MODELLING OF PERCEPTUAL GLOSS BY PHYSICAL MEASUREMENT OF FLAT SURFACE

While ‘physical gloss’ exists as a physically measurable index, people perceive a ‘perceptual gloss’ as gloss on object surfaces. However, the physical gloss does not always match the perceptual gloss. Thus, we analysed the relationship between physical features and perceptual gloss by measuring the physical properties of object surfaces, including physical gloss. For the experiment, we prepared 127 samples of flat objects that consisted of three materials: paper, resin, and metal plating. Perceptual gloss was visually evaluated using a magnitude estimation method. Plural measurements were conducted to obtain physical features such as gloss unit, haze, distinctness of image (DOI), luminance image features, and transmittance of the samples. Then, we constructed a prediction model of perceptual gloss using these physical features and perceptual gloss through multiple regression analysis. As a result, the prediction accuracy was improved by combining multiple physical quantities with simple regression, using only a gloss unit.

Accumulation of Corresponding Colours Under Extreme Chromatic Illuminations and modification of CAM16

The goal of this study was to investigate the chromatic adaptation under extreme chromatic lighting conditions using the magnitude estimation method. The locations of the lightings on CIE1976 u′v′ plane were close to the spectrum locus, so the colour purity was far beyond the previous studies, and the data could test the limitations of the existing models. Two psychophysical experiments were carried out, and 1,470 estimations of corresponding colours were accumulated. The results showed that CAT16 gave a good prediction performance for all the chromatic lightings except for blue lighting, and the degree of adaptation was relatively high, that is, D was close to 1. The prediction for blue lightings was modified, the results showed the performance of CAM16 could be improved by correcting the matrix instead of the D values.

Creating Musical Cadences via Conceptual Blending

The cognitive theory of conceptual blending may be employed to understand the way music becomes meaningful and, at the same time, it may form a basis for musical creativity per se. This work constitutes a case study whereby conceptual blending is used as a creative tool for inventing musical cadences. Specifically, the perfect and the renaissance Phrygian cadential sequences are used as input spaces to a cadence blending system that produces various cadential blends based on musicological and blending optimality criteria. A selection of “novel” cadences is subject to empirical evaluation in order to gain a better understanding of perceptual relationships between cadences. Pairwise dissimilarity ratings between cadences are transformed into a perceptual space and a verbal attribute magnitude estimation method on six descriptive axes (preference, originality, tension, closure, expectancy, and fit) is used to associate the dimensions of this space with descriptive qualities (closure and tension emerged as the most prominent qualities). The novel cadences generated by the computational blending system are mainly perceived as single-scope blends (i.e., blends where one input space is dominant), since categorical perception seems to play a significant role (especially in relation to the upward leading note movement). Insights into perceptual aspects of conceptual bending are presented and ramifications for developing sophisticated creative systems are discussed.

The Illusions of Numerosity

The illusions of numerosity can be broadly divided into two main categories (a) illusions of numerosity that can be observed in many classical illusions of linear or area extent just replacing the uninterrupted lines by rows of dots, or putting the elements to judge in the area, and (b) illusions in which the participants are clearly aware that the numbers of the elements to estimate are equal in two patterns, but despite this fact they judge that the elements in one pattern are “more” than in the other. Using a constant stimuli method both length/area and numerosity illusions move in the same direction, whereas using a magnitude estimation method the illusions disappear or move in opposite direction. All of this suggests the existence of at least two different cognitive mechanisms at the basis of this phenomenon.

Pain from the life cycle perspective: Evaluation and Measurement through psychophysical methods of category estimation and magnitude estimation

Objective: to describe acute and chronic pain from the perspective of the life cycle. Methods: participants: 861 people in pain. The Multidimensional Pain Evaluation Scale (MPES) was used. Results: in the category estimation method the highest descriptors of chronic pain for children/ adolescents were "Annoying" and for adults "Uncomfortable". The highest descriptors of acute pain for children/adolescents was "Complicated"; and for adults was "Unbearable". In magnitude estimation method, the highest descriptors of chronic pain was "Desperate" and for descriptors of acute pain was "Terrible". Conclusions: the MPES is a reliable scale it can be applied during different stages of development.