Biomedical subjects

Johannes M Zanker

Publications and source records attributed to Johannes M Zanker.

6 recordsLinked to original sources

PubMed2005

Attention modulates perception of transparent motion.

Human observers can extract a given motion direction from sets of random dots moving simultaneously in two or more directions in the same region of the visual field, a phenomenon referred to as motion transparency. As a necessary condition for separating transparent motion directions, low level encoding of local motion signals must generate frequency distributions of local directions with separable peaks corresponding to these directions--this process would be constrained by local stimulus attributes and the properties of local motion detectors. Furthermore, a representation of multiple directions is needed for simultaneous retrieval of several directions in a psychophysical task--this operation would be limited by higher level processes, such as attention selecting a particular direction to rise into awareness. Preliminary observations suggest that the number of directions that can be seen simultaneously is rather limited and the question arises whether this could be related to limitations of low-level encoding or higher level representations. To study specifically the effect of attention on transparent motion perception, observers were presented with sets of dots moving coherently in a variable number of directions, and were asked after the presentation whether one particular direction was present in the set. When the direction of motion was not known before stimulus onset (uncued condition), observers detected a particular motion direction among no more than 3 other directions. When direction of motion was indicated prior to stimulus onset (precued condition), however, this limit increased up to 6 directions. This attentional effect showed some inter-individual variability and appeared to benefit from spatiotemporal integration of the motion signals. A corresponding effect became apparent when observers were tested in the same paradigm whether they could separate two motion directions with variable angular difference between them. In the precued condition a typical minimum direction difference was about 60 degrees, whereas in the uncued condition this was about 120 degrees, suggesting that the performance in detecting one direction in a multiple direction stimulus might be limited by the ability to separate adjacent motion directions. This pattern of results suggests that attention can reliably improve transparent motion processing by affecting the separability of directional signals in low level encoding mechanisms.

Attention↗

PubMed2005

A computational analysis of separating motion signals in transparent random dot kinematograms.

When multiple motion directions are presented simultaneously within the same region of the visual field human observers see motion transparency. This perceptual phenomenon requires from the visual system to separate different motion signal distributions, which are characterised by distinct means that correspond to the different dot directions and variances that are determined by the signal and processing noise. Averaging of local motion signals can be employed to reduce noise components, but such pooling could at the same time lead to the averaging of different directional signal components, arising from spatially adjacent dots moving in different directions, which would reduce the visibility of transparent directions. To study the theoretical limitations of encoding transparent motion by a biologically plausible motion detector network, the distributions of motion directions signalled by a motion detector model (2DMD) were analysed here for Random Dot Kinematograms (RDKs). In sparse dot RDKs with two randomly interleaved motion directions, the angular separation that still allows us to separate two directions is limited by the internal noise in the system. Under the present conditions direction differences down to 30 deg could be separated. Correspondingly, in a transparent motion stimulus containing multiple motion directions, more than eight directions could be separated. When this computational analysis is compared to some published psychophysical data, it appears that the experimental results do not reach the predicted limits. Whereas the computer simulations demonstrate that even an unsophisticated motion detector network would be appropriate to represent a considerable number of motion directions simultaneously within the same region, human observers usually are restricted to seeing not more than two or three directions under comparable conditions. This raises the question why human observers do not make full use of information that could be easily extracted from the representation of motion signals at the early stages of the visual system.

Computer Simulation↗

PubMed2004

A new look at Op art: towards a simple explanation of illusory motion.

Vivid motion illusions created by some Op art paintings are at the centre of a lively scientific debate about possible mechanisms that might underlie these phenomena. Here we review emerging evidence from a new approach that combines perceptual judgements of the illusion and observations of eye movements with simulations of the induced optic flow. This work suggests that the small involuntary saccades which participants make when viewing such Op art patterns would generate an incoherent distribution of motion signals that resemble the perceptual effects experienced by the observers. The combined experimental and computational evidence supports the view that the illusion is indeed caused by involuntary image displacements picked up by low-level motion detectors, and further suggests that coherent motion signals are crucial to perceive a stable world.

Fixation, Ocular↗

PubMed2004

Are size illusions in simple line drawings affected by shading?

