Search Results

was approved by the York University Office of Research Ethics. 2.2. Stimuli Visual stimuli consisted of a linearly expanding (from 1° visual angle to 13°) or contracting (from 13° visual angle to 1°) black disk on a white background paired with an increasing (75 dBA to 83 dBA) or decreasing (83 dBA to

In: Multisensory Research

local estimate of contrast was made. T is the percentage by which the local mean was exceeded and NP is the percentage of points set to black out of the total (256 x 256). local mean by a threshold percentage (T) were set to black. Interestingly, the tem- poral properties of the non-linear medulla cells

In: Spatial Vision

bevels generate glows. 156 X made of finer lines within it, as though the bright, fat limbs each had a dark axis. It should also be mentioned that 'Ehrenstein streets' (Ehrenstein, 1941/1987; Walker, 1987) can be seen: There are bright lanes running diagonally to the black inducers, and joining the

In: Spatial Vision

. Figure 2. Signal-to-source realignment as a function of task (VAV, AVA), block (one, two) and order of task completion (first [black lines], second [grey lines]). The grey dotted line represents equivalent attribution to first and second anchor. Black dotted lines denote baseline responding, based on

In: Multisensory Research

strong shared associations across other letters as well: A with red, D with brown, F with green, L with yellow, U with grey, X and Z with black, and I with white and/or black. Disregarding for the moment the letter–colour pairs that are easily explicable by the initial letter of the

In: Multisensory Research

lead to transitions from one parallel world to another at the highest level. ‘Wholes’ and ‘parts’ interact. 3.3. Atomicity An atom is an object lacking proper parts. Malevich’s Black Square may be considered a single atom, as might the expanse blue sky in Magritte’s (Note S40) Le Seize Septembre

In: Art & Perception

real-world objects or scenes, i.e., by setting each point in the image to white or black depending on whether the luminance in the original picture was above or below a pre-set threshold. The earliest reported use of such two-tone images in the perception literature is in the well known paper by Mooney

In: Art & Perception

, here Lambert’s law seems ‘binarized’, or ‘clipped’. Notice that this figure indeed captures the ‘shading’, but that many subtle color effects are missing in the reproduction. For instance, Rubens used a combination of red and black chalk, Poussin’s drawing is in wonderful sepia tone. In the study of

In: Art & Perception

scattered square balanced dots. Each dot consisted of a central 2-by-2-pixel square, 428 usually white, surrounded by a 1-pixel wide, usually black, annulus. The dots were scattered over a homogenous gray background with the same space-average luminance as the dots themselves as determined by

In: Spatial Vision

–Salovey–Caruso Emotional Intelligence Test (MSCEIT V. 2.0, n = 32 ). 2.2. Procedure The research consisted of two parts: (1) rubber hand illusion induction and (2) completing the questionnaires. 2.3. Rubber Hand Illusion Induction Participants sat at a table with a black pelerine extending from their neck to the

In: Multisensory Research