S EEING and VISUALIZING : I T ’ S N OT W HAT Y OU T HINK an Essay on Vision and Visual Imagination* ZENON PYLYSHYN, RUTGERS CENTER for COGNITIVE SCIENCE

Total Page:16

File Type:pdf, Size:1020Kb

S EEING and VISUALIZING : I T ’ S N OT W HAT Y OU T HINK an Essay on Vision and Visual Imagination* ZENON PYLYSHYN, RUTGERS CENTER for COGNITIVE SCIENCE S EEING AND VISUALIZING : I T ’ S N OT W HAT Y OU T HINK * An Essay On Vision and Visual Imagination ZENON PYLYSHYN, RUTGERS CENTER FOR COGNITIVE SCIENCE Table of Contents Preface ........................................................................................................................................... v 1. The Puzzle of Seeing .......................................................................................................1-1 1.1 Why do things look the way they do?...................................................................................1-1 1.2 What is seeing? ..................................................................................................................1-2 1.3 Does vision create a “picture” in the head? ...........................................................................1-3 1.3.1 The richness of visual appearances and the poverty of visual information.................................1-3 1.3.2 Some reasons for thinking there may be an inner display..............................................................1-6 1.4 Some problems with the Inner Display Assumption: Part I: What’s in the display?..................1-10 1.4.1 How is the master image built up from glances?............................................................................1-10 1.4.2 What is the form of non-retinal information?.................................................................................1-11 1.4.3 How “pictorial” is information in the “visual buffer”?................................................................1-17 Some further problems with the Inner Display Assumption Part II: seeing or figuring out? ..............1-22 1.4.4 A note about terminology...................................................................................................................1-23 1.4.5 “Seeing X” versus “believing that what you saw is X”.................................................................1-24 1.4.6 Reports of what something “looks like”: What do they mean?....................................................1-25 1.4.7 Vision and conscious appearance: Can they be separated? ........................................................1-27 1.5 Where do we go from here?..............................................................................................1-28 2. The Independence of Vision and Cognition ....................................................................2-1 2.1 Is Vision distinct from reasoning?.........................................................................................2-1 2.1.1 What determines what we see? Do we see what we expect to see?...............................................2-1 2.2 The case for the continuity of vision and cognition ................................................................2-2 2.2.1 The “New Look” in the psychology of perception ............................................................................2-2 2.2.2 The perspective of neuroscience..........................................................................................................2-4 2.2.3 The perspective of robot vision ...........................................................................................................2-5 2.2.4 Seeing and knowing: Where do we stand?........................................................................................2-8 2.3 Some reasons for questioning the continuity thesis.................................................................2-9 2.3.1 Evidence of the cognitive impenetrability of illusions.....................................................................2-9 2.3.2 Evidence of the independence of principles of visual organization and of inference...............2-10 2.3.3 Neuroscience evidence for top-down attenuation and gating of visual signals........................2-11 2.3.4 Evidence of dissociation of visual and cognitive functions in the brain.....................................2-12 2.3.5 Evidence that cognitive penetration occurs in pre-perceptual and post-perceptual stages....2-13 2.4 Distinguishing perceptual and decision stages: Some methodological issues ............................2-14 2.5 Some examples in which knowledge is claimed to affect perception ......................................2-15 2.5.1 “Intelligent” interpretations of inherently ambiguous information............................................2-15 2.5.2 Experience and “hints” in perceiving ambiguous figures and stereograms..............................2-15 2.5.3 Learning to “see” differently: A case of controlling focal attention?.........................................2-18 2.5.3.1 Cultural and linguistic effects on perception............................................................................................................................2-19 2.5.3.2 The case of “expert” perceivers ..................................................................................................................................................2-19 2.5.3.3 Attention and perceptual learning................................................................................................................................................2-21 * Manuscript of a forthcoming book from MIT Press. Please do not quote without permission. Ó 1998 by Zenon Pylyshyn 7/1/2002 i 2.5.4 Focal attention as an interface between vision and cognition.....................................................2-22 2.6 Conclusions: Early vision as a cognitively impenetrable system.............................................2-22 3. The Architecture of the Early Vision System: Components and Functions.................3-1 3.1 Some intrinsic architectural factors determining the visual percept...........................................3-1 3.1.1 Natural Constraints in Vision..............................................................................................................3-1 3.1.1.1 An example of the use of natural constraints in feature labeling .......................................................................................... 