The term "animacy perception" describes the ability of animals to detect cues that indicate whether a particular object in the environment is alive or not. Such skill is crucial for survival, as it allows for the rapid identification of animated agents, being them potential social partners, or dangers to avoid. The literature on animacy perception is rich, and the ability has been found to be present in a wide variety of vertebrate taxa. Many studies suggest arthropods also possess this perceptual ability, however, the term "animacy" has not often been explicitly used in the research focused on these models. Here, we review the current literature providing evidence of animacy perception in arthropods, focusing especially on studies of prey categorization, predator avoidance, and social interactions. First, we present evidence for the detection of biological motion, which involves recognizing the spatio-temporal patterns characteristic of liveliness. We also consider the congruency between shape and motion that gives rise to animacy percept, like the maintenance of a motion direction aligned with the main body axis. Next, we discuss how some arthropods use static visual cues, such as facial markings, to detect and recognize individuals. We explore the mechanisms, development, and neural basis of this face detection system, focusing on the well-studied paper wasps. Finally, we discuss thanatosis-a behavior in which an animal feigns death to disrupt cues of liveliness-as evidence for the active manipulation of animacy perception in arthropods.
Download full-text PDF |
Source |
---|---|
http://www.ncbi.nlm.nih.gov/pmc/articles/PMC11617153 | PMC |
http://dx.doi.org/10.3389/fpsyg.2024.1492239 | DOI Listing |
Front Behav Neurosci
December 2024
Department of Neurophysiology, Niigata University School of Medicine, Niigata, Japan.
Animacy perception, the ability to discern living from non-living entities, is crucial for survival and social interaction, as it includes recognizing abstract concepts such as movement, purpose, and intentions. This process involves interpreting cues that may suggest the intentions or actions of others. It engages the temporal cortex (TC), particularly the superior temporal sulcus (STS) and the adjacent region of the inferior temporal cortex (ITC), as well as the dorsomedial prefrontal cortex (dmPFC).
View Article and Find Full Text PDFFront Hum Neurosci
November 2024
Professorship for Social Brain Sciences, ETH Zurich, Zurich, Switzerland.
Introduction: Artificial intelligence (AI) and robots are increasingly shaping the aesthetic preferences of art consumers, influencing how they perceive and engage with artistic works. This development raises various questions: do cues to the humanness of the origin of an artwork or artist influence our aesthetic preferences?.
Methods: Across two experiments, we investigated how the perception and appreciation of dance is influenced by cues to human animacy.
Front Psychol
November 2024
Center for Mind/Brain Sciences, University of Trento, Trento, Italy.
Atten Percept Psychophys
December 2024
Department of Psychology, Yale University, New Haven, CT, USA.
Experimenters often ask subjects to rate displays in terms of high-level visual properties, such as animacy. When do such studies measure subjects' visual impressions, and when do they merely reflect their judgments that certain features should indicate animacy? Here we introduce the 'Blindfold Test' for helping to evaluate the evidence for whether an effect reflects perception or judgment. If the same effect can be obtained not only with visual displays but also by simply describing those displays, then subjects' responses may reflect higher-level reasoning rather than visual processing-and so other evidence is needed in order to support a 'perceptual' interpretation.
View Article and Find Full Text PDFAtten Percept Psychophys
December 2024
Department of Psychology, Goethe University Frankfurt, Frankfurt am Main, Germany.
Studies suggest that mid-level features could underlie object animacy perception. In the current research, we tested whether ensemble animacy perception is based on high- or mid-level features. We used five types of images of animals and inanimate objects: color, grayscale, silhouettes, texforms - unrecognizable images that preserve mid-level texture and shape information - and scrambled images.
View Article and Find Full Text PDFEnter search terms and have AI summaries delivered each week - change queries or unsubscribe any time!