A new perceptual problem: The amodal completion of color

Pinna, Baingio

doi:10.1017/s0952523808080553

Cited by 19 publications

(27 citation statements)

References 20 publications

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“…His intuition that distinct object borders influence our perception of color and contrast is consistent with studies showing interactions between color appearance and the spatial profile of surface contours, or the geometric configuration of the visual display (Devinck et al, 2006;De Weert and Spillmann, 1995;Dresp and Fischer, 2001;Fach and Sharpe, 1986;Pinna, 2008Pinna, , 2011Pinna and Reeves, 2006).…”

Section: Introductionsupporting

confidence: 55%

“…Chevreul's concept points towards a structural analysis of visual configurations at higher levels of perceptual and cognitive processing. Object borders and pattern contours have previously been found to influence induction effects, produced by colors or achromatic surfaces, in often unsuspected ways (Devinck et al, 2006;De Weert and Spillmann, 1995;Dresp, 1992;Dresp and Fischer, 2001;Grossberg, 1997;Pinna, 2008;von der Heydt and Pierson, 2000) and no single explanation suffices to account for them all. Given the insensitivity of the brightness induction effects produced by the colors here to adaptation levels and luminance contrast, low-level explanations in terms of critical interactions at the receptor levels can be safely excluded.…”

Section: Discussionmentioning

confidence: 99%

“…He therein defined what later has become known as simultaneous color contrast (e.g. Beck, 1966;De Weert, 1984;De Weert and Spillmann, 1995;Dresp and Fischer, 2001;Gerrits and Vendrik, 1970;Heinemann, 1955;Helson, 1963;Pinna, 2008;Shapley and Reid, 1985) or color context effects (e.g. Long and Purves, 2003;Reeves et al, 2008;Shevell and Kingdom, 2008).…”

Section: Introductionmentioning

confidence: 99%

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Simultaneous Brightness and Apparent Depth from True Colors on Grey: Chevreul Revisited

Dresp-Langley

Reeves²

2012

Seeing and Perceiving

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We show that true colors as defined by Chevreul (1839) produce unsuspected simultaneous brightness induction effects on their immediate grey backgrounds when these are placed on a darker (black) general background surrounding two spatially separated configurations. Assimilation and apparent contrast may occur in one and the same stimulus display. We examined the possible link between these effects and the perceived depth of the color patterns which induce them as a function of their luminance contrast. Patterns of square-shaped inducers of a single color (red, green, blue, yellow, or grey) were placed on background fields of a lighter and a darker grey, presented on a darker screen. Inducers were always darker on one side of the display and brighter on the other in a given trial. The intensity of the grey backgrounds varied between trials only. This permitted generating four inducer luminance contrasts, presented in random order, for each color. Background fields were either spatially separated or consisted of a single grey field on the black screen. Experiments were run under three environmental conditions: dark-adaptation, daylight, and rod-saturation after exposure to bright light. In a first task, we measured probabilities of contrast, assimilation, and no effect in a three-alternative forced-choice procedure (background appears brighter on the 'left', on the 'right' or the 'same'). Visual adaptation and inducer contrast had no significant influence on the induction effects produced by colored inducers. Achromatic inducers produced significantly stronger contrast effects after dark-adaptation, and significantly stronger assimilation in daylight conditions. Grouping two backgrounds into a single one was found to significantly decrease probabilities of apparent contrast. Under the same conditions, we measured probabilities of the inducers to be perceived as nearer to the observer (inducers appear nearer on 'left', on 'right' or the 'same'). These, as predicted by Chevreul's law of contrast, were determined by the luminance contrast of the inducers only, with significantly higher probabilities of brighter inducers to be seen as nearer, and a marked asymmetry between effects produced by inducers of opposite sign. Implications of these findings for theories which attempt to link simultaneous induction effects to the relative depth of object surfaces in the visual field are discussed.

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Section: Introductionsupporting

confidence: 55%

Section: Discussionmentioning

confidence: 99%

Section: Introductionmentioning

confidence: 99%

See 1 more Smart Citation

Simultaneous Brightness and Apparent Depth from True Colors on Grey: Chevreul Revisited

Dresp-Langley

Reeves²

2012

Seeing and Perceiving

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“…On the contrary, the coloration of the watercolor illusion is modally perceived as filling the entire area traced by the boundary contour. Modal and amodal coloration were previously studied by Pinna (2008a,b). The difference in the phenomenal quality of the coloration suggests again that the necessary information needed to define shape and color is placed on the boundaries.…”

Section: Results: Shape and Color Organizationmentioning

confidence: 99%

The organization of shape and color in vision and art

Pinna¹

2011

Front. Hum. Neurosci.

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The aim of this work is to study the phenomenal organization of shape and color in vision and art in terms of microgenesis of the object perception and creation. The idea of “microgenesis” is that the object perception and creation takes time to develop. Our hypothesis is that the roles of shape and color are extracted in sequential order and in the same order these roles are also used by artists to paint objects. Boundary contours are coded before color contours. The microgenesis of the object formation was demonstrated (i) by introducing new conditions derived from the watercolor illusion, where the juxtaposed contours are displaced horizontally or vertically, and based on variations of Matisse’s Woman, (ii) by studying descriptions and replications of visual objects in adults and children of different ages, and (iii) by analyzing the linguistic sequence and organization in a free naming task of the attributes related to shape and color. The results supported the idea of the microgenesis of the object perception, namely the temporal order in the formation of the roles of the object properties (shape before color). Some general principles were extracted from the experimental results. They can be a starting point to explore a new domain focused on the microgenesis of shape and color within the more general problem of object organization, where integrated and multidisciplinary studies based on art and vision science can be very useful.

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“…Instead, the expected results would have been, in Figure 2a, a complex set of contours running in different directions and intersecting one another without showing any specific surface or object organization, and in Figure 2b, an undulated closed contour . It should be noted that Picasso's drawing shows both figure-ground segregation and part-whole organization as in Figure 1, demonstrating superimposed planes and layers of figures and surfaces completing amodally (Pinna 2008a) one behind the other.…”

Section: What Is a Visual Object?mentioning

confidence: 99%

Perceptual Organization of Shape, Color, Shade, and Lighting in Visual and Pictorial Objects

Pinna

2012

i-Perception

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The main questions we asked in this work are the following: Where are representations of shape, color, depth, and lighting mostly located? Does their formation take time to develop? How do they contribute to determining and defining a visual object, and how do they differ? How do visual artists use them to create objects and scenes? Is the way artists use them related to the way we perceive them? To answer these questions, we studied the microgenetic development of the object perception and formation. Our hypothesis is that the main object properties are extracted in sequential order and in the same order that these roles are also used by artists and children of different age to paint objects. The results supported the microgenesis of object formation according to the following sequence: contours, color, shading, and lighting.

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A new perceptual problem: The amodal completion of color

Cited by 19 publications

References 20 publications

Simultaneous Brightness and Apparent Depth from True Colors on Grey: Chevreul Revisited

Simultaneous Brightness and Apparent Depth from True Colors on Grey: Chevreul Revisited

The organization of shape and color in vision and art

Perceptual Organization of Shape, Color, Shade, and Lighting in Visual and Pictorial Objects

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