Mind-Craft: Exploring the Effect of Digital Visual Experience on Changes to Orientation Sensitivity in Visual Contour Perception

Perception ◽  
2020 ◽  
Vol 49 (10) ◽  
pp. 1005-1025
Author(s):  
D. Hipp ◽  
S. Olsen ◽  
P. Gerhardstein
Keyword(s):  
Visual Perception ◽  
Video Game ◽  
Visual Experience ◽  
Oblique Effect ◽  
Visual Orientation ◽  
Natural Scenes ◽  
Contour Perception ◽  
Screen Media ◽  
Visual Contour ◽  
Orientation Anisotropy

Visual perception depends fundamentally on statistical regularities in the environment to make sense of the world. One such regularity is the orientation anisotropy typical of natural scenes; most natural scenes contain slightly more canonical (horizontal and vertical) information than oblique information. This property is likely a primary cause of the oblique effect in which subjects experience greater perceptual fluency with horizontally and vertically oriented content than oblique. Recent changes in the visual environment, including the “carpentered” content in urban scenes and the framed, caricatured content in digital screen media presentations, may have altered the typical (natural) level of orientation anisotropy. The current work evaluated whether digital visual experience, or visual experience with framed digital content, has the potential to alter the magnitude of the oblique effect in visual perception. Experiment 1 successfully established a novel eye-tracking method capable of indexing the visual oblique effect quickly and reliably and demonstrated the oblique effect. Experiment 2 used this method and found that one session of exposure to a specific video game altered visual orientation perception. Taken together, these results indicate that exposure to the realistic, but caricatured scene statistics of digital screen media, can alter visual contour perception in one session.

scholarly journals Short-Term Effects of Video-Games on Cognitive Enhancement: the Role of Positive Emotions

2021 ◽  
Author(s):  
Sandro Franceschini ◽  
Sara Bertoni ◽  
Matteo Lulli ◽  
Telmo Pievani ◽  
Andrea Facoetti
Keyword(s):  
Randomized Controlled Trial ◽  
Video Games ◽  
Visual Perception ◽  
Video Game ◽  
Positive Emotions ◽  
Cognitive Enhancement ◽  
Controlled Trial ◽  
Short Term ◽  
Randomized Controlled ◽  
Short Term Effects

AbstractAccording to established background knowledge, playing is essential in human development and a power remediation tool in clinical populations. In clinical interventions, the beneficial roles of playing have often been sought and investigated in the specific features of the game, rather than in the positive emotions generated by playing. However, regardless of game specifications, cognitive enhancement could be driven by the emotions linked to play. Establishing the causal connections between play and cognitive enhancement should allow us to determine how to involve play in therapy, prevention and educational programmes. Today, video-gaming is one of the most diffused forms of play. In the first crossover randomized controlled trial, we compared the short-term effects induced by shooting and puzzle video-games in visual perception, sensorimotor and reading skills in children with developmental coordination disorder and dyslexia. The funnier and more activating game enhanced breadth of visual perception and reduced sensorimotor and reading disorders. Visual perception, sensorimotor and reading improvements correlated with fun. In the second crossover randomized controlled trial, comparing the effects of the same shooting with a fighting video-game in healthy young adults, we show that regardless of game characteristics, changes in positive emotions correlated with contextual reading enhancement, while play-driven biochemical activation boosted single word and pseudoword reading. The short-term effects induced by play could be a useful clinical tool for the prevention and treatment of multiple cognitive disorders.

Blindsight and the Role of the Phenomenal Qualities of Visual Perceptions

1998 ◽  
pp. 205-209
Author(s):  
Ralph Schumacher
Keyword(s):  
Visual Perception ◽  
Visual Information ◽  
Visual Experience ◽  
Sufficient Condition ◽  
Broad Concept ◽  
Essential Properties

The aim of this paper is to defend a broad concept of visual perception, according to which it is a sufficient condition for visual perception that subjects receive visual information in a way which enables them to give reliably correct answers about the objects presented to them. According to this view, blindsight, non-epistemic seeing, and conscious visual experience count as proper types of visual perception. This leads to two consequences concerning the role of the phenomenal qualities of visual experiences. First, phenomenal qualities are not necessary in order to see something, because in the case of blindsight, subjects can see objects without experiences phenomenal qualities. Second, they cannot be intentional properties, since they are not essential properties of visual experiences, and because the content of visual experiences cannot be constituted by contingent properties.

