Inclusive design does not stop at removing physical obstacles such as staircases. It also involves identifying architectural features that impose sensory burdens, such as repetitive visual patterns that are known to potentially cause dizziness or visual discomfort. In order to assess their influence on human gait and its stability, three repetitive patterns-random dots, repetitive stripes, and repetitive waves (Lisbon pattern)-were displayed in a coloured and greyscale variant in a virtual reality (VR) environment. The movements of eight participants were recorded using a motion capture system and electromyography (EMG). During all test conditions, a significant increase in the muscular activity of leg flexor muscles was identified just before touchdown. Further, an increase in the activity of laterally stabilising muscles during the swing phase was observed for all of the test conditions. The lateral and vertical centre of mass (CoM) deviation was statistically evaluated using a linear mixed model (LMM). The patterns did cause a significant increase in the CoM excursion in the vertical direction but not in the lateral direction. These findings are indicative of an inhibited and more cautious gait style and a change in control strategy. Furthermore, we quantified the induced discomfort by using both algorithmic estimates and self-reports. The Fourier-based methods favoured the greyscaled random dots over repetitive stripes. The colour metric favoured the striped pattern over the random dots. The participants reported that the wavey Lisbon pattern was the most disruptive. For architectural and structural design, this study indicates (1) that highly repetitive patterns should be used with care in consideration of their impact on the human visuomotor system and its behavioural effects and (2) that coloured patterns should be used with greater caution than greyscale patterns.

Among the many important empirical and theoretical contributions in her career Clayton and her colleagues advanced the idea that comparative cognition researchers would benefit from considering the role of magic and the techniques of the magician in some areas of cross-species cognitive study. They provided compelling and exciting studies using the techniques of the magician and demonstrated how those affect nonhuman animals that rely on vision, showing that there are similarities and dissimilarities in how susceptible some nonhuman species are to the magician\'s effects that typically work so well on human observers.

In the McGurk effect, visual speech from the face of the talker alters the perception of auditory speech. The diversity of human languages has prompted many intercultural studies of the effect in both Western and non-Western cultures, including native Japanese speakers. Studies of large samples of native English speakers have shown that the McGurk effect is characterized by high variability in the susceptibility of different individuals to the illusion and in the strength of different experimental stimuli to induce the illusion. The noisy encoding of disparity (NED) model of the McGurk effect uses principles from Bayesian causal inference to account for this variability, separately estimating the susceptibility and sensory noise for each individual and the strength of each stimulus. To determine whether variation in McGurk perception is similar between Western and non-Western cultures, we applied the NED model to data collected from 80 native Japanese-speaking participants. Fifteen different McGurk stimuli that varied in syllable content (unvoiced auditory \"pa\" + visual \"ka\" or voiced auditory \"ba\" + visual \"ga\") were presented interleaved with audiovisual congruent stimuli. The McGurk effect was highly variable across stimuli and participants, with the percentage of illusory fusion responses ranging from 3 to 78% across stimuli and from 0 to 91% across participants. Despite this variability, the NED model accurately predicted perception, predicting fusion rates for individual stimuli with 2.1% error and for individual participants with 2.4% error. Stimuli containing the unvoiced pa/ka pairing evoked more fusion responses than the voiced ba/ga pairing. Model estimates of sensory noise were correlated with participant age, with greater sensory noise in older participants. The NED model of the McGurk effect offers a principled way to account for individual and stimulus differences when examining the McGurk effect in different cultures.

Mirror therapy has become an effective and recommended intervention for a range of conditions affecting the upper limb (e.g. hemiparesis following stroke). However, little is known about how mirror feedback affects the control of bimanual movements (as performed during mirror therapy). In this study, in preparation for future clinical investigations, we examined the kinematics of bimanual circle drawing in unimpaired participants both with (Experiment 1) and without (Experiment 2) a visual template to guide movement. In both experiments, 15 unimpaired right-handed participants performed self-paced continuous bimanual circle-drawing movements with a mirror/symmetrical coordination pattern. For the mirror condition, vision was directed towards the mirror in order to monitor the reflected limb. In the no mirror condition, the direction of vision was unchanged, but the mirror was replaced with an opaque screen. Movements of both hands were recorded using motion capture apparatus. In both experiments, the most striking feature of movements was that the hand behind the mirror drifted spatially during the course of individual trials. Participants appeared to be largely unaware of this marked positional change of their unseen hand, which was most pronounced when a template to guide movement was visible (Experiment 1). Temporal asynchrony between the limbs was also affected by mirror feedback in both experiments; in the mirror condition, illusory vision of the unseen hand led to a relative phase lead for that limb. Our data highlight the remarkable impact that the introduction of a simple mirror can have on bimanual coordination. Modulation of spatial and temporal features is consistent with the mirror inducing a rapid and powerful visual illusion, the latter appearing to override proprioceptive signals.

In the \'double-drift\' illusion, local motion within a window moving in the periphery of the visual field alters the window\'s perceived path. The illusion is strong even when the eyes track a target whose motion matches the window so that the stimulus remains stable on the retina. This implies that the illusion involves the integration of retinal signals with non-retinal eye-movement signals. To identify where in the brain this integration occurs, we measured BOLD fMRI responses in visual cortex while subjects experienced the double-drift illusion. We then used a combination of univariate and multivariate decoding analyses to identify (1) which brain areas were sensitive to the illusion and (2) whether these brain areas contained information about the illusory stimulus trajectory. We identified a number of cortical areas that responded more strongly during the illusion than a control condition that was matched for low-level stimulus properties. Only in area hMT+ was it possible to decode the illusory trajectory. We additionally performed a number of important controls that rule out possible low-level confounds. Concurrent eye tracking confirmed that subjects accurately tracked the moving target; we were unable to decode the illusion trajectory using eye position measurements recorded during fMRI scanning, ruling out explanations based on differences in oculomotor behavior. Our results provide evidence for a perceptual representation in human visual cortex that incorporates extraretinal information.

