A cheetah in a bare cage at the zoo stands out like a spotted fur coat, but in its natural habitat of shrubs and tall grasses its spots provide camouflage. While motion can break this camouflage, from the prey's point of view the cheetah may still be partially concealed by the undergrowth, and appear as disconnected groups of ambiguously moving spots. In order to perceive the cheetah, the prey must overcome these potential ambiguities and perceive a unified moving entity. Here, we examine some factors that influence the perceptual grouping of moving spots into local or global motion.
Visual ambiguities in perceiving form are well known and tend to exhibit both static and dynamic characteristics. For instance, the Necker cube (
Figure 1a) is a static figure that appears to flip back and forth spontaneously in depth, without any change in the physical stimulus. Navon (
1977,
1983) found that a large global figure (the letter ‘N’) will generally be identified before the local elements from which it is constructed (the letters ‘S’). This demonstration, shown in
Figure 1b, suggests “the forest is seen before the trees”. The global percept occurs initially, and then the large ‘N’ and small ‘S’ characters tend to alternate in salience over time due to an emerging perceptual ambiguity. Since our percepts change even though these static displays do not, Necker cubes and Navon letters reveal the brain's computations occurring in real time. While global structures initially tend to be perceived with these static objects, little is known about how perceptual grouping is applied to objects that move globally.
Despite the many possible ways in which moving visual features can be grouped together, we are skilled at linking seemingly ambiguous moving spots together into meaningful structures. For example, when viewing the biological motion of a point-light walker (Johansson,
1973) we reliably perceive a walking human figure. As in the Dry Bones song (Ezekiel 37 1–14), we see the wrist-light [is] connected to the elbow-light [which is] connected to the shoulder-light. The wrist-light never appears to be connected to the hip- or knee-light. The visual system rapidly connects the dots to reveal the point-light walker almost immediately (Johansson,
1973). We can even distinguish the sex, weight and mood of a walker simply from the way the lights move in concert (Troje,
2002). Therefore, percepts of global motion appear to arise from an extensive, high-level analysis of visual motion.
High-level cognitive processes have been implicated in motion transparency perceived from distributed patterns of local motion (e.g., McOwan & Johnston,
1996; Qian, Andersen, & Adelson,
1994). Multiple scene elements can move at the same juxtaposition in the visual field, so there is potential for the motion occurring in one part of the display to be attributed to multiple causes at any one time. It has been shown that several factors can influence the perception of motion transparency, including distal scene information, luminance, and contrast modulation (e.g., Braddick et al., 1980; Ma-Wyatt, Clifford, & Wenderoth,
2005; McDermott & Adelson,
2004; McDermott, Weiss, & Adelson,
2001; McOwan & Johnston,
1996). McOwan and Johnston (
1996) found that the transparent motion of surfaces could be perceived from local 2D arrays of rotating features that were defined by either luminance or local contrast modulation alone. It is possible that common grouping processes underlie the appearance of both static global figures and motion transparency. If so, then the perception of local versus global motion may depend on similar constraints (see also Ramachandran & Anstis,
1985,
1986), which we examine below. These constraints include the time course of learning and adaptation to visual motion presentations; local object spacing (proximity); similarity in object luminance; orientations of edge-defining contours and their motion trajectories.
In our experiments we constructed displays of moving spots or lines that could be perceptually linked together in multiple ways. These ambiguous motion displays (see
Movies 1–
8) can be interpreted either as local motion occurring at small parts of the display, or as global motion occurring across the whole display. We first examine the effects of object density, luminance, and orientation of moving visual features on perceived local and global motion. Later, we assess the effect of high-level information on the formation of local and global motion percepts.