of basic emotions that can be ascribed to the figures. We found no substantial link between the deviation of the figures from the vertical orientation and perceived instability. Irrespective of shape, a strong positive correlation was found between negative emotions and perceived instability. By contrast, positive emotions were inversely linked with deviation of the figure from vertical orientation. The work demonstrates for the first time that dynamics conveyed by static images enables specific emotional attributions, and agrees well with the assumption that neural networks for production of movements and understanding the dispositions of others are intimately linked. The findings are also of importance for exploring the ability to reveal social properties through dynamics in normal and abnormal development, for example in patients with early brain injury or autistic spectrum disorders.

Backscroll illusion: Apparent motion in the background of locomotive objects

Backscroll illusion is an apparent motion perceived in backgrounds of movie images that present locomotive objects such as people, animals, and vehicles. This illusion is from the visual system registering retinal motion signals in relation to high-level object motion signals. We confirmed this notion from psychophysical experiments that mainly presented a realistic human figure on a treadmill walking or running in front of a counterphase grating. The apparent grating motion was consistently induced in the direction opposite to the locomotion. The induction was tuned to a gait velocity. The time course showed that the illusion arose as if it was synchronized with gait recognition, and that it was sustained against several reversals of limb swings so that local motion accounts were denied. A weak but significant illusion was observed from a static figure that implied a gait. Thus, we concluded that the illusion was determined by the high-level recognition of biological motion. An additional experiment found a similar effect from a vehicle with rotating wheels but no induction from a rotating wheel per se. This result led us to hypothesize that the backscroll illusion is generalized to objects that have shapes implying their moving directions.

Visual representations of dynamic actions from static pictures

We investigated how subjects used their knowledge of biomechanical constraints when judging whether different items were in balance or in the process of falling, as a function of their angle of slant. In the first experiment, the stimuli were pictures of postures of a human body, of a wooden mannequin, and of a skeleton. The results show that for these 3 items, fall responses appeared for a smaller slant angle for a backward slant than for a forward one. This difference may reflect the influence of biomechanical constraints. To verify whether the asymmetry of the responses to the mannequin and the skeleton was genuine or due to some semantic context effect, a second experiment was run with only pictures of a wooden mannequin. The same asymmetry was observed. In a third experiment, falling judgments were obtained for pictures of a human body and of a structurally comparable artifactual object. The asymmetry of the fall responses appeared only for the human body.