Expected events dilate subjective duration in the auditory modality: Effects of predictability and expectation on time perception.

In timing research, repeated stimuli have been shown to have a shortening effect on time perception compared to novel stimuli. This finding had been attributed to repeated stimuli being more expected and, thus, less arousing and/or attended, or eliciting less neuronal activation due to repetition suppression, which results in temporal underestimation. However, more recent studies in the visual domain that disentangled effects of repetition and expectation suggest a more nuanced interpretation. In these studies, repetition led to temporal contraction while expectation caused subjective dilation of time. It was argued that expectations increase the perceptual strength of the stimulus, which leads to temporal overestimation, while repetitions reduce perceptual strength, which then leads to temporal underestimation. In the present study, we sought to further elaborate on these findings using auditory stimuli. In Experiment 1, we used an implicit method to induce expectation and manipulated the probability of stimulus repetition block-wise in a two-stimulus paradigm with auditory tones. Our findings were in line with the recent findings. When repetitions were less frequent, that is, less expected, we found clear evidence for perceived temporal contraction of repetitions. In contrast, when repetitions were more expected, the shortening effect of stimulus repetition on subjective duration disappeared. In Experiment 2, participants explicitly generated expectations about an upcoming tone in a temporal bisection paradigm. In trials, where expectations were fulfilled, presentation durations were perceived longer compared to trials with unfulfilled expectations. Our findings suggest that factors that increase the perceptual strength of a stimulus contribute to subjective temporal dilation. (PsycInfo Database Record (c) 2024 APA, all rights reserved).

How facial masks alter the interaction of gaze direction, head orientation, and emotion recognition.

The COVID-19 pandemic has altered the way we interact with each other: mandatory mask-wearing obscures facial information that is crucial for emotion recognition. Whereas the influence of wearing a mask on emotion recognition has been repeatedly investigated, little is known about the impact on interaction effects among emotional signals and other social signals. Therefore, the current study sought to explore how gaze direction, head orientation, and emotional expression interact with respect to emotion perception, and how these interactions are altered by wearing a face mask. In two online experiments, we presented face stimuli from the Radboud Faces Database displaying different facial expressions (anger, fear, happiness, neutral, and sadness), gaze directions (-13°, 0°, and 13°), and head orientations (-45°, 0°, and 45°) - either without (Experiment 1) or with mask (Experiment 2). Participants categorized the displayed emotional expressions. Not surprisingly, masks impaired emotion recognition. Surprisingly, without the mask, emotion recognition was unaffected by averted head orientations and only slightly affected by gaze direction. The mask strongly interfered with this ability. The mask increased the influence of head orientation and gaze direction, in particular for the emotions that were poorly recognized with mask. The results suggest that in case of uncertainty due to ambiguity or absence of signals, we seem to unconsciously factor in extraneous information.

Crossmodal Correspondence between Music and Ambient Color Is Mediated by Emotion.

The quality of a concert hall primarily depends on its acoustics. But does visual input also have an impact on musical enjoyment? Does the color of ambient lighting modulate the perceived music quality? And are certain colors perceived to fit better than others with a given music piece? To address these questions, we performed three within-subjects experiments. We carried out two pretests to select four music pieces differing in tonality and genre, and 14 lighting conditions of varying hue, brightness, and saturation. In the main experiment, we applied a fully crossed repeated-measures design. Under each of the four lighting conditions, participants rated the musical variables 'Harmonic', 'Powerful', 'Gloomy', 'Lively' and overall liking of the music pieces, as well as the perceived fit of music and lighting. Subsequently, participants evaluated music and lighting separately by rating the same variables as before, as well as their emotional impact (valence, arousal, dominance). We found that music and lighting being similarly rated in terms of valence and arousal in the unimodal conditions were judged to match better when presented together. Accordingly, tonal (atonal) music was rated to fit better with weakly saturated (highly saturated) colors. Moreover, some characteristics of the lighting were carried over to music. That is, just as red lighting was rated as more powerful than green and blue lighting, music was evaluated to be more powerful under red compared to green and blue lighting. We conclude that listening to music is a multisensory process enriched by impressions from the visual domain.

Vestibular Stimulation Causes Contraction of Subjective Time.

