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Abstract Aesthetic judgements are partly predicted by image statistics, although the extent to which they are calibrated to the statistics of real-world scenes and the ‘visual diet’ of daily life is unclear. Here, we investigated the extent to which the beauty ratings of Western oil paintings from the JenAesthetics dataset can be accounted for by real-world scene statistics. We computed spatial and chromatic image statistics for the paintings and a set of real-world scenes captured by a head-mounted camera as participants went about daily lives. Partial least squares regression (PLSR) indicated that 6–15% of the variance in beauty ratings of the art can be accounted for by the art’s image statistics. The luminance contrast of paintings made an important contribution to the PLSR models: paintings were perceived as more beautiful the greater the variation in luminance. PLSR models which expressed the art’s image statistics relative to real-world scene statistics explained a similar amount of variance to models using the art’s image statistics. The importance of an image statistic to perceived beauty was not related to how closely art reproduces the value from the real world. The findings suggest that beauty judgements of art are not strongly calibrated to the scene statistics of the real world.

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.

Recent research on motion perception indicates that when we view actions in slow-motion, the perceived degree of intent behind those actions can increase. Slow-motion replays are widely used in the checking and review of refereeing decisions by video assistant referees (VAR) in association football. To test whether the decisions of referees are subject to such a bias, 80 elite English professional football officials made decisions about 60 incidents recorded in professional European leagues (recorded as fouls, yellow-card offences or red-card offences by the on-field referee). Both real-time (1×) and slow-motion (0.25×) playback speeds were used. Participants had no prior knowledge of the incidents, playback speeds or disciplinary sanctions relating to each clip. Three judgements were made about each incident: extent of contact, degree of intent, and disciplinary sanction. Results showed an effect of playback speed on decision-making, but not a consistent bias due to slow-motion. Instead the distinction between yellow-card and red-card offences was clearer: Under slow-motion, yellow-card incidents were judged as less severe, and red-card incidents are judged as more severe, thus enhancing the distinction between these offences. These results are inconsistent with previous scientific reports that perceived intent is heightened by slow video playback speed.

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A long-held view of the visual system is that form and motion are independently analysed. However, there is physiological and psychophysical evidence of early interaction in the processing of form and motion. In this study, we used a combination of Glass patterns (GPs) and repetitive Transcranial Magnetic Stimulation (rTMS) to investigate in human observers the neural mechanisms underlying form-motion integration. GPs consist of randomly distributed dot pairs (dipoles) that induce the percept of an oriented stimulus. GPs can be either static or dynamic. Dynamic GPs have both a form component (i.e., orientation) and a non-directional motion component along the orientation axis. GPs were presented in two temporal intervals and observers were asked to discriminate the temporal interval containing the most coherent GP. rTMS was delivered over early visual area (V1/V2) and over area V5/MT shortly after the presentation of the GP in each interval. The results showed that rTMS applied over early visual areas affected the perception of static GPs, but the stimulation of area V5/MT did not affect observers’ performance. On the other hand, rTMS was delivered over either V1/V2 or V5/MT strongly impaired the perception of dynamic GPs. These results suggest that early visual areas seem to be involved in the processing of the spatial structure of GPs, and interfering with the extraction of the global spatial structure also affects the extraction of the motion component, possibly interfering with early form-motion integration. However, visual area V5/MT is likely to be involved only in the processing of the motion component of dynamic GPs. These results suggest that motion and form cues may interact as early as V1/V2.

Abstract The apparent physical speed of an object in the field of view remains constant despite variations in retinal velocity due to viewing conditions (velocity constancy). For example, people and cars appear to move across the field of view at the same objective speed regardless of distance. In this study a series of experiments investigated the visual processes underpinning judgements of objective speed using an adaptation paradigm and video recordings of natural human locomotion. Viewing a video played in slow-motion for 30 seconds caused participants to perceive subsequently viewed clips played at standard speed as too fast, so playback had to be slowed down in order for it to appear natural; conversely after viewing fast-forward videos for 30 seconds, playback had to be speeded up in order to appear natural. The perceived speed of locomotion shifted towards the speed depicted in the adapting video (‘re-normalisation’). Results were qualitatively different from those obtained in previously reported studies of retinal velocity adaptation. Adapting videos that were scrambled to remove recognizable human figures or coherent motion caused significant, though smaller shifts in apparent locomotion speed, indicating that both low-level and high-level visual properties of the adapting stimulus contributed to the changes in apparent speed.

