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Face images depicting the same individual can differ substantially from one another. Ecological variation in pose, expression, lighting, and other sources of appearance variability complicates the recognition and matching of unfamiliar faces, but acquired familiarity leads to the ability to cope with these challenges. Among the many ways that face of the same individual can vary, some images are judged to be better likenesses of familiar individuals than others. Simply put, these images look more like the individual under consideration than others. But what does it mean for an image to be a better likeness than another? Does likeness entail typicality, or is it something distinct from this? We examined the relationship between the likeness of face images and the similarity of those images to average images of target individuals using a set of famous faces selected for reciprocal familiarity/unfamiliarity across US and UK participants. We found that though likeness judgments are correlated with similarity-to-prototype judgments made by both familiar and unfamiliar participants, this correlation was smaller than the correlation between similarity judgments made by different participant groups. This implies that while familiarity weakens the relationship between likeness and similarity-to-prototype judgments, it does not change similarity-to-prototype judgments to the same degree.

Glass patterns (GPs) have been widely employed to investigate the mechanisms underlying processing of global form from locally oriented cues. The current study aimed to psychophysically investigate the level at which global orientation is extracted from translational GPs using the tilt after-effect (TAE) and manipulating the spatiotemporal properties of the adapting pattern. We adapted participants to translational GPs and tested with sinewave gratings. In Experiment 1, we investigated whether orientation-selective units are sensitive to the temporal frequency of the adapting GP. We used static and dynamic translational GPs, with dynamic GPs refreshed at different temporal frequencies. In Experiment 2, we investigated the spatial frequency selectivity of orientation-selective units by manipulating the spatial frequency content of the adapting GPs. The results showed that the TAE peaked at a temporal frequency of ∼30 Hz, suggesting that orientation-selective units responding to translational GPs are sensitive to high temporal frequencies. In addition, TAE from translational GPs peaked at lower spatial frequencies than the dipoles’ spatial constant. These effects are consistent with form-motion integration at low and intermediate levels of visual processing.

In January 2017, a large wind turbine blade was installed temporarily in a city square as a public artwork. At first sight, media photographs of the installation appeared to be fakes – the blade looks like it could not really be part of the scene. Close inspection of the object shows that its paradoxical visual appearance can be attributed to unconscious assumptions about object shape and light source direction.

When creating an artwork, the artist makes a decision regarding the orientation at which the work is to be hung based on their aesthetic judgement and the message conveyed by the piece. Is the impact or aesthetic appeal of a work diminished when it is hung at an incorrect orientation? To investigate this question, Experiment 1 asked whether naïve observers can appreciate the correct orientation (as defined by the artist) of 40 modern artworks, some of which are entirely abstract. Eighteen participants were shown 40 paintings in a series of trials. Each trial presented all four cardinal orientations on a computer screen, and the participant was asked to select the orientation that was most attractive or meaningful. Results showed that the correct orientation was selected in 48% of trials on average, significantly above the 25% chance level, but well below perfect performance. A second experiment investigated the extent to which the 40 paintings contained recognisable content, which may have mediated orientation judgements. Recognition rates varied from 0% for seven of the paintings to 100% for five paintings. Orientation judgements in Experiment 1 correlated significantly with “meaningful” content judgements in Experiment 2: 42% of the variance in orientation judgements in Experiment 1 was shared with recognition of meaningful content in Experiment 2. For the seven paintings in which no meaningful content at all was detected, 41% of the variance in orientation judgements was shared with variance in a physical measure of image content, Fourier amplitude spectrum slope. For some paintings, orientation judgements were quite consistent, despite a lack of meaningful content. The origin of these orientation judgements remains to be identified.