Texts on visual perception typically begin with the following premise: Vision is an ill-posed problem, and perception is underdetermined by the available information. If this were really the case, however, it is hard to see how vision could ever get off the ground. James Gibson’s signal contribution was his hypothesis that for every perceivable property of the environment, however subtle, there must be a higher order variable of information, however complex, that specifies it—if only we are clever enough to find them. Such variables are informative about behaviorally relevant properties within the physical and ecological constraints of a species’ niche. Sensory ecology is replete with instructive examples, including weakly electric fish, the narwal’s tusk, and insect flight control. In particular, I elaborate the case of passing through gaps. Optic flow is sufficient to control locomotion around obstacles and through openings. The affordances of the environment, such as gap passability, are specified by action-scaled information. Logically ill-posed problems may thus, on closer inspection, be ecologically well-posed.

The present study aimed to investigate whether the perception of still scenes in a virtual environment in congruent versus incongruent condition can be influenced by odors. Ninety healthy participants were divided into three groups, including two experimental virtual reality (VR) environments: a rose garden, an orange basket, and a control condition. In each VR condition, participants were exposed to a rose odor, an orange odor, or no odor, resulting in congruent, incongruent, and control conditions. Participants were asked to describe (a) the content of the VR scene and rate its overall pleasantness and (b) the smell and to rate its intensity and pleasantness. For each condition, participants were tested twice. During the second test, participants provided ratings and descriptions of the content of the VR scenes without being exposed to odors or VR environments. Virtual scenarios tended to be remembered as more pleasant when presented with congruent odors. Furthermore, participants used more descriptors in congruent scenarios than in incongruent scenarios. Eventually, rose odor appeared to be remembered as more pleasant when presented within congruent scenarios. These findings show that olfactory stimuli in congruent versus incongruent conditions can possibly modulate the perception of the pleasantness of visual scenes but not the memorization.

Ambient smell has long been a feature of live performance, no matter whether its presence was intentional or not. While, once upon a time, the incidental presence of malodour was an inevitable feature of proceedings, the deliberate use of scent can actually be traced all the way back to the earliest rituals. This review attempts to trace the long history of scent’s use in processions, pageants, and, most important, performance. From Shakespeare’s time onward, scent has been used as an atmospheric/ambient cue. It has been used to create a certain mood, to trigger memories/nostalgia, and, on occasion, it has also served a narrative role. While the use of scent has often been merely illustrative (or pleonastic), there have been numerous occasions where olfactory stimulation has taken on a far more important evaluative role, critical or otherwise. Most often, this has been in the theatre, but also on occasion in the context of the opera, musical, ballet, and comedy too. In recent years, there has been a resurgence of interest in scenting live performance/entertainment, especially in the context of highly immersive and experiential multisensory events. While high-tech solutions to scent delivery have been a prominent feature of its use in the cinema, low-tech solutions have more often been incorporated in the live-performance setting. This and a number of other important differences between scent’s use in the theatrical versus cinematic setting are highlighted.

Sometimes, we do not notice big changes in our environment, if these changes occur while we perform eye movements or external events interrupt our perception. This striking phenomenon is known as “change blindness.” Research on chimpanzees, macaques, and pigeons suggests that change blindness may not be unique to humans, but our understanding is limited by the difficulty of carrying out change blindness experiments in animals. However, let’s have a look to the habitats of some of our most beloved four-legged friends: cats and dogs. Here, we list several online videos with cats and a husky appear to use humans’ change blindness to their advantage to sneak upon them. Thus, we might be able to deduce the effects of change blindness and other perceptual phenomena from animals’ behaviour. Our clear message: Watch more (cat) videos! Watch them as perceptual scientists by means of observing and analysing the cat’s behaviour.

