Increased color preference through the introduction of luminance noise in chromatic stimuli
Luis Carlos Pereira MonteiroFelipe BritoEliza Maria da Costa Brito LacerdaPaulo Roney Kilpp GoulartLetícia MiquiliniMarcelo Fernandes CostaRachel Coelho RipardoDora Fix VenturaGivago da Silva Souza
0
Citation
34
Reference
10
Related Paper
Abstract:
Humans exhibit consistent color preferences that are often described as a curvilinear pattern across hues. The recent literature posits that color preference is linked to the preference for objects or other entities associated with those colors. However, many studies examine this preference using isoluminant colors, which don't reflect the natural viewing experience typically influenced by different light intensities. The inclusion of random luminance levels (luminance noise) in chromatic stimuli may provide an initial step towards assessing color preference as it is presented in the real world. Employing mosaic stimuli, this study aimed to evaluate the influence of luminance noise on human color preference. Thirty normal trichromats engaged in a two-alternative forced-choice paradigm, indicating their color preferences between presented pairs. The chromatic stimuli included saturated versions of 8 standard hues, presented in mosaics with varying diameters under different luminance noise conditions. Results indicated that the inclusion of luminance noise increased color preference across all hues, specifically under the high luminance noise range, while the curvilinear pattern remained unchanged. Finally, women exhibit a greater sensitivity to the presence of luminance noise than men, potentially due to differences between men and women in aesthetic evaluation strategies.There is an ongoing debate related to whether chromatic motion perception arises as a consequence of a chromatic signal only (eg Wandell et al 1999 Neuron24 901–909) or a signal that is essentially based on luminance processes (luminance artifacts) (Mullen et al 2003 Vision Research43 1235–1247). These two views conform to the idea that colour and luminance processes are physiologically independent (Livingstone and Hubel 1988 Science240 740–749), but according to other reports many primary cortical ‘V1’ cells respond to both colour and luminance contrast (eg Vidyasagar et al 2002 European Journal of Neuroscience16 945–956). A psychophysical task was designed to test whether possible interaction between luminance and chromatic contrast could account for perception of chromatic motion. It is shown that subjects respond in a manner that reflects involvement of both processes.
Filling-in
Cite
Citations (2)
Cite
Citations (15)
Shapiro and colleagues (journalofvision.org/4/6/5 and 3/9/313) have developed a class of visual stimuli capable of separating the visual response to 1st-order information (i.e., chromaticity or luminance) from the response to 2nd-order information (i.e., chromatic or luminance contrast). The basic version of the stimulus consists of two physically identical disks, one surrounded by a dark annulus and the other by a light annulus. When the luminance levels of the disks are modulated sinusoidally in time, the 1st-order information from the disks modulates in phase, while the 2nd-order information modulates in antiphase. At 1 Hz, observers can track both the 1st- and 2nd-order information, creating the paradoxical impression that the disks modulate in antiphase but become light and dark at the same time. Analogous stimuli can be created for color. Here, we show that for both chromatic and luminance lights, the 2nd-order response predominates at higher temporal frequencies. This effect is not likely to be due to luminance artifacts since the intentional addition of luminance into the chromatic modulation eliminates the antiphase appearance. Further evidence for a fast chromatic contrast response comes from a novel experiment in which observers match the perceived modulation rate of a chromatically flickering light on a chromatic background (no contrast reversal) to the same light on a mid-white background (contrast reversal). Lights on the white background appear to modulate at twice the frequency of lights on the chromatic background, indicating the presence of a rectified chromatic contrast response. We propose the presence of two chromatic responses (1st and 2nd order). Chromatic thresholds are determined mostly by the 1st-order response; therefore, the 2nd-order chromatic response can be observed only at super-threshold levels. Luminance thresholds appear to be determined by a 2nd-order response. We will discuss the implications for color coding in the visual cortex.
Chromaticity
Stimulus (psychology)
Cite
Citations (0)
We determined the functional relationship between chromatic induction and luminance of the inducing stimulus for different spatial conditions and assessed whether the effects of luminance and spatial variables could be explained in terms of the total effective energy in the inducing field. The result showed that the relationship between chromatic induction and luminance of the inducing stimulus could be mathematically expressed by an exponential function of the luminance ratio between the test and inducing stimuli and that the coefficient of the exponent was independent of spatial variables, i.e., area and separation. This led to the conclusion that a luminance ratio between two fields, rather than a quantum energy of the inducing field, was a relevant determinant of the effect of luminance of the inducing stimulus on chromatic induction.
Stimulus (psychology)
Second-order stimulus
Cite
Citations (9)
The ‘colour-shading effect’ (Nat. Neuro., 2003, 6, 641) describes how perceived 3D-shape-from-shading in flat luminance patterns is enhanced by non-aligned, and suppressed by aligned chromatic patterns. We investigated the colour specificity of the effect using mixed colour-and-luminance-defined sine-wave plaids, in which the chromatic contrast components were defined along the cardinal axes of colour space: L-M (red to bluish-green) and S-(L+M) (violet to yellowish-green). L-M and S-(L+M) contrast was found to be equally effective at triggering apparent depth in the superimposed, orthogonal-in-orientation (i.e. non-aligned) luminance contrast component, providing the L-M and S-(LUM) contrasts were equated for visibility. As with previous findings, adding colour contrast in alignment, and in phase, to the luminance component suppressed apparent depth. We found that the amount of suppression was the same irrespective of whether the enhancing and suppressing colour contrasts were defined along the same, or along different cardinal axes. These results suggest that the colour-shading effect is agnostic with regard to the particular type and combination of enhancing and suppressing colour contrasts. In turn this implies that the assumptions made by the visual system that arguably underlie the colour-shading effect, namely that chromatic variations arise primarily from variations in spectral reflectance, whereas near-pure luminance variations primarily arise from inhomogenous illumination, are of a general nature and are not limited to certain colour contrasts, or colour-contrast combinations.