3-4 3.1.1.2 Other constraints: The “rules” of visual analysis ....................................................................................................................... 3-9 3.1.2 On “Intelligence” and “Problem-solving” in vision......................................................................3-13 3.1.3 Constraints do not reflect high-frequency or physically permissible real-world principles...3-17 3.2 What is computed by the encapsulated early vision system?.................................................3-19 3.2.1 What are the inputs to the visual system?........................................................................................3-20 3.2.1.1 Cross-modal visual processing.....................................................................................................................................................3-21 3.2.1.2 Synesthesia: Cross-Modal perception?.......................................................................................................................................3-21 3.2.1.3 Should “visual input” include actual and potential motor actions?....................................................................................3-23 3.2.2 What are the outputs of the visual system? .....................................................................................3-25 3.2.2.1 The visual output: Categories and surface layouts..................................................................................................................3-25 3.3 Some subprocesses of the visual system.............................................................................3-30 3.3.1 Stages in early vision: Microgenesis of vision................................................................................3-33 3.4 Visual control of action: An encapsulated system?................................................................3-35 3.4.1 Evidence from studies of eye movements and reaching.................................................................3-36 3.4.2 Evidence from clinical neurology......................................................................................................3-37 3.4.3 Evidence from animal studies............................................................................................................3-37 3.5 Is “vision” one system or many?........................................................................................3-38 4. Focal Attention: How cognition Influences Vision .........................................................4-1 4.1 Focal attention in visual perception.......................................................................................4-1 4.2 Focal attention as selective filtering ......................................................................................4-2 4.3 Allocation of visual attention................................................................................................4-4 4.4 Individuation: A precursor to attentional allocation?................................................................4-8 4.4.1 Individuation is different from discrimination..................................................................................4-8 4.4.2 Individuating an object is distinct from encoding its location or visual properties..................4-10 4.5 Visual attention is directed at Objects .................................................................................4-12 4.5.1
Recommended publications
  • S232 Trompe L'oeil だまし絵サーカス
    Kids Plaza Science and Technology Building 2F S232 Trompe l'oeil だまし絵サーカス ■Purpose of Exhibition You can enjoy “trompe l’oeil” (tricks of the eye), an art technique that uses realistic imagery to create optical illusions of depth: for example, an optical illusion of two images embedded in the same picture, and three- dimensional images that do not exist in the real world. ■Additional Knowledge Vase is another type of ambiguous image that can be interpreted in two different ways. The image depicts a white vase in the center with a black background, allowing viewers to interpret it as either “a vase” or “the silhouettes of two faces in profile looking at each other.” However, Rubin’s Vase – in which these reversible interpretations are possible by alternatively interpreting the black areas as figure or ground – is a different type than the pictures displayed here. [Five Animals Escaping from the Circus] In the picture of a circus team, five animals are in hiding. Can you see the image of animals depicted using the contours of people and balloons? This version is relatively easy to find the animals. Some images of this type, which are often painted by artists, are more difficult. If you encounter such a challenging image, try [Clown or Old Man?] it and have fun. Rotate the disk, and you will see either a clown or an old [Lion and Tiger Climbing Stairs] man. By turning the picture upside down, a new image A lion and a tiger are climbing up different sets of stairs emerges. This type of visual illusion, called an “upside- connecting two floors.
    [Show full text]
  • Picture Perception Cha8 Format
    Using the language of Lines 135 Ambiguity and Reversibility Words and sentences can have many meanings. "Bow" can mean a ribbon, a part of a ship, or a posture. In "They are cooking Chapter Eight apples," the word "cooking" can be a verb or an adjective. Similarly, an individual line can depict any of the basic features of the visible environment. Usually the pattern around the line determines what is referent is, just as the phrase around "bow" limits it to "the colorful bow in someone's hair," or "the proud bow of a courtier." Using the One can ask what meaning the word "bow" could have on its own. And, similarly, one can take a simple line pattern and ask what it could depict. A circle can depict a hoop, ball, or coin, a fact that Language of Lines suggests depiction is a matter of will and choice. But closer examination leads to a different conclusion. When a hoop is de- picted, the line forming the circle depicts a wire. When a ball is depicted, the line depicts an occluding bound. To depict a coin, the line depicts the occluding edge of a disc. Notice that the referents are part of the language of outline. A highly detailed drawing may be unambiguous in its refer- ent, just as a full sentence around the word "bow" restricts the To claim that light and pictures can referent of the word. Ambiguity in perception results when only a be informative is not to deny that light and pictures can puzzle, too. few elements are considered, be they words or lines.