As the cerebellum is involved in vestibular and time-keeping processes, we asked if the latter are related. We conducted three experiments to investigate the effects of vestibular stimulation on temporal processing of supra-second durations. In Experiment 1, subjects had to perform temporal productions of 10- and 15-s intervals either standing on both feet or while being engaged in the difficult balancing task of standing on one foot with their eyes closed (or open for control purposes). In Experiment 2, participants were required to produce intervals of 5, 10, 15, and 20 s while standing on both feet with their eyes open or closed, which constituted an easier balancing task. In Experiment 3, we removed the active balancing; temporal productions of the same four durations had to be performed with the eyes open or closed during the passive vestibular stimulation induced by the oscillatory movements of a swing. Participants produced longer intervals when their eyes were closed, but active balancing was not the culprit. On the contrary, temporal over-production was particularly pronounced during the passive vestibular stimulation brought about by the swing movements. Taken together, the experiments demonstrate that the contraction of the subjective time during balancing tasks with closed eyes is most likely of vestibular origin.

Adapting to the pandemic: longitudinal effects of social restrictions on time perception and boredom during the Covid-19 pandemic in Germany.

With the Covid-19 pandemic, many governments introduced nationwide lockdowns that disrupted people's daily routines and promoted social isolation. We applied a longitudinal online survey to investigate the mid-term effects of the mandated restrictions on the perceived passage of time (PPT) and boredom during and after a strict lockdown in Germany. One week after the beginning of the lockdown in March 2020, respondents reported a slower PPT and increased boredom compared to the pre-pandemic level. However, in the course of the lockdown, PPT accelerated and boredom decreased again until August 2020. Then, in October 2020, when incidence rates sharply rose and new restrictions were introduced, we again observed a slight trend toward a slowing of PPT and an increase of boredom. Our data also show that as the pandemic progressed, respondents adjusted their predictions about the pandemic's duration substantially upward. In sum, our findings suggest that respondents adapted to the pandemic situation and anticipated it as the new "normal". Furthermore, we determined perceived boredom and the general emotional state to be predictive of PPT, while depressive symptoms played a minor role.

Inverting the Wollaston Illusion: Gaze Direction Attracts Perceived Head Orientation.

In the early 19th century, William H. Wollaston impressed the Royal Society of London with engravings of portraits. He manipulated facial features, such as the nose, and thereby dramatically changed the perceived gaze direction, although the eye region with iris and eye socket had remained unaltered. This Wollaston illusion can be thought of as head orientation attracting perceived gaze direction when the eye region is unchanged. In naturalistic viewing, the eye region changes with head orientation and typically produces a repulsion effect. Here we explore if there is a flip side to the illusion. Does the gaze direction also alter the perceived direction of the head? We used copies of the original drawings and a computer-rendered avatar as stimuli. Gaze direction does indeed alter perceived head orientation. Perceived head orientation is biased toward the direction of gaze.

Visual and postural eye-height information is flexibly coupled in the perception of virtual environments.

We conducted two experiments to investigate how observers integrate postural and visual eye-height information when estimating the layout of interior space. In Experiment 1, we varied postural and visual eye-height information independently of each other in a virtual-reality setup. Observers estimated the width, depth, and height of simulated rooms. All dimensions were perceived as larger when the virtual visual eye-height corresponded to sitting on the floor as compared with standing upright. In contrast, the estimates remained widely unaffected by the observer's physical posture (likewise sitting vs. standing). In Experiment 2, we studied effects of the viewing condition (real vs. virtual rooms) and (in case of the virtual rooms) adaptation to congruence versus incongruence of visual and postural information. Both media yielded comparable results, which indicates that eye-height information is processed similarly in virtual and genuine reality. In addition, observers adapted to the (in)congruence of visual and postural cues. When we presented trials with congruent information first, both visual and postural cues had an effect on the estimates. However, when information was initially incongruent, observers mostly relied on visual cues, presumably relative to an internalized standard, and disregarded postural cues. Taken together, our results show that the integration of visual and postural eye-height information is situation-dependent. (PsycInfo Database Record (c) 2021 APA, all rights reserved).

Physical distancing and the perception of interpersonal distance in the COVID-19 crisis.

In the wake of the COVID-19 pandemic, it has been mandated to keep enlarged distances from others. We interviewed 136 German subjects over five weeks from the end of March to the end of April 2020 during the first wave of infections about their preferred interpersonal distance (IPD) before, during, and after the COVID-19 pandemic. In response to the pandemic, subjects adapted to distance requirements and preferred a larger IPD. This enlarged IPD was judged to partially persist after the pandemic crisis. People anticipated keeping more IPD to others even if there was no longer any risk of a SARS-CoV-2 infection. We also sampled two follow-up measurements, one in August, after the first wave of infections had been flattened, and one in October 2020, at the beginning of the second wave. Here, we observed that IPD varied with the incidence of SARS-CoV-2 within Germany. Overall, our data indicated that adaptation to distance requirements might happen asymmetrically. Preferred IPD rapidly adapted in response to distance requirements, but an enlargement of IPD may partially linger after the COVID-19 pandemic-crisis. We discuss our findings in light of proxemic theory and as an indicator for socio-cultural adaptation beyond the course of the pandemic.

