“The El Greco Fallacy” Fallacy

Simunovic, Matthew P.

doi:10.1001/jamaophthalmol.2013.5684

Cited by 9 publications

(5 citation statements)

References 17 publications

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“…The assumption that astigmatism is a source of constant perceptual error is likewise problematic(Simunovic, 2014).…”

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confidence: 99%

Object knowledge changes visual appearance: Semantic effects on color afterimages

Lupyan

2015

Acta Psychologica

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According to predictive coding models of perception, what we see is determined jointly by the current input and the priors established by previous experience, expectations, and other contextual factors. The same input can thus be perceived differently depending on the priors that are brought to bear during viewing. Here, I show that expected (diagnostic) colors are perceived more vividly than arbitrary or unexpected colors, particularly when color input is unreliable. Participants were tested on a version of the 'Spanish Castle Illusion' in which viewing a hue-inverted image renders a subsequently shown achromatic version of the image in vivid color. Adapting to objects with intrinsic colors (e.g., a pumpkin) led to stronger afterimages than adapting to arbitrarily colored objects (e.g., a pumpkin-colored car). Considerably stronger afterimages were also produced by scenes containing intrinsically colored elements (grass, sky) compared to scenes with arbitrarily colored objects (books). The differences between images with diagnostic and arbitrary colors disappeared when the association between the image and color priors was weakened by, e.g., presenting the image upside-down, consistent with the prediction that color appearance is being modulated by color knowledge. Visual inputs that conflict with prior knowledge appear to be phenomenologically discounted, but this discounting is moderated by input certainty, as shown by the final study which uses conventional images rather than afterimages. As input certainty is increased, unexpected colors can become easier to detect than expected ones, a result consistent with predictive-coding models.

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“…The assumption that astigmatism is a source of constant perceptual error is likewise problematic(Simunovic, 2014).…”

mentioning

confidence: 99%

Object knowledge changes visual appearance: Semantic effects on color afterimages

Lupyan

2015

Acta Psychologica

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“…In other words, the modulation ratio is a relatively pure foggy effect that does not include the deviations caused by equipment. Indeed, like the El Greco fallacy 35 – 38 , although observers may misjudge the whole scale, the modulation ratio represents the relative effect of fog and comparisons based on this indicator are credible.…”

Section: Discussionmentioning

confidence: 99%

The foggy effect of egocentric distance in a nonverbal paradigm

Dong

Chen

Zhang

et al. 2021

Sci Rep

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Inaccurate egocentric distance and speed perception are two main explanations for the high accident rate associated with driving in foggy weather. The effect of foggy weather on speed has been well studied. However, its effect on egocentric distance perception is poorly understood. The paradigm for measuring perceived egocentric distance in previous studies was verbal estimation instead of a nonverbal paradigm. In the current research, a nonverbal paradigm, the visual matching task, was used. Our results from the nonverbal task revealed a robust foggy effect on egocentric distance. Observers overestimated the egocentric distance in foggy weather compared to in clear weather. The higher the concentration of fog, the more serious the overestimation. This effect of fog on egocentric distance was not limited to a certain distance range but was maintained in action space and vista space. Our findings confirm the foggy effect with a nonverbal paradigm and reveal that people may perceive egocentric distance more "accurately" in foggy weather than when it is measured with a verbal estimation task.

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“…However, there are numerous counter-arguments. 2,7 El Greco typically painted religious figures with elongation, whereas secular figures and objects in the scenery were often painted without distortion. Although his figures were typically elongated in a vertical direction, hands that point horizontally are always long and thin (although the purported optical distortion would make them short and stubby).…”

Section: False Judgmentsmentioning

confidence: 99%