No abstract
The interaction between depth perception and object recognition has important implications for the nature of mental object representations and models of hierarchical organization of visual processing. It is often believed that the computation of depth influences subsequent high-level object recognition processes, and that depth processing is an early vision task that is largely immune to 'top-down' object-specific influences, such as object recognition. Here we present experimental evidence that challenges both these assumptions in the specific context of stereoscopic depth-perception. We have found that observers' recognition of familiar dynamic three-dimensional (3D) objects is unaffected even when the objects' depth structure is scrambled, as long as their two-dimensional (2D) projections are unchanged. Furthermore, the observers seem perceptually unaware of the depth anomalies introduced by scrambling. We attribute the latter result to a top-down recognition-based influence whereby expectations about a familiar object's 3D structure override the true stereoscopic information.
Categorical perception (CP) is a fundamental cognitive process that enables us to sort similar objects in the world into meaningful categories with clear boundaries between them. CP has been found for high-level stimuli like human faces, more precisely, for the perception of face identity, expression and ethnicity. For sex however, which represents another important and biologically relevant dimension of human faces, results have been equivocal so far. Here, we reinvestigate CP for sex using newly created face stimuli to control two factors that to our opinion might have influenced the results in earlier studies. Our new stimuli are (a) derived from single face identities, so that changes of sex are not confounded with changes of identity information, and (b) "normalized" in their degree of maleness and femaleness, to counteract natural variations of perceived masculinity and femininity of faces that might obstruct evidence of categorical perception. Despite careful normalization, we did not find evidence of CP for sex using classical test procedures, unless participants were specifically familiarized with the face identities before testing. These results support the single-route hypothesis, stating that sex and identity information in faces are not processed in parallel, in contrast to what was suggested in the classical Bruce and Young model of face perception. Besides, interestingly, our participants show a consistent bias, before and after perceptual normalization of the male-female range of the test morph continua, to judge faces as male rather than female.
Faces that move contain rich information about facial form, such as facial features and their configuration, alongside the motion of those features. During social interactions, humans constantly decode and integrate these cues. To fully understand human face perception, it is important to investigate what information dynamic faces convey and how the human visual system extracts and processes information from this visual input. However, partly due to the difficulty of designing well-controlled dynamic face stimuli, many face perception studies still rely on static faces as stimuli. Here, we focus on evidence demonstrating the usefulness of dynamic faces as stimuli, and evaluate different types of dynamic face stimuli to study face perception. Studies based on dynamic face stimuli revealed a high sensitivity of the human visual system to natural facial motion and consistently reported dynamic advantages when static face information is insufficient for the task. These findings support the hypothesis that the human perceptual system integrates sensory cues for robust perception. In the present paper, we review the different types of dynamic face stimuli used in these studies, and assess their usefulness for several research questions. Natural videos of faces are ecological stimuli but provide limited control of facial form and motion. Point-light faces allow for good control of facial motion but are highly unnatural. Image-based morphing is a way to achieve control over facial motion while preserving the natural facial form. Synthetic facial animations allow separation of facial form and motion to study aspects such as identity-from-motion. While synthetic faces are less natural than videos of faces, recent advances in photo-realistic rendering may close this gap and provide naturalistic stimuli with full control over facial motion. We believe that many open questions, such as what dynamic advantages exist beyond emotion and identity recognition and which dynamic aspects drive these advantages, can be addressed adequately with different types of stimuli and will improve our understanding of face perception in more ecological settings.
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