    [Show full text]
  • Applications of Optical Illusions in Furniture Design
    Applications of Optical Illusions in Furniture Design Henri Judin Master's Thesis Product and Spatial Design Aalto University School of Arts, Design and Architecture 2019 P.O. BOX 31000, 00076 AALTO www.aalto.fi Master of Arts thesis abstract Author: Henri Judin Title of thesis: Applications of Optical Illusions in Furniture Design Department: Department of Design Degree Program: Master's Programme in Product and Spatial Design Year: 2019 Pages: 99 Language: English Optical illusions prove that things are not always as they appear. This has inspired scientists, artists and architects throughout history. Applications of optical illusions have been used in fashion, in traffic planning and for camouflage on fabrics and vehicles. In this thesis, the author wants to examine if optical illusions could also be used as a structural element in furniture design. The theoretical basis for this thesis is compiled by collecting data about perception, optical art, other applications, meaning and building blocks of optical illusion. This creates the base for the knowledge of the theme and the phenomenon. The examination work is done by using the method of explorative prototyping: there are no answers when starting the project, but the process consists of planning and trying different ideas until one of them is deemed to be the right one to develop. The prototypes vary from simple sketches and 3D modeling exercises to 1:1 scale models. The author found six potential illusions and one concept was selected for further development based on criteria that were set before the work. The selected concept was used to create and develop WARP - a set of bar stools and shelves.
    [Show full text]
  • Sounds, Spectra, Audio Illusions, and Data Representations
    Sounds, spectra, audio illusions, and data representations Edoardo Milotti, Dipartimento di Fisica, Università di Trieste Introduction to Signal Processing Techniques A. Y. 2016-17 Piano notes Pure 440 Hz sound BacK to the initial recording, left channel amplitude (volt, ampere, normalized amplitude units … ) time (sample number) amplitude (volt, ampere, normalized amplitude units … ) 0.004 0.002 0.000 -0.002 -0.004 0 1000 2000 3000 4000 5000 time (sample number) amplitude (volt, ampere, normalized amplitude units … ) 0.004 0.002 0.000 -0.002 -0.004 0 1000 2000 3000 4000 5000 time (sample number) squared amplitude frequency (frequency index) Short Time Fourier Transform (STFT) Fourier Transform A single blocK of data Segmented data Fourier Transform squared amplitude frequency (frequency index) squared amplitude frequency (frequency index) amplitude of most important Fourier component time Spectrogram time frequency • Original audio file • Reconstruction with the largest amplitude frequency component only • Reconstruction with 7 frequency components • Reconstruction with 7 frequency components + phase information amplitude (volt, ampere, normalized amplitude units … ) time (sample number) amplitude (volt, ampere, normalized amplitude units … ) time (sample number) squared amplitude frequency (frequency index) squared amplitude frequency (frequency index) squared amplitude Include only Fourier components with amplitudes ABOVE a given threshold 18 Fourier components frequency (frequency index) squared amplitude Include only Fourier components with amplitudes ABOVE a given threshold 39 Fourier components frequency (frequency index) squared amplitude frequency (frequency index) Glissando In music, a glissando [ɡlisˈsando] (plural: glissandi, abbreviated gliss.) is a glide from one pitch to another. It is an Italianized musical term derived from the French glisser, to glide.
