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

Predicting Dyslexia in Adolescents from Eye Movements during Free Painting Viewing

It is known that dyslexics present eye movement abnormalities. Previously, we have shown that eye movement abnormalities during reading or during saccade and vergence testing can predict dyslexia successfully. The current study further examines this issue focusing on eye movements during free exploration of paintings; the dataset was provided by a study in our laboratory carried by Ward and Kapoula. Machine learning (ML) classifiers were applied to eye movement features extracted by the software AIDEAL: a velocity threshold analysis reporting amplitude speed and disconjugacy of horizontal saccades. In addition, a new feature was introduced that concerns only the very short periods during which the eyes were moving, one to the left the other to the right; such periods occurred mostly during fixations between saccades; we calculated a global index of the frequency of such disconjugacy segments, of their duration and their amplitude. Such continuous evaluation of disconjugacy throughout the time series of eye movements differs from the disconjugacy feature that describes inequality of the saccade amplitude between the two eyes. The results show that both AIDEAL features, and the Disconjugacy Global Index (DGI) enable successful categorization of dyslexics from non-dyslexics, at least when applying this analysis to the specific paintings used in the present study. We suggest that this high power of predictability arises from both the content of the paintings selected and the physiologic relevance of eye movement features extracted by the AIDEAL and the DGI.

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.

The Eye Pupil Adjusts to Illusorily Expanding Holes

Some static patterns evoke the perception of an illusory expanding central region or “hole.” We asked observers to rate the magnitudes of illusory motion or expansion of black holes, and these predicted the degree of dilation of the pupil, measured with an eye tracker. In contrast, when the “holes” were colored (including white), i.e., emitted light, these patterns constricted the pupils, but the subjective expansions were also weaker compared with the black holes. The change rates of pupil diameters were significantly related to the illusory motion phenomenology only with the black holes. These findings can be accounted for within a perceiving-the-present account of visual illusions, where both the illusory motion and the pupillary adjustments represent compensatory mechanisms to the perception of the next moment, based on shared experiences with the ecological regularities of light.