Interpersonal Distance in the SARS-CoV-2 Crisis.

BACKGROUND: Mandatory rules for social distancing to curb the SARS-CoV-2 pandemic require individuals to maintain a critical interpersonal distance above 1.5 m. However, this contradicts our natural preference, which is closer to 1 m for non-intimate encounters, for example, when asking a stranger for directions. OBJECTIVE: This review addresses how humans typically regulate interpersonal distances, in order to highlight the challenges of enforcing atypically large interpersonal distances. METHOD: To understand the challenges posed by social distancing requirements, we integrate relevant contributions from visual perception, social perception, and human factors. RESULTS: To date, research on preferred interpersonal distances suggests that social distancing could induce discomfort, heighten arousal, and decrease social signaling in the short term. While the protracted effects of social distancing are unclear, we propose hypotheses on the mid- to long-term consequences of violating preferred norms of interpersonal distances. CONCLUSION: We suggest that enforcing a physical distance of 1.5-2 m presents a serious challenge to behavioral norms. APPLICATION: We address how notifications, architectural design, and visualizations could be effectively applied to promote interpersonal distance requirements.

Sexual attraction modulates interpersonal distance and approach-avoidance movements towards virtual agents in males.

How does sexual attraction alter social interaction behavior? We examined the influence of sexual orientation on locomotor approach-avoidance behavior and interpersonal distance. We immersed androphilic and gynophilic male subjects into a virtual environment and presented various male and female virtual persons. In the first experiment, subjects took a step forward (approach) or backward (avoidance) in response to the sex of the virtual person. We measured reaction time, peak velocity, and step size, and obtained ratings of sexual attractiveness in every trial. In the second experiment, subjects had to approach the virtual person as if they were to engage in a social interaction. Here, we analyzed interpersonal distance and peak velocity of the approaches. Our results suggest that sexual attraction facilitates the approach response and reduces the preferred interpersonal distance. We discuss our findings in terms of proxemics, current findings in sex research, and the applicability of our novel task in other fields of psychological research.

Wall patterns influence the perception of interior space.

The texture of an object's surface influences its perceived spatial extent. For example, Hermann von Helmholtz reported that a square patch with black and white stripes appears elongated perpendicular to the stripes' orientation. This time-honoured finding stands in contrast with more recent recommendations by interior-design experts who suggest that stripe wall patterns make rooms appear elongated in the direction parallel to the stripes' orientation. In a series of four experiments, we presented stripe wall patterns and varied the orientation of the stripes (horizontal vs. vertical) and their density (number of stripes per degree of visual angle). Subjects estimated the width and height of stereoscopically presented interior spaces. Stripe patterns with higher densities made rooms appear both wider and higher than did stripe patterns with lower densities or plain walls. In contrast to both the predictions from the Helmholtz-square and the design guidelines, this effect was only weakly modulated by pattern orientation, in the sense that rooms appeared elongated in the direction parallel to the stripes' orientation. We conclude that object-based texture effects cannot be generalised to interior space perception. For a room's perceived spatial extent, pattern density is more important than pattern orientation.

The anisotropy of personal space.

Violations of personal space are associated with discomfort. However, the exact function linking the magnitude of discomfort to interpersonal distance has not yet been specified. In this study, we explore whether interpersonal distance and discomfort are isotropic with respect to uncomfortably far or close distances. We also extend previous findings with regard to intrusions into personal space as well as maintenance of distances outside of personal space. We presented subjects with 15 interpersonal distances ranging from 40 to 250 cm and obtained verbal and joystick-based ratings of discomfort. Whereas discomfort rose immediately when personal space was entered, the gradient was less steep for distances that exceeded the comfort region of personal space. Thus, personal space is anisotropic with regard to experienced discomfort.

Bright paint makes interior-space surfaces appear farther away.