    [Show full text]
  • Ambiguous Cylinders: a New Class of Impossible Objects
    Computer Aided Drafting, Design and Manufacturing Volume 25, Number 4, December 2015, Page 19 CADDM Ambiguous Cylinders: a New Class of Impossible Objects SUGIHARA Kokichi 1,2 1. Meiji Institute for the Advanced Study of Mathematical Sciences, Meiji University, Tokyo 1648525, Japan; 2. Japan Science and Technology Agency CREST, Tokyo 1648525, Japan. Abstract: This paper presents a new class of surfaces that give two quite different appearances when they are seen from two special viewpoints. The inconsistent appearances can be perceived by simultaneously viewing them directly and in a mirror. This phenomenon is a new type of optical illusion, and we have named it the “ambiguous cylinder illusion”, because it is typically generated by cylindrical surfaces. We consider why this illusion arises, and we present a mathematical method for designing ambiguous cylinders. Key words: ambiguous cylinder; cylindrical surface; impossible object; optical illusion give two quite different appearances when they are 1 Introduction seen from two special viewpoints. An example is An optical illusion is a phenomenon in which what shown in Fig. 1, where a vertical mirror stands behind we perceive is different from the physical reality. a garage, but the roof of the garage and its mirror Typical classical examples include the Müller-Lyer image appear to be quite different from each other. illusion, in which the lengths of two line segments The actual shape of the roof is different from either of appear to be different although they are the same, and these. Another example is shown in Fig. 2, in which the Zöllner illusion, in which two lines appear to be the mirror image of a circular cylinder appears to be nonparallel, even though they are parallel.
    [Show full text]
  • The Miracle of the Human Vision System
    Asia Pacific Mathematics Newsletter DĂƚŚĞŵĂƟĐĂůƉƉƌŽĂĐŚĨŽƌ hŶĚĞƌƐƚĂŶĚŝŶŐKƉƟĐĂů/ůůƵƐŝŽŶƐ͗ dŚĞDŝƌĂĐůĞŽĨƚŚĞ,ƵŵĂŶsŝƐŝŽŶ^LJƐƚĞŵ Kokichi Sugihara 1. Introduction There is a class of anomalous pictures called “pic- tures of impossible objects”. They are popular in that Dutch artist M C Escher used them as inspiration for his art. When we see these anomalous pictures, we have impressions of 3D structures, but at the same time we feel that these structures are physically im- possible. In other words, we have inconsistent im- pressions of the objects; 3D structures on the one hand, and physical impossibility on the other. This phenomenon belongs to optical illusion. Fig. 1. Drawing of an impossible object “Impossible Stairs”. From a mathematical perspective, “impossible objects” are not necessarily impossible; indeed some Stairs”. This drawing was presented by Penrose and of them can be realised as 3D objects. These objects Penrose in their scientific paper on psychology [3], cheat our perceptions in two manners. First, we feel and was used by M C Escher in his famous artwork they are impossible although we are looking at exist- “Ascending and Descending” (1960) [1]. In this ing objects. Second, although we recognise that our drawing, there are walls surrounding a square yard, perception is inconsistent, we cannot mentally adjust and stairs are located on top of the walls. However, if them to their true shapes. In addition to anomalous we follow the stairs in the ascending direction, we pictures, we encounter various types of optical illu- eventually reach the starting point, and hence there sions when we try to interpret 2D pictures as 3D is no end to the stairs.
    [Show full text]
  • Spatial Realization of Escher's Impossible World
    Asia Pacific Mathematics Newsletter Spatial Realization of Escher’s Impossible World Kokichi Sugihara Abstract— M. C. Escher, a Dutch artist, created a series of endless loop of stairs can be realized as a solid model, as shown in lithographs presenting “impossible” objects and “impossible” Fig. 1 [17], [18]. We call this trick the “non-rectangularity trick”, motions. Although they are usually called “impossible”, some because those solid objects have non-rectangular face angles that of them can be realized as solid objects and physical motions in look rectangular. the three-dimensional space. The basic idea for these realizations is to use the degrees of freedom in the reconstruction of solids from pictures. First, the set of all solids represented by a given picture is represented by a system of linear equations and inequalities. Next the distribution of the freedom is characterized by a matroid extracted from this system. Then, a robust method for reconstructing solids is constructed and applied to the spatial realization of the “impossible” world. I. INTRODUCTION There is a class of pictures called “anomalous pictures” or “pictures of impossible objects”. These pictures generate optical illusion; when we see them, we have impressions of three- (a) (b) dimensional object structures, but at the same time we feel that such objects are not realizable. The Penrose triangle [13] is one of the oldest such pictures. Since the discovery of this triangle, many pictures belonging to this class have been discovered and studied in the field of visual psychology [9], [14]. The pictures of impossible objects have also been studied from a mathematical point of view.
