服装色彩视错觉对身材感知的影响与机制

以利用视错觉改善服装与人体结合呈现效果为目的,在多种色相条件下,对色彩饱和度高低与明度高低进行分组实验,测量消费者在不同条件下的唤醒、注意力、身材感知和购买意愿。采用方差分析、回归分析讨论色彩饱和度、明度分别对身材感知的影响以及唤醒、注意力在其中的中介作用。研究结果表明:高色彩饱和度服装比低饱和度服装的穿着效果更显胖,高明度比低明度的服装穿着效果更显胖,但前两种效应对消费者购买意愿影响差异均不显著;唤醒和注意力在饱和度对身材感知影响中起中介作用,具体表现为高色彩饱和度会引起高唤醒水平,吸引更多注意力,从而影响身材感知更胖,但这种中介作用仅仅在纯色服装中显著,而在条纹服装中不显著。     

北冈明佳运动错视作品的表现形式

日本著名错视大师北冈明佳创作的运动错视作品通过不同色彩和明度的运用,精心地排列和布局,创造出强烈的视幻之美。运动错觉是北冈明佳作品的一大特色,他将各种运动错觉展现在静态图片上,呈现出独特的视错觉效果,其运动错视包括旋转错视、波动错视、移动错视和发射错视4种表现形式。     

动态扫描背光使LCD电视呈现活力

动态扫描使背光在改善运动模糊控制和更精确的动态对比度控制方面前进了一大步。     

Pigeons perceive the Ebbinghaus-Titchener circles as an assimilation illusion.

A target circle surrounded by larger "inducer" circles looks smaller, and one surrounded by smaller circles looks larger than they really are. This is the Ebbinghaus-Titchener illusion, which remains one of the strongest and most robust of contrast illusions. Although there have been many studies on this illusion in humans, virtually none have addressed how nonhuman animals perceive the same figures. Here the authors show that the Ebbinghaus-Titchener figures also induce a strong illusion in pigeons but, surprisingly, in the other direction; that is, all five successfully trained pigeons judged the target circle surrounded by larger circles to be larger than it really is and vice versa. Further analyses proved that neither the gaps between target and inducer circles nor the cumulative weighted surface of these figural elements could account for the birds' responses. Pigeons are known to show similarities to humans on various cognitive and perceptual tasks including concept formation, short-term memory, and some visual illusions. Our results, taken together with pigeons' previously demonstrated failure at visual completion, provide strong evidence that pigeons may actually experience a visual world too different for us to imagine. (PsycINFO Database Record (c) 2010 APA, all rights reserved)     

A further investigation of the filled-duration illusion with a comparison between children and adults.

This study investigated the filled duration illusion in children in comparison to adults, using a temporal bisection task with two ranges of anchor durations (1 vs. 4s and 2 vs. 8s). The results revealed a marked filled duration effect when filled and empty durations were presented in the same session (within-subjects condition), with the filled durations being judged to be longer than the empty durations in all age groups. However, the magnitude of this effect appeared to be larger in the children than in the adults. Furthermore, the filled duration effect decreased with the longest duration stimuli, and apparent reversals of this effect were observed with the empty durations being judged longer. In the between-subjects experiment, the filled duration effect disappeared in all age groups. However, in the children, the variability in the temporal judgment appeared to be greater for the empty than for the filled durations, thus indicating a lower sensitivity to empty durations. (PsycINFO Database Record (c) 2010 APA, all rights reserved)     

To Kirsti: 'from Art History with Love…' Perspective: Then and Now, and Artistic Practice

Perspective, (a central projection) is a method to convey space in the pictorial arts as well as in many other areas, where one wants to use images to convey information. It was invented/developed in the 15th century in an artistic ambience in Firenze, and it still plays an important role in art in the 21st century. Therefore it is of interest for art historians to follow both how perspective developed over the centuries in mathematics and to analyze how artists interpreted the basic mathematical construction in order to obtain pictorial illusion. I focus on two examples: One from around 1600 (Caravaggio), and another from around 1900 (Duchamp) in order to show how these artists adapted the basic mathematical construction to the motif of an image.     

Remembering makes evidence compelling: Retrieval from memory can give rise to the illusion of truth.

The illusion of truth is traditionally described as the increase in perceived validity of statements when they are repeated (Hasher, Goldstein, & Toppino, 1977). However, subsequent work has demonstrated that the effect can arise due to the increased familiarity or fluency afforded by repetition and not necessarily to repetition per se. We examine the case of information retrieved from memory. Recently experienced information is expected to be subsequently reexperienced as more fluent and familiar than novel information (Jacoby, 1983; Jacoby & Dallas, 1981). Therefore, the possibility exists that information retrieved from memory, because it is subjectively reexperienced at retrieval, would be more fluent or familiar than when it was first learned and would thus lead to an increase in perceived validity. Using a method to indirectly poll the perceived truth of factual statements, our experiment demonstrated that information retrieved from memory does indeed give rise to an illusion of truth. The effect was larger than when statements were explicitly repeated twice and was of comparable size to when statements were repeated 4 times. We conclude that memory retrieval is a powerful method for increasing the perceived validity of statements (and subsequent illusion of truth) and that the illusion of truth is a robust effect that can be observed even without directly polling the factual statements in question. (PsycINFO Database Record (c) 2010 APA, all rights reserved)     

试析人的心理和生理的诸多特点对空间形态创建的影响与控制

空间的最终形态是环境设计的目的和结果,形态的创造与构成与人的心理和生理有着密切的关系。本文通过对人在形态心理方面的多方的研究和剖析,指出了人的心理和生理特点对空间形态创建的诸多影响和形态形成的相关因素。另一方面为空间形态的设计提供科学的理论依据,并重视形态设计的视觉冲击力和心理感受力,从而更好在空间造型中控制形态的表现尺度。     

虚幻与真实：浩然的小说世界

浩然作品世界既有虚幻的进化论式的圆满，又有人物、事件之“真”，二者共同携手营造了一个想象的世界，从中能够感受到中国农村的时代脉搏，体现了中国农民在其历史进程中的价值追求和道德祈求。     

论视错觉图形在产品设计中的应用

主要探讨了设计领域中存在的视错觉现象。首先分析了产品外观形态设计中的视错觉纠正,再以实例来探讨如何使视错觉图形与产品形态进行有效融合,使设计更能给人以新奇感。