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Linking brain to behavior for the visual perception of figures and objects

Published online by Cambridge University Press:  23 August 2013

JEREMY D. FESI*
Affiliation:
Department of Ophthalmology, McGill University, Montreal, Quebec, Canada
JANINE D. MENDOLA
Affiliation:
Department of Ophthalmology, McGill University, Montreal, Quebec, Canada
*
*Address correspondence to: Jeremy D. Fesi, Department of Ophthalmology, McGill University, Montreal, Quebec H3A 1A1, Canada. E-mail: jeremy.fesi@mail.mcgill.ca
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Abstract

The dissociation of a figure from its background is an essential feat of visual perception, as it allows us to detect, recognize, and interact with shapes and objects in our environment. In order to understand how the human brain gives rise to the perception of figures, we here review experiments that explore the links between activity in visual cortex and performance of perceptual tasks related to figure perception. We organize our review according to a proposed model that attempts to contextualize figure processing within the more general framework of object processing in the brain. Overall, the current literature provides us with individual linking hypotheses as to cortical regions that are necessary for particular tasks related to figure perception. Attempts to reach a more complete understanding of how the brain instantiates figure and object perception, however, will have to consider the temporal interaction between the many regions involved, the details of which may vary widely across different tasks.

Information

Type
Linking performance and neural mechanisms in adults
Copyright
Copyright © Cambridge University Press 2013 
Figure 0

Fig. 1. Examples of figure contrast. Most experiments on figure contrast investigate sensitivity to only one type of contrast, such as (A) luminance or (B) texture, yet real figures are defined by multiple combined cues. (C) This schematic example shows a figure defined by texture, luminance, and spatial frequency contrast, whereas (D) shows a more realistic figure defined by luminance and texture contrast, plus some depth and shading cues.

Figure 1

Fig. 2. Gestalt illusory shapes. In (A), the arrangement of the pacman inducers elicits the perception of an illusory white triangle occluding three black circles. The triangle results from modal completion of the gapped boundaries into a coherent figure contour, while the perception of the pacmen as occluded circles represents amodal completion of their hidden surfaces. In (B), the white triangle shape is completed amodally, and appears as if viewed from three holes in a wall.

Figure 2

Fig. 3. Model of figure processing.

Figure 3

Fig. 4. A variant of the Kanizsa square with rounded, slightly misaligned inducers. Despite the absence of illusory contours, the salient region of configural closure is preserved. Because of this, it can be segmented from a scene of randomly oriented inducers.

Figure 4

Fig. 5. Rubin’s face/vase illusion. The image above can be seen as either a white vase in the center or two black faces to each side, but never both percepts at once. This is because the vase and the faces are defined by the same line boundaries and because the perception of any region as a figure requires the “ownership” of a boundary as the contours of the figure. Thus, the vase and faces compete for “border ownership,” and the figure/ground organization changes with each perceptual shift in border assignment.

Figure 5

Fig. 6. Our own images of pictorially implied volume, inspired directly by Tse (1999). (A) Depicts a “sea monster” surface that requires the binding of multiple 2D components and the amodal completion of the monster’s hidden parts. (B) Depicts a self-occluding object surface.