Shading
Visibility
Contrast ratio
Cite
Citations (0)
A sinusoidal luminance grating can be perceived as a surface with a series of depth corrugations. Chromatic information can alter the perceived depth of the corrugations: Kingdom's ‘colour-shading effect’. He found that a chromatic sinusoid, orthogonal to a luminance sinusoid, enhances the perceived depth of the luminance-defined corrugation, whilst aligned chromatic sinusoids suppress the depth. One reason put forward for this is that, in the natural world, pure luminance change is likely due to shadow or shading; the co-occurrence of luminance and chromatic change is likely due to reflectance change. In our study, depth perception from shading was explored with a simple combination of chromatic and luminance sinusoids. The stimuli consisted of a luminance and a chromatic sinusoid (each 0.75 cpd), either having the same or orthogonal orientation. Observers were asked to match the amplitude of depth perceived in the luminance corrugation with that of a circular depth pedestal (diameter 2 deg), in a random dot stereogram. As the colour-shading effect predicts, we found for the orthogonal condition, that depth did increase as either chromatic or luminance contrast was increased in the stimuli, although there were large variations in the strength of the effect across our pool of 14 na&ıuml;ve participants. When the chromatic and luminance sinusoids were aligned, some of our observers reported the expected decrease in perceived depth as chromatic contrast was increased. However, around one third of our participants reported instead an increase in the perceived depth. Not all of our participants behave as if the co-occurrence of a luminance and chromatic edge is due to a reflectance change (i.e. a change in the material colour). This challenges the basic logic behind the colour-shading effect. Simpler arguments, based on masking between chromatic and luminance channels could provide an alternative explanation for the perceived depth variation.
Shading
Cite
Citations (0)
The composition of a stimulus may affect how cues are combined. A thin luminance ring surrounding a uniform chromatic test facilitates contrast detection as much as a uniform luminance pedestal (Cole, Stromeyer & Kronauer, 1990, JOSA A, 7(1), 128-140). This could suggest that there is a specific facilitatory relationship between luminance lines and chromatic edges that is not present in other combinations. Therefore, combining luminance lines and chromatic edges could also improve performance in edge detection tasks. Here we use a novel task, perturbation detection, target gratings were sinusoidally perturbed in space and subjects were asked to detect which of two stimuli was not straight. Perturbation thresholds, were measured for chromatic and luminance defined line and square-wave gratings alone and in combination. The introduction of a line mask produced increased thresholds in all conditions. However, the introduction of a chromatic square-wave mask improved perception of perturbation in luminance lines, whereas the introduction of a luminance defined square-wave mask has little effect on the perturbation thresholds for chromatic lines. This could suggest that when a luminance line is presented with a chromatic edge, such as the chromatic boundaries in a square-wave grating, the chromatic information becomes ‘tied’ to the luminance information. The perceived location of the chromatic edge may be determined by the location of the luminance line.
Cite
Citations (0)
Annulus (botany)
Transient (computer programming)
Cite
Citations (13)
In a compelling demonstration Wandell (1995) showed that blurring the chromatic but not luminance layer of an image of a natural scene failed to elicit any impression of blur. Subsequent studies have suggested that the effect is due either to masking of the chromatic blur by the sharp luminance edges in the image (Sharman et al., 2013) or to a relatively compressed transducer function for chromatic blur (Kingdom et al., 2015). To test between these alternatives we first measured points of subjective equality (PSE) and precisions (thresholds) for Gaussian blurred circles. Perceived chromatic blur was found to be equal to perceived luminance blur, and was independent of contrast level. Introducing a sharp luminance step-edge had no effect on the perceived level of chromatic blur. However, in a subsequent experiment using images of natural scenes, the perceived blur of the chromatic layer was reduced in the presence of the luminance layer, as was also the chromatic blur precision (thresholds), in keeping with the results of Sharman et al. (2013). Yet, when the luminance layer was rotated relative to the chromatic layer, which removed the color-luminance edge correlations, chromatic blur precision was even worse, even although PSEs were restored to near-veridicality. We conclude that both luminance masking and chromatic scale compression contribute to the Wandell effect. Meeting abstract presented at VSS 2016
Cite
Citations (0)
The use of large-field stimuli to elicit chromatic visual evoked potentials from the S-(L+M) pathway is useful for evaluation of compromised retinas. However the use of large fields has been criticized as containing luminance intrusion due in part to the distribution of macular pigment across the retina. We tested the effects of luminance intrusion on the chromatic component (CII) of the onset VEP waveforms. Over a range of luminance mismatches, the latencies of the chromatic waveform components were unaffected by luminance intrusion. Responses to low spatial frequency luminance onsets are known to be highly variable. Consequently, the affects of luminance mismatches were also highly variable. The degree to which intentional luminance mismatches affected the component latencies depended on the shape of individual achromatic components in the waveforms. However, over a range of luminance mismatches that should encompass that encountered by normal variations in macular pigment, the latencies were unaffected. These results suggest that luminance mismatches due to macular pigment differences across the retina have little effect on the latencies of the chromatic components of the VEP response to large field S cone stimuli.
Achromatic lens
Parvocellular cell
Cite
Citations (0)