    [Show full text]
  • Ibn Al-‐Haytham the Man Who Discovered How We
    IBN AL-HAYTHAM THE MAN WHO DISCOVERED HOW WE SEE IBN AL-HAYTHAM EDUCATIONAL WORKSHOPS 1 Ibn al-Haytham was a pioneering scientific thinker who made important contributions to the understanding of vision, optics and light. His methodology of investigation, in particular using experiment to verify theory, shows certain similarities to what later became known as the modern scientific method. 2 Themes and Learning Objectives The educational initiative "1001 Inventions and the World of Ibn Al-Haytham" celebrates the legacy of Ibn al-Haytham. The global initiative was launched by 1001 Inventions in partnership with UNESCO in 2015 in celebration of the United Nations International Year of Light. The initiative engaged audiences around the world with events at the UNESCO headquarters in Paris, United Nations in New York, the China Science Festival in Beijing, the Royal Society in London and in more than ten other cities around the world. Inspired by Ibn al-Haytham, exhibits, hands-on workshops, science demonstrations, films and learning materials take children on a fascinating journey into the past, sparking their interest in science while promoting integration and intercultural appreciation. This document includes a range of hands-on workshops and science demonstrations, with links to fantastic resources, for understanding the fundamental principles of light, optics and vision. The activities help engage young people to make, design and tinker while better understanding the significant contributions of Ibn al-Haytham to our understanding of both vision and light. Learning Objectives ü Inspire young people to study science, technology, engineering and maths (STEM) and pursue careers in science. ü Improve awareness of light, optics and vision through Ibn al-Haytham’s discoveries.
    [Show full text]
  • Modeling and Rendering of Impossible Figures
    Modeling and Rendering of Impossible Figures TAI-PANG WU The Chinese University of Hong Kong CHI-WING FU Nanyang Technological University SAI-KIT YEUNG The Hong Kong University of Science and Technology JIAYA JIA The Chinese University of Hong Kong and CHI-KEUNG TANG The Hong Kong University of Science and Technology 13 This article introduces an optimization approach for modeling and rendering impossible figures. Our solution is inspired by how modeling artists construct physical 3D models to produce a valid 2D view of an impossible figure. Given a set of 3D locally possible parts of the figure, our algorithm automatically optimizes a view-dependent 3D model, subject to the necessary 3D constraints for rendering the impossible figure at the desired novel viewpoint. A linear and constrained least-squares solution to the optimization problem is derived, thereby allowing an efficient computation and rendering new views of impossible figures at interactive rates. Once the optimized model is available, a variety of compelling rendering effects can be applied to the impossible figure. Categories and Subject Descriptors: I.3.3 [Computer Graphics]: Picture/Image Generation; I.4.8 [Image Processing and Computer Vision]: Scene Analysis; J.5 [Computer Applications]: Arts and Humanities General Terms: Algorithms, Human Factors Additional Key Words and Phrases: Modeling and rendering, human perception, impossible figure, nonphotorealistic rendering ACM Reference Format: Wu, T.-P., Fu, C.-W., Yeung, S.-K., Jia, J., and Tang, C.-K. 2010. Modeling and rendering of impossible figures. ACM Trans. Graph. 29, 2, Article 13 (March 2010), 15 pages. DOI = 10.1145/1731047.1731051 http://doi.acm.org/10.1145/1731047.1731051 1.