Previous studies have reported that bright ceilings appear higher than dark ceilings, irrespective of the other colorimetric properties of the ceiling color (hue, saturation) and irrespective of the luminance of the remaining room surfaces (walls, floor). In the present study, we expand these findings to width and depth estimates. We presented stereoscopic full-scale room simulations on a head-mounted display and varied the luminance of the side walls, rear wall, and ceiling independently of each other. Participants judged the width and depth of the simulated rooms. Our results show that the perceived spatial layout of a given room is significantly influenced by the luminance of the direct bounding surfaces (e.g., the side walls when judging perceived width) but less affected by the luminance of the other surfaces. In the discussion, we provide an overall picture of effects of surface luminance on the perceived layout of interior spaces and discuss the conclusions in the context of existing interior-design guidelines.

Which Attribute of Ceiling Color Influences Perceived Room Height?

OBJECTIVE: We investigate effects of the hue, saturation, and luminance of ceiling color on the perceived height of interior spaces. BACKGROUND: Previous studies have reported that the perceived height of an interior space is influenced by the luminance of the ceiling, but not by the luminance contrast between ceiling and walls: brighter ceilings appeared higher than darker ceilings, irrespective of wall and floor luminance. However, these studies used solely achromatic colors. We report an experiment in which we extend these findings to effects of chromatic ceiling colors. METHODS: We presented stereoscopic room simulations on a head-mounted display (Oculus Rift DK2) and varied hue (red, green, blue), saturation (low, high), and luminance (bright, dark) of the ceiling independently of each other. RESULTS: We found the previously reported ceiling luminance effect to apply also to chromatic colors: subjects judged brighter ceilings to be higher than darker ceilings. The remaining color dimensions merely had a very small (hue) or virtually no effect (saturation) on perceived height. CONCLUSION: In order to maximize the perceived height of an interior space, we suggest painting the ceiling in the brightest possible color. The hue and saturation of the paint are only of minor importance. APPLICATION: The present study improves the empirical basis for interior design guidelines regarding effects of surface color on the perceived layout of interior spaces.

Underestimation of large distances in active and passive locomotion.

Our ability to estimate distances, be it verbally or by locomotion, is exquisite at close range (action space). At distances above 100 m (vista space), verbal estimates continue to be quite accurate, whereas locomotor estimates have been found to be grossly underestimated. Until now, however, the latter have been performed on a treadmill, which might not translate to real-world walking. We investigated if the motor underestimation found on the treadmill holds up in a natural environment. Observers viewed pictures of objects at distances between 10 and 245 m and were asked to reproduce these distances in a blindfolded walking task (using passive movement or an active production method). Active and passive locomotor judgments underestimated far distances above 100 m. We conclude that underestimation of large distances does not depend on the medium (treadmill vs. real-world) but rather on the sensory modality and effort involved in the task.

Measuring perceived ceiling height in a visual comparison task.

When judging interior space, a dark ceiling is judged to be lower than a light ceiling. The method of metric judgments (e.g., on a centimetre scale) that has typically been used in such tasks may reflect a genuine perceptual effect or it may reflect a cognitively mediated impression. We employed a height-matching method in which perceived ceiling height had to be matched with an adjustable pillar, thus obtaining psychometric functions that allowed for an estimation of the point of subjective equality (PSE) and the difference limen (DL). The height-matching method developed in this paper allows for a direct visual match and does not require metric judgment. It has the added advantage of providing superior precision. Experiment 1 used ceiling heights between 2.90 m and 3.00 m. The PSE proved sensitive to slight changes in perceived ceiling height. The DL was about 3% of the physical ceiling height. Experiment 2 found similar results for lower (2.30 m to 2.50 m) and higher (3.30 m to 3.50 m) ceilings. In Experiment 3, we additionally varied ceiling lightness (light grey vs. dark grey). The height matches showed that the light ceiling appeared significantly higher than the darker ceiling. We therefore attribute the influence of ceiling lightness on perceived ceiling height to a direct perceptual rather than a cognitive effect.

The effect of furnishing on perceived spatial dimensions and spaciousness of interior space.

Despite the ubiquity of interior space design, there is virtually no scientific research on the influence of furnishing on the perception of interior space. We conducted two experiments in which observers were asked to estimate the spatial dimensions (size of the room dimensions in meters and centimeters) and to judge subjective spaciousness of various rooms. Experiment 1 used true-to-scale model rooms with a square surface area. Furnishing affected both the perceived height and the spaciousness judgments. The furnished room was perceived as higher but less spacious. In Experiment 2, rooms with different square surface areas and constant physical height were presented in virtual reality. Furnishing affected neither the perceived spatial dimensions nor the perceived spaciousness. Possible reasons for this discrepancy, such as the influence of the presentation medium, are discussed. Moreover, our results suggest a compression of perceived height and depth with decreasing surface area of the room.