Perceiving jittering self-motion in a field of lollipops from ages 4 to 95.

An internal model of self-motion provides a fundamental basis for action in our daily lives, yet little is known about its development. The ability to control self-motion develops in youth and often deteriorates with advanced age. Self-motion generates relative motion between the viewer and the environment. Thus, the smoothness of the visual motion created will vary as control improves. Here, we study the influence of the smoothness of visually simulated self-motion on an observer's ability to judge how far they have travelled over a wide range of ages. Previous studies were typically highly controlled and concentrated on university students. But are such populations representative of the general public? And are there developmental and sex effects? Here, estimates of distance travelled (visual odometry) during visually induced self-motion were obtained from 466 participants drawn from visitors to a public science museum. Participants were presented with visual motion that simulated forward linear self-motion through a field of lollipops using a head-mounted virtual reality display. They judged the distance of their simulated motion by indicating when they had reached the position of a previously presented target. The simulated visual motion was presented with or without horizontal or vertical sinusoidal jitter. Participants' responses indicated that they felt they travelled further in the presence of vertical jitter. The effectiveness of the display increased with age over all jitter conditions. The estimated time for participants to feel that they had started to move also increased slightly with age. There were no differences between the sexes. These results suggest that age should be taken into account when generating motion in a virtual reality environment. Citizen science studies like this can provide a unique and valuable insight into perceptual processes in a truly representative sample of people.

Asymmetrical representation of body orientation.

The perceived orientation of objects, gravity, and the body are biased to the left. Whether this leftward bias is attributable to biases in sensing or processing vestibular, visual, and body sense cues has never been assessed directly. The orientation in which characters are most easily recognized--the perceived upright (PU)--can be well predicted from a weighted vector sum of these sensory cues. A simple form of this model assumes that the directions of the contributing inputs are coded accurately and as a consequence participants tilted left- or right-side-down relative to gravity should exhibit mirror symmetric patterns of responses. If a left/right asymmetry were present then varying these sensory cues could be used to assess in which sensory modality or modalities a PU bias may have arisen. Participants completed the Oriented Character Recognition Test (OCHART) while manipulating body posture and visual orientation cues relative to gravity. The response patterns showed systematic differences depending on which side they were tilted. An asymmetry of the PU was found to be best modeled by adding a leftward bias of 5.6° to the perceived orientation of the body relative to its actual orientation relative to the head. The asymmetry in the effect of body orientation is reminiscent of the body-defined left-leaning asymmetry in the perceived direction of light coming from above and reports that people tend to adopt a right-leaning posture.

Perceptual upright: the relative effectiveness of dynamic and static images under different gravity States.

The perceived direction of up depends on both gravity and visual cues to orientation. Static visual cues to orientation have been shown to be less effective in influencing the perception of upright (PU) under microgravity conditions than they are on earth (Dyde et al., 2009). Here we introduce dynamic orientation cues into the visual background to ascertain whether they might increase the effectiveness of visual cues in defining the PU under different gravity conditions. Brief periods of microgravity and hypergravity were created using parabolic flight. Observers viewed a polarized, natural scene presented at various orientations on a laptop viewed through a hood which occluded all other visual cues. The visual background was either an animated video clip in which actors moved along the visual ground plane or an individual static frame taken from the same clip. We measured the perceptual upright using the oriented character recognition test (OCHART). Dynamic visual cues significantly enhance the effectiveness of vision in determining the perceptual upright under normal gravity conditions. Strong trends were found for dynamic visual cues to produce an increase in the visual effect under both microgravity and hypergravity conditions.

The effect of altered gravity states on the perception of orientation.

We measured the effect of the orientation of the visual background on the perceptual upright (PU) under different levels of gravity. Brief periods of micro- and hypergravity conditions were created using two series of parabolic flights. Control measures were taken in the laboratory under normal gravity with subjects upright, right side down and supine. Participants viewed a polarized, natural scene presented at various orientations on a laptop viewed through a hood which occluded all other visual cues. Superimposed on the screen was a character the identity of which depended on its orientation. The orientations at which the character was maximally ambiguous were measured and the perceptual upright was defined as half way between these orientations. The visual background affected the orientation of the PU less when in microgravity than when upright in normal gravity and more when supine than when upright in normal gravity. A weighted vector sum model was used to quantify the relative influence of the orientations of gravity, vision and the body in determining the perceptual upright.

The subjective visual vertical and the perceptual upright.

The direction of 'up' has traditionally been measured by setting a line (luminous if necessary) to the apparent vertical, a direction known as the 'subjective visual vertical' (SVV); however for optimum performance in visual skills including reading and facial recognition, an object must to be seen the 'right way up'--a separate direction which we have called the 'perceptual upright' (PU). In order to measure the PU, we exploited the fact that some symbols rely upon their orientation for recognition. Observers indicated whether the symbol 'horizontal P' presented in various orientations was identified as either the letter 'p' or the letter 'd'. The average of the transitions between 'p-to-d' and 'd-to-p' interpretations was taken as the PU. We have labelled this new experimental technique the Oriented CHAracter Recognition Test (OCHART). The SVV was measured by estimating whether a line was rotated clockwise or counter-clockwise relative to gravity. We measured the PU and SVV while manipulating the orientation of the visual background in different observer postures: upright, right side down and (for the PU) supine. When the body, gravity and the visual background were aligned, the SVV and the PU were similar, but as the background orientation and observer posture orientations diverged, the two measures varied markedly. The SVV was closely aligned with the direction of gravity whereas the PU was closely aligned with the body axis. Both probes showed influences of all three cues (body orientation, vision and gravity) and these influences could be predicted from a weighted vectorial sum of the directions indicated by these cues. For the SVV, the ratio was 0.2:0.1:1.0 for the body, visual and gravity cues, respectively. For the PU, the ratio was 2.6:1.2:1.0. In the case of the PU, these same weighting values were also predicted by a measure of the reliability of each cue; however, reliability did not predict the weightings for the SVV. This is the first time that maximum likelihood estimation has been demonstrated in combining information between different reference frames. The OCHART technique provides a new, simple and readily applicable method for investigating the PU which complements the SVV. Our findings suggest that OCHART is particularly suitable for investigating the functioning of visual and non-visual systems and their contributions to the perceived upright of novel environments such as high- and low-g environments, and in patient and ageing populations, as well as for normal observers.

Shape-from-shading depends on visual, gravitational, and body-orientation cues.

The perception of shading-defined form results from an interaction between shading cues and the frames of reference within which those cues are interpreted. In the absence of a clear source of illumination, the definition of 'up' becomes critical to deducing the perceived shape from a particular pattern of shading. In our experiments, twelve subjects adjusted the orientation of a planar disc painted with a linear luminance gradient from one side to the other, until the disc appeared maximally convex-that is, until the luminance gradient induced the maximum perception of a three-dimensional shape. The vision, gravity, and body-orientation cues were altered relative to each other. Visual cues were manipulated by the York Tilted Room facility, and body cues were altered by simply lying on one side. The orientation of the disc that appeared maximally convex varied in a systematic fashion with these manipulations. We present a model in which the direction of perceptual 'up' is determined from the sum of three weighted vectors corresponding to the vision, gravity, and body-orientation cues. The model predicts the perceived direction of 'up', contributes to our understanding of how shape-from-shading is deduced, and also predicts the confidence with which the 'up' direction is perceived.