    [Show full text]
  • This Item Is the Archived Preprint Of
    This item is the archived preprint of: Trompe l'oeil and the dorsal/ventral account of picture perception Reference: Nanay Bence.- Trompe l'oeil and the dorsal/ventral account of picture perception Review of philosophy and psychology - ISSN 1878-5158 - 6:1(2015), p. 181-197 Full text (Publishers DOI): http://dx.doi.org/doi:10.1007/s13164-014-0219-y To cite this reference: http://hdl.handle.net/10067/1232140151162165141 Institutional repository IRUA 0 TROMPE L’OEIL AND THE DORSAL/VENTRAL ACCOUNT OF PICTURE PERCEPTION While there has been a lot of discussion of picture perception both in perceptual psychology and in philosophy, these discussions are driven by very different background assumptions. Nonetheless, it would be mutually beneficial to arrive at an understanding of picture perception that is informed by both the philosophers’ and the psychologists’ story. The aim of this paper is exactly this: to give an account of picture perception that is valid both as a philosophical and as a psychological account. I argue that seeing trompe l’oeil paintings is, just as some philosophers suggested, different from other cases of picture perception. Further, the way our perceptual system functions when seeing trompe l’oeil paintings could be an important piece of the psychological explanation of perceiving pictures. I. Trompe l’oeil Unbiased readers of the philosophical literature on depiction may find it really odd how much of the discussion concentrates on trompe l’oeil paintings. These paintings after all, one could be tempted to say, are of a rather peripheral genre, which is confined to a very small geographic region (roughly, France and the Low Countries) and a very narrow time window (roughly, the 18th Century).
    [Show full text]
  • Natural Expression of Physical Models of Impossible Figures and Motions
    Received September 30, 2014; Accepted January 4, 2015 Natural Expression of Physical Models of Impossible Figures and Motions Mimetic Surface Color and Texture Adjustment (MSCTA) Tsuruno, Sachiko Kindai University [email protected] Abstract Two-dimensional (2D) drawings of impossible figures are typified by the lithographs of the Dutch artist M.C. Escher, such as “Waterfall,” “Belvedere,” and “Ascending and Descending.” Impossible figures are mental images of solid objects. In other words, a three-dimensional (3D) figure that is visualized intuitively from a 2D drawing of an impossible figure cannot be constructed in 3D space. Thus, in reality, a 3D model of an impossible figure has an unexpectedly disconnected or deformed structure, but the 3D figure corresponds to the 2D figure from a specific viewpoint, although not from other viewpoints. Methods for representing 3D models of impossible figures have been studied in virtual space. The shapes and structures of impossible object have also been studied in real space, but the effects of physical illumination by light and appropriate textures have not been considered. Thus, this paper describes the mimetic surface color and texture adjustment (MSCTA) method for producing naturally shaded and appropriately textured 3D impossible objects under physical light sources. And some creative works applying this method are shown, including a new structure with impossible motion. Keywords: impossible figure, impossible motion, physical object 1 Introduction generated a modeling system to combine multiple 3D parts in a [27] 1.1 Early Impossible Figure projected 2D domain . Orbons and Ruttkay appeared physically correct, but are connected in an impossible manner, Artwork featuring impossible figures dates back to 1568.
    [Show full text]
  • Optical Illusions and Their Causes Examining Differing Explanations
    Optical Illusions and their Causes Examining Differing Explanations Sarah Oliver AHS Capstone 9 May, 2006 Illusion is the first of all pleasures. Oscar Wilde Introduction Optical illusions stimulate us by challenging us to see things in a new way. They are interesting within scientific disciplines because they lie on the border of what we are able to see. According to Al Seckel (2000), they “…are very useful tools for vision scientists, because they can reveal the hidden constraints of the perceptual system in a way that normal perception does not.” Different kinds of optical illusions may be better explained by one discipline or another. Some optical illusions trick us because of the properties of light and the way our eyes work, and are addressed by biology and perhaps optics, while other illusions depend on a “higher” level of processing which is better addressed by psychology. Some illusions can only be fully explained using knowledge of more than one discipline. When there are both biological and psychological explanations, they may both be right. There is already a substantial body of work that specifically addresses optical illusions, however, there is still enough disagreement within disciplines and between disciplines to make this an interesting project. One of the challenges of this project is the question of how to choose a satisfactory definition of “optical illusion.” Every source has a different definition that includes or excludes phenomena as it suits the author’s purpose. Gregory, one of the most well-known researchers of optical illusions, notes that illusion 1 … may be the departure from reality, or from truth; but how are these to be defined? As science’s accounts of reality get ever more different from appearances, to say that this separation is ‘illusion’ would have the absurd consequence of implying that almost all perceptions are illusory.
    [Show full text]