Visual contrast thresholds to both stationary and moving gratings of three spatial frequencies (2... more Visual contrast thresholds to both stationary and moving gratings of three spatial frequencies (2, 4, and 16 cyc/deg) were measured over a 32-day period in two women displaying normal menstrual cycles and in two noncycling control subjects. The time-series data of each subject in each condition were Fourier analyzed and the resulting amplitude spectra showed differences between the two sets of subjects. The spectra of the control subjects were relatively flat, whereas those of the experimental subjects showed a number of peaks at several harmonics (periods). Conservative significance tests suggested that the peaks in the spectra of the cycling women were larger than might be expected by chance. The data also suggested that changes in sensitivity were greatest for 4-cyc/deg gratings, those nearest the peak of the normal contrast sensitivity function.
In the present studies a pair of random-dot frames was constructed so that two areas in the first... more In the present studies a pair of random-dot frames was constructed so that two areas in the first frame (f1) were correlated with two areas in the second frame (f2). The alternation of the pair of frames (an f1-f2 sequence) gave rise to two subjective figures. When two pairs of random-dot frames (an f1-f2 sequence and an f3-f4 sequence), each of which produced two subjective figures in different locations, were themselves alternated, the subjective figures from the f1-f2 sequence interacted with the subjective figures from the f3-f4 sequence to produce apparent movement. With any one of the four general kinds of displays which we constructed, subjects usually perceived only one of two types of subjective-figure movement. The type of movement that was perceived with a given display depended primarily upon the degree of change (across the interval between an f1-f2 and an f3-f4 sequence) of the internal structure of the successively generated subjective figures. Relative intensity differences between the subjective figures and their backgrounds influenced the type of apparent movement seen, whereas variations in the density of elements in a display did not. We tentatively propose a two-stage model to explain the apparent movement of the subjective figures: the first stage is assumed to generate the subjective figures by means of a cross-correlation of the intensity distributions of the two frames within an f1-f2 sequence and within an f3-f4 sequence; on the basis of inputs from the first stage, the second stage generates apparent movement signals for the subjective figures.
Researchers often assume a critical band of spatial frequencies is required for face recognition.... more Researchers often assume a critical band of spatial frequencies is required for face recognition. Also, many studies have not measured the contrast required for recognition. On Day 1, observers viewed high-pass-filtered (HP), low-pass-filtered (LP), or unfiltered (UF) faces. On Day 2, they viewed a variety of faces, some of which were LP filtered, HP filtered, and UF. Observers adjusted contrast until they achieved both detection and recognition. Observers were most accurate and sensitive when filtered faces agreed in spatial-frequency content across days. Faces differing in spatial-frequency content were least well recognized. Unfiltered faces always fell between the 2 extremes. Observers generally used less contrast to recognize unfiltered than filtered faces. Correspondence of information between inspection and testing seemed more important than any particular range of frequencies.
In a series of demonstrations, two stimulus frames that contained subjective figures were alterna... more In a series of demonstrations, two stimulus frames that contained subjective figures were alternated. It is shown that the perception of apparent movement of a subjective figure depends upon the configuration of the inducing stimuli and whether or not conditions of presentation favor the short-range or long-range process in apparent movement. Those conditions that favor the long-range process result in global apparent movement of the subjective figure. However, those conditions that favor the short-range process may prevent apparent movement of the subjective figure, or may result in a kind of apparent movement that is qualitatively different from that seen when similar physical contours are alternated. These results are interpreted in terms of the assumed differences between the short-range and long-range processes.
At a certain point during the defocusing of a reversible figure, the organization of the figure r... more At a certain point during the defocusing of a reversible figure, the organization of the figure reversed unexpectedly, and the reversal seemed more abrupt than a spontaneous reversal. The critical point is approximately constant over time for a given subject, and a similar point occurs during refocusing. This phenomenon is discussed in terms of inhibition between competing neural structures.
A subject viewing two alternating frames, each containing, say, three vertical stripes in a horiz... more A subject viewing two alternating frames, each containing, say, three vertical stripes in a horizontal row, displaced laterally by one cycle in one frame with respect to the other, perceives either the three stripes moving left-right-left in unison (group movement) or one stripe moving from one end of the display to the other and the two overlapping stripes stationary (end-to-end movement). At suitable temporal parameters of presentation (frame duration, interstimulus interval) the perception of the display is bistable. Experiments have shown that the relative strengths of these alternative movement sensations depend upon the fundamental spatial frequency of the display and upon stimulus waveform. Square-wave stimuli, which have energy at high spatial frequencies, had effects opposite to those produced by increases in fundamental spatial frequency. Amblyopes differed from normal viewers only in the perception of the square-wave stimuli.
Observers viewed a screen on which a number of patches containing horizontally moving pixels were... more Observers viewed a screen on which a number of patches containing horizontally moving pixels were presented. Target patches consisted of pixels whose motion simulated the rotation of a cylinder around its Y-axis; distractors, of pixels whose motion was linear. The task was to assess whether a display contained a target patch. Exp. 1 showed that the superposition of the displays with drifting sine-wave gratings interfered with rotation detection in a spatial- and temporal-frequency specific manner. In Exp. 2, dichoptic presentation greatly reduced the interference of the drifting gratings. It is argued on various grounds that the process(es) responsible for the detection and discrimination of rotating structure in depth exists at a low level of the visual system.
