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

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.

Synchronising to a frequency while estimating time of vibro-tactile stimuli

It is well known that subjective time perception can be modified by the emotional experience related to a specific event, by pharmaceutical compounds or by sensory stimuli. As for the latter, visual and auditory stimuli have been widely studied compared to tactile ones. Two experiments were conducted using different vibratory frequencies to stimulate participants who were asked to reproduce stimulus duration. Experiment 1 compared differences in reproduced times for 8-s stimuli ranging between 0.5 and 6 Hz in 100 participants who performed a time reproduction task with the stimulus present or absent during the reproduction. The task was done under prospective and retrospective paradigms. Experiment 2 assessed differences in reproduced times by 80 participants under vibrotactile stimulation of two frequencies simultaneously delivered to each hand, frequencies with specific proportions of 0.5 and 0.75 times the standard frequency for two groups of standard frequency (2 or 12 Hz). Reproduced times in Experiment 1 did not show significant differences among frequencies. Significant differences were found for the absence/presence condition, solely, in prospective tasks, where estimations were longer in the absence of the vibrotactile stimulus. Significant differences were found in Experiment 2 for reproduced time by participants between groups of standard frequency. Data analysis suggests the need to improve the understanding of the subjective time perception processes for higher frequencies considering the intensity modulation based on the amplitude and frequency relation. Results open the possibility of designing new protocols in the study of time perception and other cognitive functions.

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.