From interpretation to segmentation

Representations of naturalistic stimulus complexity in early and associative visual and auditory cortices

The complexity of sensory stimuli has an important role in perception and cognition. However, its neural representation is not well understood. Here, we characterize the representations of naturalistic visual and auditory stimulus complexity in early and associative visual and auditory cortices. This is realized by means of encoding and decoding analyses of two fMRI datasets in the visual and auditory modalities. Our results implicate most early and some associative sensory areas in representing the complexity of naturalistic sensory stimuli. For example, parahippocampal place area, which was previously shown to represent scene features, is shown to also represent scene complexity. Similarly, posterior regions of superior temporal gyrus and superior temporal sulcus, which were previously shown to represent syntactic (language) complexity, are shown to also represent music (auditory) complexity. Furthermore, our results suggest the existence of gradients in sensitivity to naturalistic sensory stimulus complexity in these areas.

Detection of (anti)symmetry and (anti)repetition: perceptual mechanisms versus cognitive strategies

Symmetry and repetition are recognized as cues in perceptual organization, but there is disagreement on whether they are detected automatically. This disagreement is resolved by noting that some studies mixed up shape regularities and shape antiregularities (i.e., symmetries and repetitions with mismatches in contour curvature polarity). The results of two experiments indicate that a task-irrelevant regularity is automatically picked up by the visual system, whereas a task-irrelevant antiregularity is not. This suggests that detection of regularities is part of the visual system's intrinsic encoding, whereas detection of antiregularities requires higher cognitive strategies involving selective attention.

Detection of symmetry and repetition in one and two objects. Structures versus strategies

Symmetry is usually easier to detect within a single object than in two objects (one-object advantage), while the reverse is true for repetition (two-objects advantage). This interaction between regularity and number of objects could reflect an intrinsic property of encoding spatial relations within and across objects or it could reflect a matching strategy. To test this, regularities between two contours (belonging to a single object or two objects) had to be detected in two experiments. Projected three-dimensional (3-D) objects rotated in depth were used to disambiguate figure-ground segmentation and to make matching based on simple translations of the two-dimensional (2-D) contours unlikely. Experiment 1 showed the expected interaction between regularity and number of objects. Experiment 2 used two-objects displays only and prevented a matching strategy by also switching the positions of the two objects. Nevertheless, symmetry was never detected more easily than repetition in these two-objects displays. We conclude that structural coding, not matching strategies, underlies the one-object advantage for symmetry and the two-objects advantage for repetition.

3-D processing in the Poggendorff illusion

In the Poggendorff illusion two collinear oblique lines, separated by two vertical lines, appear to be misaligned. 3-D processing of the oblique but not the vertical lines is considered to cause this apparent misalignment. We investigated whether more explicitly triggering 2-D versus 3-D interpretations of the different parts of Poggendorff-like displays would influence the apparent misalignment. In Experiment 1, we found that compared to 2-D controls, 3-D interpretations of the vertical parts did not influence apparent misalignment, while for the oblique parts 3-D processing resulted in more apparent misalignment than 2-D controls. In Experiment 2, the amount of contour convergence of the oblique parts was manipulated resulting in the 3-D blocks, but not the 2-D line patterns, to be perceived as receding in depth. Now, apparent misalignment increased the more the 3-D blocks were perceived as receding in depth. We conclude that apparent misalignment in Poggendorff-like displays can be influenced by different interpretations of its separate parts, while keeping the local junctions between the different elements the same.