James M. Brown
Associate Professor Emeritus
James M. Brown
Associate Professor Emeritus
University of Georgia
University of Georgia
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Associate Professor Emeritus
Welcome to the Visual Perception Laboratory
Welcome to the Visual Perception Laboratory
Research in the Visual Perception Laboratory is aimed at trying to understand how we organize, perceive, and attend to our visual world. Our general research approach could be described as a combination of cognitive psychophysics and visual neuroscience. We use psychophysical methods to explore the relationship between the physical stimulus and what is perceived (i.e., cognitive psychophysics) while at the same time seeking to understand these perceptual experiences based on current knowledge about the neural machinery of the visual brain (i.e., visual neuroscience). Examples of topics of study include the perception of figure-ground, illusions, objects, and scenes, and recent collaborative research on eye movement behavior.
Please scroll for Current Projects and materials associated with the Festschrift for Naomi Weisstein.
Current Projects
Current Projects
Filling in beyond expectations - a new watercolor-like illusion
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Festschrift for Naomi Weisstein
Festschrift for Naomi Weisstein
The cover is based on two of Weisstein's Science papers, “Neural Symbolic Activity” (1970) and “The Object-Superiority Effect” (1974) and was designed with the assistance of Joanna Eberts, http://www.joanna-eberts.com/ and utilizes an original picture of Weisstein taken in 1972 by Virginia Blasedell, http://www.vblaisdell.com/
Introduction
Introduction
Ball, L. (2010). Profile of Naomi Weisstein. In A. Rutherford (Ed.), Psychology's Feminist Voices Multimedia Internet Archive. Retrieved from https://feministvoices.com/profiles/naomi-weisstein
McNeill, L. (2017). This Feminist Psychologist-Turned-Rock-Star Led a Full Life of Resistance. Smithsonian.com, https://www.smithsonianmag.com/science-nature/feminist-psychologist-turned-rock-star-led-multifaceted-life-resistance-180962814/
Chicago Women's Liberation Union Herstory Project: https://www.cwluherstory.org/
Memorial Celebration, September, 2015: https://www.youtube.com/watch?v=mssxy_wn5Jg
Veteran Feminists of America: https://www.veteranfeministsofamerica.org/legacy/NAOMI%20WEISSTEIN.htm
Harvard Online Library: Audiovisual Collection and Papers of Naomi Weisstein, 1967-2007.
Chapter 2: Phantoms at the Holiday Inn
Chapter 2: Phantoms at the Holiday Inn
Chapter 4: Visual phantom illusion as an integrative product of early visual processing and higher-order perceptual organization
Chapter 4: Visual phantom illusion as an integrative product of early visual processing and higher-order perceptual organization
Chapter 5: The Motion Induced Contour Revisited
Chapter 5: The Motion Induced Contour Revisited
Chapter 8: How to find a yellow Volkswagon
Chapter 8: How to find a yellow Volkswagon
Figure 1: A 1973 yellow Volkswagen © Chris Vallone, Classic VW BuGs.
Figure 1: A 1973 yellow Volkswagen © Chris Vallone, Classic VW BuGs.
Figure 2: How many items per second can you process as you search this display for a beetle?
Figure 2: How many items per second can you process as you search this display for a beetle?
Figure 4: How many objects are in this scene? By the way, that pyramid is the 2000 yr old tomb of Cestius in Rome, built when Egyptian artifacts were all the rage in Rome.
Figure 4: How many objects are in this scene? By the way, that pyramid is the 2000 yr old tomb of Cestius in Rome, built when Egyptian artifacts were all the rage in Rome.
Figure 5: Are any of these items in Figure 2?
Figure 5: Are any of these items in Figure 2?
Figure 6: Basic hybrid search data redrawn from Wolfe ((2012))
Figure 6: Basic hybrid search data redrawn from Wolfe ((2012))
Figure 7: Cartoon of the Leite & Ratcliff (2010) account of logarithm memory search. (A) Information accumulates in a noisy fashion toward a decision bound. (B) With many items in the memory set, there is an increased chance that a distractor will reach the decision bound. So (C) the bound can be raised to avoid that problem. The resulting increase in RT is a log function of the memory set.
Figure 7: Cartoon of the Leite & Ratcliff (2010) account of logarithm memory search. (A) Information accumulates in a noisy fashion toward a decision bound. (B) With many items in the memory set, there is an increased chance that a distractor will reach the decision bound. So (C) the bound can be raised to avoid that problem. The resulting increase in RT is a log function of the memory set.
Chapter 10: High-Level Influences on Perception: Then and Now
Chapter 10: High-Level Influences on Perception: Then and Now
Figure 2: From Peterson, M. A., & Salvagio, E. (2008). Inhibitory competition in figure-ground perception: Context and convexity. Journal of Vision, 8(16): 4, 1-13.
Figure 2: From Peterson, M. A., & Salvagio, E. (2008). Inhibitory competition in figure-ground perception: Context and convexity. Journal of Vision, 8(16): 4, 1-13.
Figure 3. The probability of convex figure reports as a function of the number of regions in the displays. A. Black and white displays. B. Multicolored Convex/Multicolored Concave displays. C. Uniform Convex/Multicolored Concave displays. B. Multicolored Convex/ Uniform Concave displays.
