What is the relationship between complexity in the world and complexity in the mind? Intuitively, increasingly complex objects and events should give rise to increasingly complex mental representations (or perhaps a plateau in complexity after a certain point). However, a counterintuitive possibility with roots in information theory is an inverted U-shaped relationship between the “objective” complexity of some stimulus and the complexity of its mental representation, because excessively complex patterns might be characterized by surprisingly short computational descriptions (e.g., if they (...) are represented as having been generated “randomly”). Here, we demonstrate that this is the case, using a novel approach that takes the notion of “description” literally. Subjects saw static and dynamic visual stimuli whose objective complexity could be carefully manipulated, and they described these stimuli in their own words by giving freeform spoken descriptions of them. Across three experiments totaling over 10,000 speech clips, spoken descriptions of shapes (Experiment 1), dot-arrays (Experiment 2), and dynamic motion-paths (Experiment 3) revealed a striking quadratic relationship between the raw complexity of these stimuli and the length of their spoken descriptions. In other words, the simplest and most complex stimuli received the shortest descriptions, while those stimuli with a “medium” degree of complexity received the longest descriptions. Follow-up analyses explored the particular words used by subjects, allowing us to further explore how such stimuli were represented. We suggest that the mind engages in a kind of lossy compression for overly complex stimuli, and we discuss the utility of such freeform responses for exploring foundational questions about mental representation. (shrink)

Experiments on visually grounded, definite reference production often manipulate simple visual scenes in the form of grids filled with objects, for example, to test how speakers are affected by the number of objects that are visible. Regarding the latter, it was found that speech onset times increase along with domain size, at least when speakers refer to nonsalient target objects that do not pop out of the visual domain. This finding suggests that even in the case of many distractors, speakers (...) perform object‐by‐object scans of the visual scene. The current study investigates whether this systematic processing strategy can be explained by the simplified nature of the scenes that were used, and if different strategies can be identified for photo‐realistic visual scenes. In doing so, we conducted a preregistered experiment that manipulated domain size and saturation; replicated the measures of speech onset times; and recorded eye movements to measure speakers’ viewing strategies more directly. Using controlled photo‐realistic scenes, we find (1) that speech onset times increase linearly as more distractors are present; (2) that larger domains elicit relatively fewer fixation switches back and forth between the target and its distractors, mainly before speech onset; and (3) that speakers fixate the target relatively less often in larger domains, mainly after speech onset. We conclude that careful object‐by‐object scans remain the dominant strategy in our photo‐realistic scenes, to a limited extent combined with low‐level saliency mechanisms. A relevant direction for future research would be to employ less controlled photo‐realistic stimuli that do allow for interpretation based on context. (shrink)

When referring to a target object in a visual scene, speakers are assumed to consider certain distractor objects to be more relevant than others. The current research predicts that the way in which speakers come to a set of relevant distractors depends on how they perceive the distance between the objects in the scene. It reports on the results of two language production experiments, in which participants referred to target objects in photo-realistic visual scenes. Experiment 1 manipulated three factors that (...) were expected to affect perceived distractor distance: two manipulations of perceptual grouping (region of space and type similarity), and one of presentation mode (2D vs. 3D). In line with most previous research on visually-grounded reference production, an offline measure of visual attention was taken here: the occurrence of overspecification with color. The results showed effects of region of space and type similarity on overspecification, suggesting that distractors that are perceived as being in the same group as the target are more often considered relevant distractors than distractors in a different group. Experiment 2 verified this suggestion with a direct measure of visual attention, eye tracking, and added a third manipulation of grouping: color similarity. For region of space in particular, the eye movements data indeed showed patterns in the expected direction: distractors within the same region as the target were fixated more often, and longer, than distractors in a different region. Color similarity was found to affect overspecification with color, but not gaze duration or the number of distractor fixations. Also the expected effects of presentation mode (2D vs. 3D) were not convincingly borne out by the data. Taken together, these results provide direct evidence for the close link between scene perception and language production, and indicate that perceptual grouping principles can guide speakers in determining the distractor set during reference production. (shrink)