Blindsight is the term commonly used to describe visually guided behaviour elicited by a stimulus falling within the scotoma (blind area) caused by a lesion of the striate cortex. Such “vision” is normally held to be unconscious and to be mediated by subcortical pathways involving the superior colliculus. Blindsight is of considerable theoretical importance since it suggests that destriate man is more like destriate monkey than had been previously believed and also because it supports the classical notion of two visual systems. It is also of potential clinical importance, since it has been claimed recently that systematic practice in blindsight can lead to the recovery of normal visual function in patients with cortical lesions. From a review of the literature it is concluded that all of the phenomena of blindsight can be attributed either to light scatter into unimpaired parts of the visual field or to residual vision resulting from spared striate cortex. The possible contribution f other factors is also considered. It is concluded that blindsight studies have generally failed to control for such nonblindsight interpretations partly because of poor methodology and partly because of difficulties in defining the term “blindsight.”Experiments were carried out to investigate the extent to which subjects can exhibit performance similar to blindsight when they are using scattered light as a cue. This was done both with hemianopic subjects (by manipulating the amount of scattered and direct light coming from a stimulus) and with normal subjects (by presenting targets within their blind spots). Good blindsight performance was observed when only scattered light was available as a cue to the subjects. It is therefore concluded that an adequate case for blindsight has not been made. It is probably impossible to demonstrate the existence of blindsight on purely behavioural grounds. What is required is the establishment of relationships between visual function and independent anatomical evidence.
The effect of the orientation of Mondrian's paintings on their aesthetic appeal was examined. Eight paintings, four with horizontal/vertical frames in the original and four with oblique frames, were presented in eight different orientations and rated for aesthetic appeal on a 7-point scale. There was a stronger preference for pictures presented so that their component lines were horizontal and vertical than for pictures presented with their component lines in an oblique orientation. In addition, subjects showed a preference for the original orientation, perhaps because rotation changes the lateral balance of the paintings as well as the orientation of the component lines. There was no overall preference for one frame orientation over another, but there was an interaction between frame orientation and component orientation, resulting in a preference for paintings where the components were parallel to the surrounding frame. It is suggested that the aesthetic oblique effect reported here is related to the oblique effect in orientation perception and the privileged access which horizontal and vertical lines have to the visual system. This offers a possible mechanism for aesthetic judgments of abstract patterns: we find pleasing those stimuli which are closely tuned to the properties of the human visual system.
We propose the term 'Venus effect' for a common phenomenon in picture perception. It occurs when a picture shows an actor and a mirror that are not placed along the observer's line of sight, for instance a Venus admiring herself in a small mirror, and when the actor's reflection in the mirror is visible to the observer. In this situation, observers tend to report, incorrectly, that Venus is also seeing herself in the mirror in the same location as the observer. We discuss this using famous paintings as examples.
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