Husband and Father-in-Law: A Reversible Figure

1961 ◽  
Vol 74 (2) ◽  
pp. 312 ◽  
Author(s):  
Jack Botwinick
Keyword(s):  
Reversible Figure

A Problem for Koehler's Theory of Figural Aftereffects

1969 ◽  
Vol 29 (2) ◽  
pp. 528-530
Author(s):  
Eugene Abravanel
Keyword(s):  
Opposite Effect ◽  
Reversible Figure ◽  
Considerable Evidence

Consideration of Koehler's theory of figural aftereffects in the light of research on the alternation of Rubin's reversible figure indicates a serious problem for the theory which seems to have been overlooked. There is considerable evidence for the dominance of the narrower sector of the Rubin reversible figure. Yet, satiation theory would appear to predict the opposite effect under prolonged inspection.

Optical Defocusing Reverses Perceptual Organization

Perception ◽  
1979 ◽  
Vol 8 (2) ◽  
pp. 225-228 ◽  
Author(s):  
J Timothy Petersik
Keyword(s):  
Critical Point ◽  
Perceptual Organization ◽  
Reversible Figure ◽  
Similar Point ◽  
Spontaneous Reversal ◽  
Over Time

At a certain point during the defocusing of a reversible figure, the organization of the figure reversed unexpectedly, and the reversal seemed more abrupt than a spontaneous reversal. The critical point is approximately constant over time for a given subject, and a similar point occurs during refocusing. This phenomenon is discussed in terms of inhibition between competing neural structures.

When Scenes Look Like Materials: René Magritte’s Reversible Figure–Ground Motif

2020 ◽  
Vol 8 (3-4) ◽  
pp. 299-310
Author(s):  
J. Brendan Ritchie ◽  
Benjamin van Buren
Keyword(s):  
Image Segmentation ◽  
Perceptual Organization ◽  
Scene Perception ◽  
Reversible Figure ◽  
Image Statistics ◽  
Figural Region ◽  
Frequent Motif ◽  
Visual Segmentation ◽  
Positive Space

We draw attention to a frequent motif in the work of the Belgian surrealist René Magritte (1898–1967). In the motif, a scene is depicted that contains a silhouette, which itself contains another depicted scene. The silhouette is bistable, appearing either as a figural region whose positive space is covered, or filled, with the interior scene texture, or as a ground region providing a window onto a more distant scene. We call this the ‘reversible figure–ground motif’. Because the stimulus does not change when our percept changes, the motif’s appearance at any particular moment cannot be explained by its local or global image statistics. Instead principles of perceptual organization, and in particular image segmentation and figure–ground assignment, appear crucial for determining whether the interior of the silhouette is processed as a material vs. a scene — which in turn reflects the fundamental role of visual segmentation in material and scene perception more generally.

A New Reversible Figure

1972 ◽  
Vol 34 (1) ◽  
pp. 306-306
Author(s):  
James Gips
Keyword(s):  
Reversible Figure

Dissecting Perceptual Processes with a New Tri-Stable Reversible Figure

Perception ◽  
10.1068/p7313 ◽  
2012 ◽  
Vol 41 (10) ◽  
pp. 1163-1185 ◽  
Author(s):  
Gerald M Long ◽  
Jared M Batterman
Keyword(s):  
Reversible Figure

An Auditory Analogue of the Visual Reversible Figure

1958 ◽  
Vol 71 (3) ◽  
pp. 612 ◽  
Author(s):  
Richard M. Warren ◽  
Richard L. Gregory
Keyword(s):  
Reversible Figure

Reinforcement in Figure-Ground Perception

1970 ◽  
Vol 31 (2) ◽  
pp. 403-407
Author(s):  
Richard A. Mc Farland
Keyword(s):  
The Other ◽  
Reversible Figure ◽  
The Face ◽  
Reward And Punishment

Two parts (faces) of a reversible figure were differentially reinforced by giving S money whenever he was shown one of the faces and taking money from him whenever he was shown the other face. After these reinforcement trials, the 24 Ss were able to locate the face previously associated with reward reliably more rapidly than the other face. The results were interpreted as indicating that changes in figure perception may be influenced by past histories of reward and punishment associated with the figures.

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