Research to date has not found strong evidence for a universal link between any single low-level image statistic, such as fractal dimension or Fourier spectral slope, and aesthetic ratings of images in general. This study assessed whether different image statistics are important for artistic images containing different subjects and used partial least squares regression (PLSR) to identify the statistics that correlated most reliably with ratings. Fourier spectral slope, fractal dimension and Shannon entropy were estimated separately for paintings containing landscapes, people, still life, portraits, nudes, animals, buildings and abstracts. Separate analyses were performed on the luminance and colour information in the images. PLSR fits showed shared variance of up to 75% between image statistics and aesthetic ratings. The most important statistics and image planes varied across genres. Variation in statistics may reflect characteristic properties of the different neural sub-systems that process different types of image.

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.

Prolonged exposure to visual stimuli causes a bias in observers' responses to subsequent stimuli. Such adaptation-induced biases are usually explained in terms of changes in the relative activity of sensory neurons in the visual system which respond selectively to the properties of visual stimuli. However, the bias could also be due to a shift in the observer's criterion for selecting one response rather than the alternative; adaptation at the decision level of processing rather than the sensory level. We investigated whether adaptation to implied motion is best attributed to sensory-level or decision-level bias. Three experiments sought to isolate decision factors by changing the nature of the participants' task while keeping the sensory stimulus unchanged. Results showed that adaptation-induced bias in reported stimulus direction only occurred when the participants' task involved a directional judgement, and disappeared when adaptation was measured using a non-directional task (reporting where motion was present in the display, regardless of its direction). We conclude that adaptation to implied motion is due to decision-level bias, and that a propensity towards such biases may be widespread in sensory decision-making.

The motion energy sensor has been shown to account for a wide range of physiological and psychophysical results in motion detection and discrimination studies. It has become established as the standard computational model for retinal movement sensing in the human visual system. Adaptation effects have been extensively studied in the psychophysical literature on motion perception, and play a crucial role in theoretical debates, but the current implementation of the energy sensor does not provide directly for modelling adaptation-induced changes in output. We describe an extension of the model to incorporate changes in output due to adaptation. The extended model first computes a space-time representation of the output to a given stimulus, and then a RC gain-control circuit ("leaky integrator") is applied to the time-dependent output. The output of the extended model shows effects which mirror those observed in psychophysical studies of motion adaptation: a decline in sensor output during stimulation, and changes in the relative of outputs of different sensors following this adaptation.

Motion after-effect (MAE) duration was measured after adapting to a dot field drifting transparently over a static grating. Duration was shorter when the grating was oriented orthogonally to the direction of the dot field than when it was oriented parallel to the direction of the dot field. After bi-directional adaptation involving two transparently drifting dot fields, the effect of the grating on MAE duration depended on its orientation with respect to the combined direction of the two fields, not with respect to the direction of the two component directions. On the other hand, changes in grating orientation had no effect on the apparent direction of the MAE from bi-directional adaptation. The effect of grating orientation on MAE duration is consistent with ‘motion-streak’ interactions between motion and form processes, which favour motion signals parallel to local orientation signals. Results obtained with bi-directional adapting stimuli indicate that the interactions occur after the point at which component motion signals are combined to compute pattern 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.

According to current models of motion detection, cortical motion sensors are tuned in both space and time to create spatiotemporally-oriented receptive fields. Motion direction is encoded by summing activity across sensors tuned to the same direction, and subtracting the outputs of sensors tuned to different directions. A psychophysical adaptation experiment tested for (i) subtractive interactions between sensors tuned to different directions and (ii) spatiotemporal tuning in motion sensing receptive fields. Participants viewed a counter-phase stimulus containing superimposed saw-tooth gratings moving in opposite directions. The contrast of one grating (pedestal) was fixed, while the contrast of the other (test) was varied to establish a motion null (no net apparent motion in the counter-phase). After adapting to a single grating drifting in the same direction as the test component, more test contrast was required to achieve a null relative to baseline. After adapting to a grating drifting in the opposite direction to the test component, less contrast was required to achieve a null. When both adapting and test gratings were counter-phase gratings, a small degree of test contrast threshold elevation was found which depended on the spatiotemporal phases of adapting and test components, consistent with spatiotemporally tuned motion sensor receptive fields.