Visual contrast thresholds to both stationary and moving gratings of three spatial frequencies (2... more Visual contrast thresholds to both stationary and moving gratings of three spatial frequencies (2, 4, and 16 cyc/deg) were measured over a 32-day period in two women displaying normal menstrual cycles and in two noncycling control subjects. The time-series data of each subject in each condition were Fourier analyzed and the resulting amplitude spectra showed differences between the two sets of subjects. The spectra of the control subjects were relatively flat, whereas those of the experimental subjects showed a number of peaks at several harmonics (periods). Conservative significance tests suggested that the peaks in the spectra of the cycling women were larger than might be expected by chance. The data also suggested that changes in sensitivity were greatest for 4-cyc/deg gratings, those nearest the peak of the normal contrast sensitivity function.
In the present studies a pair of random-dot frames was constructed so that two areas in the first... more In the present studies a pair of random-dot frames was constructed so that two areas in the first frame (f1) were correlated with two areas in the second frame (f2). The alternation of the pair of frames (an f1-f2 sequence) gave rise to two subjective figures. When two pairs of random-dot frames (an f1-f2 sequence and an f3-f4 sequence), each of which produced two subjective figures in different locations, were themselves alternated, the subjective figures from the f1-f2 sequence interacted with the subjective figures from the f3-f4 sequence to produce apparent movement. With any one of the four general kinds of displays which we constructed, subjects usually perceived only one of two types of subjective-figure movement. The type of movement that was perceived with a given display depended primarily upon the degree of change (across the interval between an f1-f2 and an f3-f4 sequence) of the internal structure of the successively generated subjective figures. Relative intensity differences between the subjective figures and their backgrounds influenced the type of apparent movement seen, whereas variations in the density of elements in a display did not. We tentatively propose a two-stage model to explain the apparent movement of the subjective figures: the first stage is assumed to generate the subjective figures by means of a cross-correlation of the intensity distributions of the two frames within an f1-f2 sequence and within an f3-f4 sequence; on the basis of inputs from the first stage, the second stage generates apparent movement signals for the subjective figures.
Researchers often assume a critical band of spatial frequencies is required for face recognition.... more Researchers often assume a critical band of spatial frequencies is required for face recognition. Also, many studies have not measured the contrast required for recognition. On Day 1, observers viewed high-pass-filtered (HP), low-pass-filtered (LP), or unfiltered (UF) faces. On Day 2, they viewed a variety of faces, some of which were LP filtered, HP filtered, and UF. Observers adjusted contrast until they achieved both detection and recognition. Observers were most accurate and sensitive when filtered faces agreed in spatial-frequency content across days. Faces differing in spatial-frequency content were least well recognized. Unfiltered faces always fell between the 2 extremes. Observers generally used less contrast to recognize unfiltered than filtered faces. Correspondence of information between inspection and testing seemed more important than any particular range of frequencies.
In a series of demonstrations, two stimulus frames that contained subjective figures were alterna... more In a series of demonstrations, two stimulus frames that contained subjective figures were alternated. It is shown that the perception of apparent movement of a subjective figure depends upon the configuration of the inducing stimuli and whether or not conditions of presentation favor the short-range or long-range process in apparent movement. Those conditions that favor the long-range process result in global apparent movement of the subjective figure. However, those conditions that favor the short-range process may prevent apparent movement of the subjective figure, or may result in a kind of apparent movement that is qualitatively different from that seen when similar physical contours are alternated. These results are interpreted in terms of the assumed differences between the short-range and long-range processes.
At a certain point during the defocusing of a reversible figure, the organization of the figure r... more At a certain point during the defocusing of a reversible figure, the organization of the figure reversed unexpectedly, and the reversal seemed more abrupt than a spontaneous reversal. The critical point is approximately constant over time for a given subject, and a similar point occurs during refocusing. This phenomenon is discussed in terms of inhibition between competing neural structures.
A subject viewing two alternating frames, each containing, say, three vertical stripes in a horiz... more A subject viewing two alternating frames, each containing, say, three vertical stripes in a horizontal row, displaced laterally by one cycle in one frame with respect to the other, perceives either the three stripes moving left-right-left in unison (group movement) or one stripe moving from one end of the display to the other and the two overlapping stripes stationary (end-to-end movement). At suitable temporal parameters of presentation (frame duration, interstimulus interval) the perception of the display is bistable. Experiments have shown that the relative strengths of these alternative movement sensations depend upon the fundamental spatial frequency of the display and upon stimulus waveform. Square-wave stimuli, which have energy at high spatial frequencies, had effects opposite to those produced by increases in fundamental spatial frequency. Amblyopes differed from normal viewers only in the perception of the square-wave stimuli.
Observers viewed a screen on which a number of patches containing horizontally moving pixels were... more Observers viewed a screen on which a number of patches containing horizontally moving pixels were presented. Target patches consisted of pixels whose motion simulated the rotation of a cylinder around its Y-axis; distractors, of pixels whose motion was linear. The task was to assess whether a display contained a target patch. Exp. 1 showed that the superposition of the displays with drifting sine-wave gratings interfered with rotation detection in a spatial- and temporal-frequency specific manner. In Exp. 2, dichoptic presentation greatly reduced the interference of the drifting gratings. It is argued on various grounds that the process(es) responsible for the detection and discrimination of rotating structure in depth exists at a low level of the visual system.
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Papers by Timothy Petersik