Watching a magic trick is a unique experience in which seemingly impossible events appear possible but without any suspension of disbelief. Unfortunately, relatively little work has examined the psychological impact of this fascinating experience. In the current study, participants first completed a measure of the degree to which they disliked magic (Loathing of Legerdemain Scale: LOLS) and then watched a video that either contained a series of magic tricks (magic video) or carefully matched non-magic tricks (control video). Participants then rated the degree to which they experienced positive epistemic emotions (Epistemically Related Emotion Scale: ERES), their belief about impossible events being possible in the future (Modal Judgment Task: MJT), general optimism (State Optimism Measure: SOM) and subjective wellbeing (Satisfaction With Life Scale: SWLS). Compared to participants who watched the control video, those who saw the magic video reported more positive epistemic emotions on the ERES. There were no significant differences on the MJT, SOM and SWLS. Participants\' LOLS scores were negatively correlated with the ERES, SOM and SWLS, suggesting that those who like magic are more likely to experience positive epistemic emotions, have higher levels of general optimism, and express greater satisfaction with their lives. These findings are discussed within the context of short-term and long-term exposure to magic, along with recommendations for future work.

The Rotating Snakes illusion is a visual illusion where a stationary image elicits a compelling sense of anomalous motion. There have been recurring albeit anecdotal claims that the perception of illusory motion is more salient when the image consists of patterns with the combination of blue and yellow; however, there is limited empirical evidence that supports those claims. In the present study, we aimed to assess whether the Rotating Snakes illusion is more salient in its blue-yellow variation, compared to red-green and greyscale variations when the luminance of corresponding elements within the patterns were equated. Using the cancellation method, we found that the velocity required to establish perceptual stationarity was indeed greater for the stimulus composed of patterns with a blue-yellow combination than the other two variants. Our findings provide, for the first time, empirical evidence that the presence of colour affects the magnitude of illusion in the Rotating Snakes illusion.

This article focuses on the prevailing aspiration to reach a \"good-enough ending\" in analysis, a concept that is partly realistic and partly illusional. I discuss some of the obstacles that interfere with achieving this yearned for goal, and lead to endings that are far from the misleading illusion of the good-enough termination, that many of us believe we have achieved and are many more than it is commonly reported. I describe characteristics, obstacles, blockages, dreads within the analysand, within the analyst and in the space in between, which lead to endings which are far from good enough, by any criteria we might choose. These obstacles include the failure to distinguish between \"real\" versus \"similar to\"; emotional excess; emptying out of internal resources and toxemia of therapy/analysis; a fascination with certain levels of mind versus a neglect of others; osmotic pressure for oneness and the terror of perfection; and malignant nostalgia. Reflecting on such complex facets in the analytic process is relevant not only for a deeper understanding of illusions that we and our analysands hold with regard to endings, but also, implicitly, to the understanding of illusions, beliefs, and myths we and our patients have regarding beginnings.

One of the most important auditory categorization tasks a listener faces is determining a sound\'s domain, a process which is a prerequisite for successful within-domain categorization tasks such as recognizing different speech sounds or musical tones. Speech and song are universal in human cultures: how do listeners categorize a sequence of words as belonging to one or the other of these domains? There is growing interest in the acoustic cues that distinguish speech and song, but it remains unclear whether there are cross-cultural differences in the evidence upon which listeners rely when making this fundamental perceptual categorization. Here we use the speech-to-song illusion, in which some spoken phrases perceptually transform into song when repeated, to investigate cues to this domain-level categorization in native speakers of tone languages (Mandarin and Cantonese speakers residing in the United Kingdom and China) and in native speakers of a non-tone language (English). We find that native tone-language and non-tone-language listeners largely agree on which spoken phrases sound like song after repetition, and we also find that the strength of this transformation is not significantly different across language backgrounds or countries of residence. Furthermore, we find a striking similarity in the cues upon which listeners rely when perceiving word sequences as singing versus speech, including small pitch intervals, flat within-syllable pitch contours, and steady beats. These findings support the view that there are certain widespread cross-cultural similarities in the mechanisms by which listeners judge if a word sequence is spoken or sung.

I explore some similarities between experiences of music and of analytic sessions. I focus on qualities of evanescence, the way that music - in contrast to many other arts - in one perspective only lasts as long as it is actually being played. Then it\'s over. The analyst-patient discussion in a session is similar. Yet the psychic reverberations of some transient, fugitive moments may last a lifetime. And even when no verbally profound understanding is occurring, nevertheless the patient-analyst encounter is emotionally significant. I illustrate this with a clinical example. I explore transference as illusion, and the relationship between truth and illusion in terms of Bion\'s O. I end with thoughts about the paradoxical value of the illusoriness of aesthetics and nature as considered by Freud in his short paper \"On Transience\" (1916), and the grin of Lewis Carol\'s Cheshire Cat, left hanging in the air.