![]() As aftereffects become extended to increasingly abstract levels (Dils & Boroditsky, 2010), it is also blurs the distinction between visual and conceptual adjustments.Ī long-standing issue is the relationship between adaptation and learning. As discussed below, adaptation occurs over multiple timescales, but when these involve a switch in the possible function or mechanism, is still poorly understood. What constitutes a “brief” sensitivity change is also unclear. It is not clear to what extent these spatial and temporal adjustments should be treated as functionally distinct (Schwartz, Hsu, & Dayan, 2007), but they are often synonymously labeled with terms like adaptation or gain control. Visual coding adjusts not only to the recent past but also nearly instantaneously to changes in the spatial context. Even within the sensitivity adjustments that are normally described as light adaptation, there are many different mechanisms at play (Rieke & Rudd, 2009 Stockman, Langendorfer, Smithson, & Sharpe, 2006). However, the visual system exhibits an enormous variety of dynamic and experience-dependent adjustments, and it is difficult to give a functional definition of adaptation that can safely distinguish it from other forms of plasticity. Visual adaptation is operationally defined in terms of these brief exposures and aftereffects (Thompson & Burr, 2009). ![]() A second theme is that the effects and consequences of adaptation are pervasive throughout visual coding and may involve many common design principles.Īs the examples in Figure 1 illustrate, looking at a pattern for a short time typically results in a loss in sensitivity to the pattern and a bias in the appearance of other patterns. Yet, the basic aftereffects for faces are very similar to the aftereffects for color (Webster & MacLeod, 2011). Here again, there are a number of processes underlying these effects (including different levels of adaptation and possible foveal capture of the appearance of faces in the periphery). However, we confirmed that the effects also work with an image of Al Ahumada.) As you stare at the original image in the center, the distortions within the peripheral faces again fade from view, and the transient change to the undistorted face appears the most distinctive because of how it deviates from each adapting face. (In the spirit of this 10th anniversary issue, we used an image of Andrew Watson, the founding editor of the Journal of Vision. Figure 1b shows a variant of the illusion in which the color spots have been replaced with distorted images of a face (Winkler, McDermott, Caplovitz, & Webster, in press).
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