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  • Perception of ambiguous figures is unstable and alternates repeatedly between possible interpretations. Some approaches to explaining this phenomenon have, so far, assumed low-level bottom-up mechanisms like adaptation and mutual inhibition of underlying neural assemblies. In contrast, less precise top-down approaches assume high-level attentional control mechanisms generalised across sensory modalities. In the current work we focused on specific aspects of the top-down approach. In a first study we used dwell times (periods of transiently stable percepts) and the parameters of dwell time distribution functions to compare the dynamics of perceptual alternations between visual (Necker cube) and auditory ambiguity (verbal transformation effect). In a second study we compared the endogenous alternation dynamics of the Necker cube with parameters from two attention tasks with different regimes of temporal dynamics. The first attention task (d2) is characterised by endogenous self-paced dynamics, similar to the dynamics underlying perceptual alternations of ambiguous figures, and we found clear correlations between dwell time parameters (Necker cube) and processing speed (d2 task). The temporal dynamics of the second (go/no-go) attention task, in contrast, are exogenously governed by the stimulus protocol, and we found no statistically significant correlation with the Necker cube data. Our results indicate that both perceptual instability and higher-level attentional tasks are linked to endogenous brain dynamics on a global coordinating level beyond sensory modalities.

  • AIM: The present study utilizes perceptual hysteresis effects to compare the ambiguity of Mona Lisa's emotional face expression (high-level ambiguity) and of geometric cube stimuli (low-level ambiguity). METHODS: In two experiments we presented series of nine Mona Lisa variants and nine cube variants. Stimulus ambiguity was manipulated by changing Mona Lisa's mouth curvature (Exp. 1) and the cubes' back-layer luminance (Exp. 2). Each experiment consisted of three conditions, two with opposite stimulus presentation sequences with increasing and decreasing degrees of ambiguity, respectively, and a third condition with a random presentation sequence. Participants indicated happy or sad face percepts (Exp. 1) and alternative 3D cube percepts (Exp. 2) by key presses. We studied the influences of a priori perceptual biases (long-term memory) and presentation order (short-term memory) on perception. RESULTS: Perception followed sigmoidal functions of the stimulus ambiguity morphing parameters. The morphing parameter for the functions' inflection points depended strongly on stimulus presentation order with similar effect sizes but different signs for the two stimulus types (positive hysteresis / priming for the cubes; negative hysteresis / adaptation for Mona Lisa). In the random conditions, the inflection points were located in the middle between those from the two directional conditions for the Mona Lisa stimuli. For the cube stimuli, they were superimposed on one sigmoidal function for the ordered condition. DISCUSSION: The hysteresis effects reflect the influence of short-term memory during the perceptual disambiguation of ambiguous sensory information. The effects for the two stimulus types are of similar size, explaining up to 34% of the perceptual variance introduced by the paradigm. We explain the qualitative difference between positive and negative hysteresis with adaptation for Mona Lisa and with priming for the cubes. In addition, the hysteresis paradigm allows a quantitative determination of the impact of adaptation and priming during the resolution of perceptual ambiguities. The asymmetric shifts of inflection points in the case of the cube stimuli is likely due to an a priori perceptual bias, reflecting an influence of long-term memory. Whether corresponding influences also exist for the Mona Lisa variants is so far unclear.

Last update from database: 04.06.25, 15:35 (UTC)