Perceiving the shape of three-dimensional objects is essential for interacting with them in daily life. If objects are constructed from different materials, can the human visual system accurately estimate their three-dimensional shape? We varied the thickness, motion, opacity, and specularity of globally convex objects rendered in a photorealistic environment. These objects were presented under either dynamic or static viewing condition. Observers rated the overall convexity of these objects along the depth axis. Our results show that observers perceived solid transparent objects as flatter than the same objects rendered with opaque reflectance properties. Regional variation in local root-mean-square image contrast was shown to provide information that is predictive of perceived surface convexity.

Audiovisual integration relies on temporal synchrony between visual and auditory stimuli. The brain rapidly adapts to audiovisual asynchronous events by shifting the timing of subjective synchrony in the direction of the leading modality of the most recent event, a process called rapid temporal recalibration. This phenomenon is the flexible function of audiovisual synchrony perception. Previous studies found that neural processing speed based on spatial frequency (SF) affects the timing of subjective synchrony. This study examined the effects of SF on the rapid temporal recalibration process by discriminating whether the presentation of the visual and auditory stimuli was simultaneous. I compared the magnitudes of the recalibration effect between low and high SF visual stimuli using two techniques. First, I randomly presented each SF accompanied by a tone during one session, then in a second experiment, only a single SF was paired with the tone throughout the one session. The results indicated that rapid recalibration occurred regardless of difference in presented SF between preceding and test trials. The recalibration magnitude did not significantly differ between the SF conditions. These findings confirm that intersensory temporal process is important to produce rapid recalibration and suggest that rapid recalibration can be induced by the simultaneity judgment criterion changes attributed to the low-level temporal information of audiovisual events.

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In recent years, there has been an increasing number of studies on objective image properties in visual artworks. Little is known, however, about how these image properties emerge while artists create their artworks. In order to study this matter, I produced five colored abstract artworks by myself and recorded state images at all stages of their creation. For each image, I then calculated low-level features from deep neural networks, which served as a model of responses properties in visual cortex. Two-dimensional plots of variances that were derived from these features showed that the drawings differ greatly at early stages of their creation, but then follow a narrow common path to terminate at or close to a position where traditional paintings cluster in the plots. Whether other artists use similar perceptive strategies while they create artworks remains to be studied.

Studies have widely captured the spatial-numerical association of response codes (SNARC) effect in the processing of various types of numbers in which small numbers are responded to faster with the left hand than with the right hand and larger numbers are responded to faster with the right hand than with the left hand. Although a few studies have explored Arabic numbers to further investigate the influence of number location on the SNARC effect, it remains unclear whether the influence of number location on the SNARC effect is moderated by numerical semantic processing difficulty and the task performed. This study explored traditional Chinese numerical words and rotated them to certain angles, which can increase numerical semantic processing difficulty, to further investigate the influence of the stimulus–response compatibility effect and Simon effect on the SNARC effect in a space classification task (Experiment 1), numerical magnitude classification task (Experiment 2), numerical parity classification task (Experiment 3), and color classification task (Experiment 4). The results indicated that (a) the stimulus–response compatibility effect, not the SNARC effect, prevailed in the numerical space classification task; (b) the SNARC effect, not the Simon effect, prevailed in the numerical magnitude and parity classification task; and (c) the Simon effect and the SNARC effect coexisted in the color classification task. These results suggested that the influence of number location on the SNARC effect was moderated by the task performed. Implications for the theory of the SNARC effect and Simon effect are discussed.

In some phenomena of visual perception, the motion direction of visual stimuli can affect perception. In particular, asymmetries between oblique directions and cardinal (horizontal and vertical) directions have been reported and are known as oblique effects (e.g., contrast sensitivity and motion threshold). In this study, we investigated how vection strength depends on motion direction. Participants observed random-dot optical flow in a circular field and rated the perceived vection strength. Dot movement was systematically controlled using the following angles: 0° (up), 30°, 45°, 60°, 90°, 120°, 135°, 150°, and 180° (down). We found that vection strength depended on motion direction and was weaker in the oblique directions than cardinal directions. Thus, the effect of motion direction on vection strength was variable, as seen in the shape of the oblique effect.