Figure 3. The probability of convex figure reports as a function of the number of regions in the displays. A. Black and white displays. B. Multicolored Convex/Multicolored Concave displays. C. Uniform Convex/Multicolored Concave displays. B. Multicolored Convex/ Uniform Concave displays.
Figure 6. Perirhinal Cortex Parameter Estimates from Cacciamani et al (2017) obtained when participants viewed displays depicting an upright intact well-known (familiar) object (in red), a novel object created by spatially rearranging the parts of the familiar object into a novel configuration (blue) and a matched control novel object (green).
Figure 6. Perirhinal Cortex Parameter Estimates from Cacciamani et al (2017) obtained when participants viewed displays depicting an upright intact well-known (familiar) object (in red), a novel object created by spatially rearranging the parts of the familiar object into a novel configuration (blue) and a matched control novel object (green).
Chapter 11: The role of ground features in the perception of figure-ground and subjective contours.
Chapter 11: The role of ground features in the perception of figure-ground and subjective contours.
Chapter 11: The role of ground features in the perception of figure-ground and subjective contours.
Chapter 11: The role of ground features in the perception of figure-ground and subjective contours.
Figure 1. Mick Namarari Tjapaltjarri. Untitled, 1998, © estate of the artist licensed by Aboriginal Artists Agency Ltd.
Figure 1. Mick Namarari Tjapaltjarri. Untitled, 1998, © estate of the artist licensed by Aboriginal Artists Agency Ltd.
Figure 2. Gaiyabidja Lalara. Untitled, 1970s, © estate of the artist licensed by Aboriginal Artists Agency Ltd.
Figure 2. Gaiyabidja Lalara. Untitled, 1970s, © estate of the artist licensed by Aboriginal Artists Agency Ltd.
Figure 5. See text for comments. Mawalan Marika, The Wagelag Sisters, 1948, © estate of the artist licensed by Aboriginal Artists Agency Ltd.
Figure 5. See text for comments. Mawalan Marika, The Wagelag Sisters, 1948, © estate of the artist licensed by Aboriginal Artists Agency Ltd.
Figure 6. The lines on the ground areas follow the shapes of the figures and their connections. Warlimpirrnga Tjapaltjarri, Dingo Dreaming, 1988, © estate of the artist licensed by Aboriginal Artists Agency Ltd.
Figure 6. The lines on the ground areas follow the shapes of the figures and their connections. Warlimpirrnga Tjapaltjarri, Dingo Dreaming, 1988, © estate of the artist licensed by Aboriginal Artists Agency Ltd.
Figure 7. The brown and orange ground areas have delineations parallel to the edges of the figures. Pinta Pinta Tjapanangka, Tingari dreaming at YaruYaru c 1978, © estate of the artist licensed by Aboriginal Artists Agency Ltd.
Figure 7. The brown and orange ground areas have delineations parallel to the edges of the figures. Pinta Pinta Tjapanangka, Tingari dreaming at YaruYaru c 1978, © estate of the artist licensed by Aboriginal Artists Agency Ltd.
Figure 8. Deliberately disordered ground makes figures difficult to discern. Mawalan Marika, Tribesmen at sea and land, © estate of the artist licensed by Aboriginal Artists Agency Ltd.
Figure 8. Deliberately disordered ground makes figures difficult to discern. Mawalan Marika, Tribesmen at sea and land, © estate of the artist licensed by Aboriginal Artists Agency Ltd.
Figure 9. Nested occlusions convey a sense of distance such as for the birds on the upper left and lower right. Mawalan Marika, Yalangbara, © estate of the artist licensed by Aboriginal Artists Agency Ltd.
Figure 9. Nested occlusions convey a sense of distance such as for the birds on the upper left and lower right. Mawalan Marika, Yalangbara, © estate of the artist licensed by Aboriginal Artists Agency Ltd.
Figure 10. Nested occlusions of red "bulls eye" figures combined with a size gradient give rise to a sense of their motion in depth. Shorty Lungkata Tungurrayi, Men travelling in a bush fire 1972-1973, © estate of the artist licensed by Aboriginal Artists Agency Ltd.
Figure 10. Nested occlusions of red "bulls eye" figures combined with a size gradient give rise to a sense of their motion in depth. Shorty Lungkata Tungurrayi, Men travelling in a bush fire 1972-1973, © estate of the artist licensed by Aboriginal Artists Agency Ltd.
Figure 11. Marabinyin, Mullet fish totems, © estate of the artist licensed by Aboriginal Artists Agency Ltd.
Figure 11. Marabinyin, Mullet fish totems, © estate of the artist licensed by Aboriginal Artists Agency Ltd.
Figure 12. Peter Mondjingu, Emu, c 1970s, © estate of the artist licensed by Aboriginal Artists Agency Ltd.
Figure 12. Peter Mondjingu, Emu, c 1970s, © estate of the artist licensed by Aboriginal Artists Agency Ltd.
Figure 13. Yirawala, Mosquito dance, 1976, © estate of the artist licensed by Aboriginal Artists Agency Ltd.
Figure 13. Yirawala, Mosquito dance, 1976, © estate of the artist licensed by Aboriginal Artists Agency Ltd.
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