In a number of simple line drawings, such as the Müller-Lyer or Judd figures, we can experience strong distortions of perceived space-geometric illusions. One way of explaining these effects is based on the perspective information that can be read from the line drawings. For instance, the 'inappropriate constancy scaling' theory advocates that the inferred three-dimensional structure of the pictured object is used by the perceptual system to adjust the size of line-drawing components. Such a theory would predict that additional depth cues, for instance shading added to line drawings, should affect these illusions because they influence the three-dimensional appearance. We present here systematic measurements of the magnitude of length misjudgments in horizontal Müller-Lyer and Judd figures for three configurations: (i) pure line drawings, and with shading attached to (ii) the top, and (iii) the bottom of the figures. The latter two configurations are unambiguously interpreted as 'folded' structures with a horizontal edge behind the image plane or protruding from it, respectively. While we could not find any effect of shading in our experimental data, we did observe a length misjudgment in Judd figures that corresponds precisely to the asymmetry that can be observed in the Müller-Lyer illusion for inward and outward fins. This pattern of results is not consistent with notions of inappropriate constancy scaling but is fully coherent with the view that neural filtering mechanisms, which are affecting the perceived position of line intersections, are responsible for this type of geometrical illusions.

Cues↗

PubMed2004

Looking at Op Art from a computational viewpoint.

Arts history tells an exciting story about repeated attempts to represent features that are crucial for the understanding of our environment and which, at the same time, go beyond the inherently two-dimensional nature of a flat painting surface: depth and motion. In the twentieth century, Op artists such as Bridget Riley began to experiment with simple black and white patterns that do not represent motion in an artistic way but actually create vivid dynamic illusions in static pictures. The cause of motion illusions in such paintings is still a matter of debate. The role of involuntary eye movements in this phenomenon is studied here with a computational approach. The possible consequences of shifting the retinal image of synthetic wave gratings, dubbed as 'riloids', were analysed by a two-dimensional array of motion detectors (2DMD model), which generates response maps representing the spatial distribution of motion signals generated by such a stimulus. For a two-frame sequence reflecting a saccadic displacement, these motion signal maps contain extended patches in which local directions change only little. These directions, however, do not usually precisely correspond to the direction of pattern displacement that can be expected from the geometry of the curved gratings as an instance of the so-called 'aperture problem'. The patchy structure of the simulated motion detector response to the displacement of riloids resembles the motion illusion, which is not perceived as a coherent shift of the whole pattern but as a wobbling and jazzing of ill-defined regions. Although other explanations are not excluded, this might support the view that the puzzle of Op Art motion illusions could potentially have an almost trivial solution in terms of small involuntary eye movement leading to image shifts that are picked up by well-known motion detectors in the early visual system. This view can have further consequences for our understanding of how the human visual system usually compensates for eye movements, in order to let us perceive a stable world despite continuous image shifts generated by gaze instability.

Art↗

PubMed2003

Gaze stability of observers watching Op Art pictures.

It has been the matter of some debate why we can experience vivid dynamic illusions when looking at static pictures composed from simple black and white patterns. The impression of illusory motion is particularly strong when viewing some of the works of 'Op Artists, such as Bridget Riley's painting Fall. Explanations of the illusory motion have ranged from retinal to cortical mechanisms, and an important role has been attributed to eye movements. To assess the possible contribution of eye movements to the illusory-motion percept we studied the strength of the illusion under different viewing conditions, and analysed the gaze stability of observers viewing the Riley painting and control patterns that do not produce the illusion. Whereas the illusion was reduced, but not abolished, when watching the painting through a pinhole, which reduces the effects of accommodation, it was not perceived in flash afterimages, suggesting an important role for eye movements in generating the illusion for this image. Recordings of eye movements revealed an abundance of small involuntary saccades when looking at the Riley pattern, despite the fact that gaze was kept within the dedicated fixation region. The frequency and particular characteristics of these rapid eye movements can vary considerably between different observers, but, although there was a tendency for gaze stability to deteriorate while viewing a Riley painting, there was no significant difference in saccade frequency between the stimulus and control patterns. Theoretical considerations indicate that such small image displacements can generate patterns of motion signals in a motion-detector network, which may serve as a simple and sufficient, but not necessarily exclusive, explanation for the illusion. Why such image displacements lead to perceptual results with a group of Op Art and similar patterns, but remain invisible for other stimuli, is discussed.

Adult↗