People can represent temporal stimuli (e.g., pictures depicting past and future events) as spatially connoted dimensions arranged along the three main axes (horizontal, sagittal, and vertical). For example, past and future events are generally represented, from the perspective of the individuals, as being placed behind and in front of them, respectively. Here, we report that such a 3D representation can also emerge for facial stimuli of different ages. In three experiments, participants classified a central target face, representing an individual at (...) different age stages, as younger or older than the reference face of 40 years. Manual responses were provided with two keys placed along the horizontal axis (Experiment 1), the sagittal axis (Experiment 2), and the vertical axis (Experiment 3). The results indicated that the younger faces were represented on the left/back/top side of the space, whereas the older faces were represented on the right/forward/bottom side of the space. Furthermore, in all experiments, the latencies decreased with the absolute difference between the age of the target face and that of the reference face (i.e., a distance effect). Overall, this work suggests that the spatial representation of time includes social features of the human face. (shrink)

Visual modules can be viewed as expressions of a marked analytic attitude in the study of vision. In vision psychology, this attitude is accompanied by hypotheses that characterize how visual modules are thought to operate in perceptual processes. Our thesis here is that there are what we call “intrinsic reasons” for the presence of such hypotheses in a vision theory, that is, reasons of a deductive kind, which are imposed by the partiality of the basic terms in the definition of (...) a module, and by peculiar characteristics of those terms. Specifically, we discuss three hypotheses of functional attributes: successive stages in the action of modules, residual indeterminacy of their effects, and the role of prior constraints. For each of the three, we indicate its occurrence in perceptual psychology, explain corresponding intrinsic reasons, and illustrate such reasons with examples. (shrink)

Summary By introducing the concept of “invariants”, Koffka endowed perceptual psychology with a flexible theoretical tool, which is suitable for representing vision situations in which a definite part of the stimulus pattern is relevant but not sufficient to determine a corresponding part of the perceived scene. He characterised his “invariance principle” as a principle conclusively breaking free from the “old constancy hypothesis”, which rigidly surmised point-to-point relations between stimulus and perceptual properties. In this paper, we explain the basic terms and (...) assumptions implicit in Koffka’s concept, by representing them in a set-theoretic framework. Then, we highlight various aspects and implications of the concept in terms of answers to six separate questions: forms of invariants, heuristic paths to them, what is invariant in an invariant, roots of conditional indeterminacy, variability vs. indeterminacy, and overcoming of the indeterminacy. Lastly, we illustrate the lasting value and theoretical power of the concept, by showing that Koffka’s insights relating to it do occur in modern perceptual psychology and by highlighting its role in a model of perceptual transparency. (shrink)