Visual metaphor in extended conceptual metaphor theory

2020 ◽  
Vol 7 (1) ◽  
pp. 13-30
Author(s):  
Zoltán Kövecses
Keyword(s):  
Visual Experience ◽  
Conceptual Metaphor ◽  
Natural Scenes ◽  
Visual Metaphor ◽  
Conceptual Metaphor Theory ◽  
Visual Metaphors ◽  
Metaphor Theory ◽  
New Challenges ◽  
Processing Mechanisms ◽  
The Way

Abstract My goal in the paper is to examine a variety of visual experiences that appear to evoke visual metaphors. This is a range of experience types that extends from “sign-like” visual experiences to “non-sign-like” visual experiences. I propose that visual metaphors are evoked by paintings through winner’s podiums all the way to cityscapes and scenes in nature. The latter two (non-sign-like) cases, cityscapes and natural scenes, are not commonly subjected to serious examination from a CMT perspective. However, they provide us with new challenges in the study of visual metaphors, since they greatly extend the range of visual experience that might give rise to visual metaphors. I suggest, further, that the comprehension or interpretation of all of these visual experiences, including sign-like and non-sign-like alike, makes use of the same metaphorical processing mechanisms. The visual metaphors that are evoked by visual experiences can be based either on correlations or resemblance.

Seeing and Saying

2018 ◽  
Author(s):  
Berit Brogaard
Keyword(s):  
Visual Perception ◽  
Visual Experience ◽  
Mental States ◽  
Insight Into ◽  
Alternative Theories ◽  
The Way

We often communicate with each other about how the things we see visually appear to us when we want to achieve a goal like finding the perfect end table, deciding what to eat or issuing a warning. But what do we say when we talk about how things visually appear to us? Can our talk about appearances tell us anything about the nature of visual perception? In this book, the author delves into these questions, defending the view that in spite of all its imprecision, the language used to report on how things look provides important insight into the nature of visual perception. In chapters that explore the semantics of ‘appear’ words and the nature of the mental states they are used to express, she argues that considerations of how we talk and think about our experiences can help us establish that our visual experiences are akin to mental states, such as belief and desire, in being relations to contents, or propositions, that represent things and features in the perceiver’s environment. Along the way, she argues against alternative theories of what our talk about looks can tell us, including those of Chisholm, Jackson, Byrne, Johnston, Martin, Brewer, Travis, Siegel, Schellenberg, and Glüer. Finally, she examines how our talk about visual experience compares to our talk about how things sound, smell, taste and feel. This book is thus an extended defense of the view that experience in creatures like us is representational.

The Representational View of Experience

2018 ◽  
Author(s):  
Berit Brogaard
Keyword(s):  
Visual Perception ◽  
Visual Experience ◽  
Naive Realism ◽  
Naïve Realism ◽  
The Subject ◽  
Central Claim ◽  
Content View

In chapter 3, the author presents two arguments for the view that visual experience is representational. The first shows that phenomenal ‘look’ and ‘seem’ reflect phenomenal, representational properties of visual perception. It follows that experience is representational. This conclusion is consistent with some versions of naive realism, but considerably stronger than the minimal content view that takes content to be a description of what it is like for the subject to have the experience. The second argument establishes that the perceptual relation that obtains between experience and its object in core cases cannot fully explain the phenomenology of experience. In order to explain its phenomenology, we will need to appeal to the experience’s representational nature. The second argument thus shows that visual experience is fundamentally representational and not fundamentally relational, which is the central claim of the representational view.

scholarly journals Reduced influence of perceptual context in schizophrenia: behavioral and neurophysiological evidence

2019 ◽  
pp. 1-9 ◽  
Author(s):  
Victor J. Pokorny ◽  
Timothy J. Lano ◽  
Michael-Paul Schallmo ◽  
Cheryl A. Olman ◽  
Scott R. Sponheim
Keyword(s):  
Event Related Potentials ◽  
Contour Integration ◽  
Contour Detection ◽  
Group Differences ◽  
Neural Responses ◽  
Contour Perception ◽  
Accurate Perception ◽  
Visual Contour ◽  
Related Potentials ◽  
Intermediate Performance

