black septum between the center of the stereogram on the monitor and the forehead. Figure 4A depicts a top-view of the experimental set-up. The room was dimly lit. The head was stabilized with a chin and forehead rest. 2.1.3. Stimuli. Two classes of stimuli were used. In the rst (occlusion) con
, three identical sheets were bonded together so as to render the black regions opaque. Two identical stimuli were rear-projected from overhead projectors onto circular screens to the left and right of the subject, as shown in Fig. 2. The screens subtended a visual angle of 65 ◦ . The stimuli were viewed
the black of the background in Experiment 1, see below) were different from the origin of the DKL space. However, this is a matter of minor importance for our experiment, as discussed in Results and Discussion sections. The origin of the space was metameric to an equal energy white of 16.8 cd/m 2
recording of responses via the keyboard.
The timing signal for the duration bisection task was an 80 × 80 pixel black square with a white fixation cross in the middle. Three duration ranges (3–6, 2–8, and 4–12 s) with different S : L ratios were used, primarily because Scalar Timing Theory requires
target square on the white and black backgrounds. While the Friedman rank test showed the reflectance of the target square in Fig. 3 was significant ( p = 0 . 04), as follows from Fig. 17, the simultaneous lightness contrast shift was approximately the same for all target squares irrespective of their
Likelihood Function (width of right black curve) and uncertainty in the haptic Likelihood Function (width of left black curve). As the visual uncertainty σ V 2 increases (top to bottom), the centre of the bimodal Likelihood Function moves closer to the haptic estimate E H (equation (1)). A hallmark of
–Angry, with each combination appearing twice.
2.4. Testing Setup
The setup consisted of a chair, three black (2.0 m × 2.0 m) felt-covered walls, two 48 cm computer monitor screens (refresh rate of 60 Hz), one computer to run the computer program, two audio speakers and two video cameras. The black walls
suboptimal model. The dual modality data was estimated from an average of the SD in conflict 1 and conflict 2. Participants with ASC are represented in bold blue font and NT participants in black (with crosshatch). The edges of each box represent the upper and lower quartile; the whiskers represents the most
. However, in spite of an atavistic and naïve conception, the connection between art and skillfulness and realistic or objective representation is not necessary as demonstrated by the following examples. Kazimir Malevich’s Black Square (1913) led art to its ultimate geometric sim- plification and
group in black and experimental group in grey. The temporal behaviour of the animals is shown in the Figs 3B–D for holes #1, #2 and #4, respectively. For hole #2, hole #3 and hole #4, there was a discriminable temporal pattern [significant effect of time, F (59, 590) = 3.61, F (59, 590) = 2.41 and