Perceptual Coherence : Hearing and Seeing

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The Perception of Quality: Visual Color 327 Figure 7.10. The perception of surface gloss and roughness depends on the properties of the illumination. In all examples, the surface reflectance of the spheres is the same. The perception of surface characteristics is best with real-life illuminations (A) and gets much poorer as the simulated illumination deviates from what is normally expected (B). From “Real-World Illumination and the Perception of Surface Reflectance Properties,” by R. W. Fleming, R. O. Dror, and E. W. Adelson, 2003, Journal of Vision, 3, 347–368. Copyright 2003 by AVRO. Reprinted with permission. See color insert. the surface is much poorer. The sphere loses its gloss using the pink noise illumination, and looks like a semitransparent globe with an internal light using the white noise illumination. It is the higher-order correlations that are important. A clever experiment by Bloj, Kersten, and Hurlbert (1999) demonstrated yet another factor that determines our perception of color, namely the effects of mutual reflections among object surfaces. The authors made
328 Perceptual Coherence use of a folded card. One side of the fold was painted magenta, and the second side of the fold was painted white. The light source was pointed toward the red half of the card. Physically the card was folded inwardly so that the magenta side reflected light onto the white side (and vice versa) and the light reflected from the white side took on a pinkish color gradient caused by the mutual reflection, as depicted in figure 7.11. The light reflected from the white side therefore can be conceptualized as the sum of two parts: (1) the purely neutral reflection of the light from the white paint, plus (2) the neutral reflection of the magenta-tinged light due to the one-bounce mutual reflection. By the same token, the light reaching the observer from the magenta side of the card is the sum of the direct reflection from the magenta paint plus the one-bounce neutral reflection from the white side being re-reflected by the magenta paint, resulting in a somewhat desaturated magenta. Two of the many paths to the observer’s eye are shown in figure 7.11: the direct reflection from the magenta side and the one bounce from magenta to white. Observers reported that the white side of the card appeared to be only slightly pink (they selected the match from a set of colors ranging from Figure 7.11. The stimulus was a card folded in half, one side painted magenta and the other painted white (A). If an incandescent light aimed at the magenta side illuminated the card, the light reflected from the magenta side onto the white side created a magenta gradient from desaturated magenta to white (B). Observers judged the inside corner of the white side as pale pink. If the appearance of the card was reversed so that it appeared to be convex, observers then judged the white side as being deep magenta instead of pale pink (C). As illustrated in (C), if the card really was convex, there could not be a one-bounce reflection from the magenta side. Adapted from “Perception of Three-Dimensional Shape Influences Colour Perception Through Mutual Illumination,” by M. G. Bloj, D. Kersten, and A. C. Hurlbert, 1999, Nature, 402, 877–879. See color insert.
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PERCEPTUAL COHERENCE
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Perceptual Coherence Hearing and Se
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To My Family, My Parents, and the B
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Preface The purpose of this book is
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Preface ix intertwined with my own
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Contents 1. Basic Concepts 3 2. Tra
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PERCEPTUAL COHERENCE
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1 Basic Concepts In the beginning G
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Basic Concepts 5 sources moving in
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even though its appearance changes.
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sources. A single sound source is t
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straight line parallel to the actua
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continuous sound. The correspondenc
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Basic Concepts 15 overall uncertain
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problem. The “snapshots” in spa
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segments at different orientations.
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in amplitude across time (analogous
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Basic Concepts 23 visual experience
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we would expect the correlation to
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Transformation of Sensory Informati
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Table 2.1 Derivation of the Recepti
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Figure 2.7. Continued
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3 Characteristics of Auditory and V
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Information =−Σ. Pr(x i ) log 2
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Characteristics of Auditory and Vis
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valleys” that support the high-fr
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Phase Relationships and Power Laws
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systems to be. One possibility woul
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are most active, relatively large c
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(see figure 2.2 based on the Differ
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epresenting these naturally occurri
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found in V1. Even though the filter
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Figure 3.14. The independent compon
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specific persons or objects (e.g.,
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amplitudes of each picture and foun
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4 The Transition Between Noise (Dis
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more cortical levels. For example,
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The Transition Between Noise and St
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about poorer performance by creatin
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Figure 4.8. Continued The Transitio
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Surface Textures Visual Glass Patte
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Figure 4.11. Continued The Transiti
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(A) (B) (C) The Transition Between
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(A) (B) Warbleness The Transition B
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2000 Hz with a single action potent
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The same problem of the multiplicit
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order to create the appearance of s
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Perception of Motion 199 Figure 5.2
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Perception of Motion 203 together.
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Perception of Motion 205 (The two f
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again, two perceptions can result a
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Perception of Motion 211 notes of t
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Perception of Motion 213 Braddick (
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larger arrays and Baddeley and Tirp
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Perception of Motion 217 the judgme
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Perception of Motion 219 one color
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To review, neurons sensitive to mot
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Transparency aftereffects do occur
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Perception of Motion 225 stimuli, t
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Perception of Motion 231 perception
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Perception of Motion 237 same direc
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Time 1, Tone 1 is turned off, at Ti
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6 Gain Control and External and Int
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a signal-to-noise ratio), and Barlo
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Gain Control and External and Inter
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Suppose we have a background that h
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R Gain Control and External and Int
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Makous (1997) pointed out how diffi
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contrast that defines the boundarie
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per Second Figure 6.10. Continued G
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ane was linear, the higher sound pr
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(C. D. Geisler, 1998; C. D. Geisler
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noise visual field. 4 The S + N inp
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B. Murray, Bennett, and Sekular (20
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Page 296 and 297: etween samples). Spiegel and Green
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Page 342 and 343: magenta to white). Then Bloj et al.
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Page 348 and 349: exists at several levels: (a) descr
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Page 358 and 359: obvious. The tension on the vocal c
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Page 368 and 369: obviously misplaced). The majority
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Page 374 and 375: experience. Erickson (2003) found t
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Page 386 and 387: 9 Auditory and Visual Segmentation
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Auditory and Visual Segmentation 37
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processes (e.g., basilar membrane v
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same time, the difficulty of detect
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elease (discussed in chapter 6) dem
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(A) Target Rhythm Target + Masking
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to grouping by perceived position d
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4. Convexity: Convex figures usuall
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filter inferred from the background
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Jackson (1953) found that the sound
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a speaking face is located in front
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was high, then the resolution of th
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Listeners were more likely to repor
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10 Summing Up Perceiving is the con
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Summing Up 423 course of the stimul
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References Adelson, E. H. (1982). S
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References 427 Bermant, R. I., & We
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References 429 Crawford, B. H. (194
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References 431 Feldman, J., & Singh
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References 433 and male voices in t
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References 435 Isabelle, S. K., & C
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References 437 Laughlin, S. B. (200
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References 439 McAdams, S., Winsber
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References 441 Pittinger, J. B., Sh
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References 443 Shamma, S. (2001). O
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References 445 Troost, J. M. (1998)
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References 447 Welch, R. B. (1999).
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Index Boldfaced entries refer to ci
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Barbour, D. L., 83, 367, 426 Barlow
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Color reflectance 1/f c amplitude f
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Figure-ground auditory, 373, 421 in
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Hallikainen, J., 304, 440 Handel, S
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K-order statistics. See Visual text
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separation of things, 5 See also Pe
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Recanzone, G. H., 409-412, 441, 443
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Stream segregation default assumpti
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vibration frequencies of air masses
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Wavelet analysis. See Sparse coding
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