Previous research suggests that nonretinotopic information integration during motion can be
object-based. For instance, perceiving an object is suggested to induce a temporary, episodic representation in an object file. Re-perceiving that object automatically retrieves its object file, so that perception is enhanced when all of the attributes match those in the original object file and impaired if some attributes are changed (Treisman,
1992). A similar mechanism has been suggested for lower level feature processing, such as color integration (Nishida, Watanabe, Kuriki, & Tokimoto,
2007; Watanabe & Nishida,
2007). What can be integrated in such an object-based manner remains unclear. Low-level features such as motion and color can be integrated through attention tracking in continuous apparent motion (Cavanagh, Holcombe, & Chou,
2008), and form and motion can be integrated across frames during Ternus-Pikler apparent motion (Boi et al.,
2009), but tilt and motion aftereffects cannot transfer across frames (Boi, Ogmen, & Herzog,
2011). The differences in the specific paradigms used notwithstanding, our results show that both low-level (e.g., orientation) and high-level (e.g., form) information can actually be integrated across frames. Most importantly, previous research on mobile updating has been limited to a fixed relative position and thus unable to reveal the effect of reference frame; by directly manipulating the relative frame locations (i.e., object/frame-based influences are controlled in the conditions compared as the objects are on the
same contextual frame but differ in their relative locations
within the frame), our results reveal that such mobile integration relies on a
frame-centered, location-specific mechanism. These results naturally lead to the metaphor of an object “cabinet” by analogy to object “files,” in which objects (the files) are orderly coded in their relative spatial relations to the frame (the cabinet). This object cabinet coding heuristic may be the foundation of scene perception, which involves coding the spatial and contextual relations among objects and their frames. A hierarchical file and cabinet system might thus underlie our ability to integrate multiple objects into a scene and help to keep track of moving objects, particularly when visual information is not readily available (e.g., due to occlusion).