Abstract Background Accurate perception of visual contours is essential for seeing and differentiating objects in the environment. Both the ability to detect visual contours and the influence of perceptual context created by surrounding stimuli are diminished in people with schizophrenia (SCZ). The central aim of the present study was to better understand the biological underpinnings of impaired contour integration and weakened effects of perceptual context. Additionally, we sought to determine whether visual perceptual abnormalities reflect genetic factors in SCZ and are present in other severe mental disorders. Methods We examined behavioral data and event-related potentials (ERPs) collected during the perception of simple linear contours embedded in similar background stimuli in 27 patients with SCZ, 23 patients with bipolar disorder (BP), 23 first-degree relatives of SCZ, and 37 controls. Results SCZ exhibited impaired visual contour detection while BP exhibited intermediate performance. The orientation of neighboring stimuli (i.e. flankers) relative to the contour modulated perception across all groups, but SCZ exhibited weakened suppression by the perceptual context created by flankers. Late visual (occipital P2) and cognitive (centroparietal P3) neural responses showed group differences and flanker orientation effects, unlike earlier ERPs (occipital P1 and N1). Moreover, behavioral effects of flanker context on contour perception were correlated with modulation in P2 & P3 amplitudes. Conclusion In addition to replicating and extending findings of abnormal contour integration and visual context modulation in SCZ, we provide novel evidence that the abnormal use of perceptual context is associated with higher-order sensory and cognitive processes.

The Time Course of Perceptual Grouping in Natural Scenes

2012 ◽  
Vol 23 (12) ◽  
pp. 1482-1489 ◽  
Author(s):  
Ilia Korjoukov ◽  
Danique Jeurissen ◽  
Niels A. Kloosterman ◽  
Josine E. Verhoeven ◽  
H. Steven Scholte ◽  
...  
Keyword(s):  
Visual Perception ◽  
Perceptual Grouping ◽  
Time Course ◽  
Reaction Times ◽  
Object Classification ◽  
Natural Scenes ◽  
Single Object ◽  
Object A ◽  
Object Parsing ◽  
Different Parts

Visual perception starts with localized filters that subdivide the image into fragments that undergo separate analyses. The visual system has to reconstruct objects by grouping image fragments that belong to the same object. A widely held view is that perceptual grouping occurs in parallel across the visual scene and without attention. To test this idea, we measured the speed of grouping in pictures of animals and vehicles. In a classification task, these pictures were categorized efficiently. In an image-parsing task, participants reported whether two cues fell on the same or different objects, and we measured reaction times. Despite the participants’ fast object classification, perceptual grouping required more time if the distance between cues was larger, and we observed an additional delay when the cues fell on different parts of a single object. Parsing was also slower for inverted than for upright objects. These results imply that perception starts with rapid object classification and that rapid classification is followed by a serial perceptual grouping phase, which is more efficient for objects in a familiar orientation than for objects in an unfamiliar orientation.

scholarly journals Color contributes to object-contour perception in natural scenes

2017 ◽  
Vol 17 (3) ◽  
pp. 14 ◽  
Author(s):  
Thorsten Hansen ◽  
Karl R. Gegenfurtner
Keyword(s):  
Natural Scenes ◽  
Contour Perception ◽  
Object Contour

scholarly journals Peril-sensitive sunglasses, superheroes in miniature, and pink polka-dot boxers: Artifact and collectible video game feelies, play, and the paratextual gaming experience

2014 ◽  
Vol 16 ◽  
Author(s):  
Ian M. Peters
Keyword(s):  
Material Culture ◽  
Video Game ◽  
Interdisciplinary Approach ◽  
Material Objects ◽  
Culture Studies ◽  
Screen Media ◽  
Adventure Games ◽  
Material Artifacts ◽  
Insight Into ◽  
Intended Use

Material artifacts included in video game packaging, referred to in the industry as feelies, operate as media paratexts that are both extensions of and separate from the video games that inspired them. Although most discourses on video game feelies are centered on 1980s text-based adventure games, feelies have continually been included in contemporary games, albeit primarily in collector's or special editions. To explore the diversity of feelies and how they are able to generate their own texts away from the digital game itself, I identify two specific types of feelies: artifact feelies, which are life-size reproductions of objects from within the game space, and collectible feelies, which serve as extensions of the game space into the physical realm but tend to include objects more frequently associated with fan collecting activities. Taking an interdisciplinary approach that includes material culture studies and media studies, I show how feelies allow scholars to gain further insight into how screen media operate away from the screens themselves, how the accumulation of material objects in the digital age encourages us to reevaluate our notions of the material and the immaterial, and how the concept of play is crucial to understanding how these objects are reappropriated in ways that move beyond their originally intended use.

Sign in / Sign up

Export Citation Format

Share Document