We propose an explanatory approach to Café Wall type illusions that is simple yet fairly comprehensive. These illusions are constructed out of basic elementary units in a jigsaw-like manner. Each unit, in general, contains both a solid body and a thin tail: the contrast polarity between the two determines the direction of the contributory illusory tilt produced by that element—according to a heuristic rule illustrated in figure 1. Ensembles of these elements exhibit illusory tilts only when the tails of the elements align along a common line in an additive manner. When elements of opposing polarity alternate, the illusion is cancelled. This approach extends and supersedes those presented in Pinna's illusion of angularity and Kitaoka's ‘acute’ corner effect. Furthermore, it appears to be, in part, compatible with existing mechanisms proposed to account for the emergence of local tilt cues, and it suggests several novel variations on the Café Wall theme.

A physically stationary stimulus surrounded by a moving stimulus appears to move in the opposite direction. There are similarities between the characteristics of this phenomenon of induced motion and surround suppression of directionally selective neurons in the brain. Here, functional magnetic resonance imaging was used to investigate the link between the subjective perception of induced motion and cortical activity. The visual stimuli consisted of a central drifting sinusoid surrounded by a moving random-dot pattern. The change in cortical activity in response to changes in speed and direction of the central stimulus was measured. The human cortical area hMT+ showed the greatest activation when the central stimulus moved at a fast speed in the direction opposite to that of the surround. More importantly, the activity in this area was the lowest when the central stimulus moved in the same direction as the surround and at a speed such that the central stimulus appeared to be stationary. The results indicate that the activity in hMT+ is related to perceived speed modulated by induced motion rather than to physical speed or a kinetic boundary. Early visual areas (V1, V2, V3, and V3A) showed a similar pattern; however, the relationship to perceived speed was not as clear as that in hMT+. These results suggest that hMT+ may be a neural correlate of induced motion perception and play an important role in contrasting motion signals in relation to their surrounding context and adaptively modulating our motion perception depending on the spatial context.

We examined a variant of the anomalous motion illusion. In a series of experiments, we ascertained luminance contrast to be the critical factor. Low-contrast random dots showed longer latency than high-contrast ones, irrespective of whether they were dark or light (experiments 1–3). We conjecture that this illusion may share the same mechanism with the Hess effect, which is characterised by visual delay of a low-contrast, dark stimulus in a moving situation. Since the Hess effect is known as the monocular version of the Pulfrich effect, we examined whether illusory motion in depth could be observed if a high-contrast pattern was projected to one eye and the same pattern of low-contrast was presented to the other eye, and they were binocularly fused and swayed horizontally. Observers then reported illusory motion in depth when the low-contrast pattern was dark, but they did not when it was bright (experiment 4). Possible explanations of this inconsistency are discussed.

The color-dependent motion illusion in stationary images—a special type of the Fraser–Wilcox illusion—is introduced and discussed. The direction of illusory motion changes depending on whether the image is of high or low luminance and whether the room is bright or dark. This dimorphism of illusion was confirmed by surveys. It is suggested that two different spatial arrangements of color can produce the motion illusion. One is a spatial arrangement where long- and short-wavelength color regions sandwich a darker strip; the other is where the same color regions sandwich a brighter strip.

Visual illusions constitute an interesting perceptual phenomenon, but they also have an aesthetic and affective dimension. We hypothesized that the illusive nature itself causes the increased aesthetic and affective valence of illusions compared with their non-illusory counterparts. We created pairs of stimuli. One qualified as a standard visual illusion whereas the other one did not, although they were matched in as many perceptual dimensions as possible. The phenomenal quality of being an illusion had significant effects on “Aesthetic Experience” (fascinating, irresistible, exceptional, etc), “Evaluation” (pleasant, cheerful, clear, bright, etc), “Arousal” (interesting, imaginative, complex, diverse, etc), and “Regularity” (balanced, coherent, clear, realistic, etc). A subsequent multiple regression analysis suggested that Arousal was a better predictor of Aesthetic Experience than Evaluation. The findings of this study demonstrate that illusion is a phenomenal quality of the percept which has measurable aesthetic and affective valence.

This study focuses on a configurational coincidence among six different illusions, two being motion illusions (reversed phi movement and phi movement), two being binocular stereo effects (Anstis - Rogers type and Gregory - Heard type), one being a position illusion (Gregory - Heard illusion), and one being an orientation illusion (Café-Wall-like tilt illusion). The stimuli of these six illusions or effects share the same configuration, in which a thin region is flanked by thick regions of different luminances. A phenomenological comparison is conducted with the use of dynamic demonstrations as well as static ones. In particular, the reversed phi movement is extensively discussed.