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Audification has an established history in the field of space science, with events such as “lion roars” and “whistlers” drawing their names from auditory observations. As of 2019, NASA’s CDAWeb repository provides audified versions of observations from spacecraft and ground-based instruments as a standard data product. This approach can be extended further through spatialized audio (auralization) of data from multiple sensors. However, there are not currently standardized tools available for spatially rendering audified multispacecraft observations. Here, we demonstrate an auralization of magnetometer data from NASA’s  Magnetospheric Multiscale (MMS) Mission, produced using open-source tools in python. Each spacecraft’s audified data is played by a virtual sound source with a location matching the physical arrangement of that spacecraft. This is used to generate a binaural rendering optimized for playback over headphones. This approach eliminates the need for specialized tools, improving access for citizen scientists. It lays a foundation for standardized auralizations of distributed instrumentation systems, both for use in space science research and for systematically evaluating the effectiveness of auralization methods, and supports ongoing work with ground-based magnetometers in polar regions. 

Almost 400 years ago, Rubens copied Titian's The Fall of Man, albeit with important changes. Rubens altered Titian's original composition in numerous ways, including by changing the gaze directions of the depicted characters and adding a striking red parrot to the painting. Here, we quantify the impact of Rubens's choices on the viewer's gaze behavior. We displayed digital copies of Rubens's and Titian's artworks—as well as a version of Rubens's painting with the parrot digitally removed—on a computer screen while recording the eye movements produced by observers during free visual exploration of each image. To assess the effects of Rubens's changes to Titian's composition, we directly compared multiple gaze parameters across the different images. We found that participants gazed at Eve's face more frequently in Rubens's painting than in Titian's. In addition, gaze positions were more tightly focused for the former than for the latter, consistent with different allocations of viewer interest. We also investigated how gaze fixation on Eve's face affected the perceptual visibility of the parrot in Rubens's composition and how the parrot's presence versus its absence impacted gaze dynamics. Taken together, our results demonstrate that Rubens's critical deviations from Titian's painting have powerful effects on viewers’ oculomotor behavior. 

This is an audio demo; listen with headphones. The audio begins around the 0:55 mark. In Collins et al 2024, we demonstrated a spatial audification of data from NASA's Magnetospheric Multiscale (MMS) mission produced with open-source tools in Python. In that demo, however, the sound sources for each satellite are placed in a static and representative position. Here, we use OpenSpace to associate each audio stream with its respective spacecraft, so that the audification may be experienced with spatial fidelity on a flexible timescale. This proof-of-concept uses the Open Sound Control protocol to send positional data of the sound sources from OpenSpace to SuperCollider, a method also used in Elmquist et al 2024. 

When we believe misinformation, we have succumbed to an illusion: our perception or interpretation of the world does not match reality. We often trust misinformation for reasons that are unrelated to an objective, critical interpretation of the available data: Key facts go unnoticed or unreported. Overwhelming information prevents the formulation of alternative explanations. Statements become more believable every time they are repeated. Events are reframed or given “spin” to mislead audiences. In magic shows, illusionists apply similar techniques to convince spectators that false and even seemingly impossible events have happened. Yet, many magicians are “honest liars”, asking audiences to suspend their disbelief only during the performance, for the sole purpose of entertainment. Magic misdirection has been studied in the lab for over a century. Psychological research has sought to understand magic from a scientific perspective and to apply the tools of magic to the understanding of cognitive and perceptual processes. More recently, neuroscientific investigations have also explored the relationship between magic illusions and their underlying brain mechanisms. We propose that the insights gained from such studies can be applied to understanding the prevalence and success of misinformation. Here, we review some of the common factors in how people experience magic during a performance and are subject to misinformation in their daily lives. Considering these factors will be important in reducing misinformation and encouraging critical thinking in society. 

A guideline is proposed that comprises the minimum items to be reported in research studies involving an eye tracker and human or non-human primate participant(s). This guideline was developed over a 3-year period using a consensus-based process via an open invitation to the international eye tracking community. This guideline will be reviewed at maximum intervals of 4 years. 

Abstract Troxler fading, the perceptual disappearance of stationary images upon sustained fixation, is common for objects with equivalent luminance to that of the background. Previous work showed that variations in microsaccadic rates underlie the perceptual vanishing and intensification of simple stimuli, such as Gabor patches. Here, we demonstrate that microsaccade dynamics also contribute to Troxler fading and intensification during the viewing of representational art. Participants fixated a small spot while viewing either a Gabor patch on a blank background, or Monet’s painting “Impression, Sunrise.” They continuously reported, via button press/release, whether the Gabor patch, or the sun in Monet’s painting, was fading versus intensifying, while their eye movements were recorded with high precision. Microsaccade rates peaked before reports of increased visibility, and dropped before reports of decreased visibility or fading, both when viewing Gabor patches and Monet’s sun. These results reveal that the relationship between microsaccade production and the reversal and prevention of Troxler fading applies not only to the viewing of contrived stimuli, but also to the observation of “Impression, Sunrise.” Whether or not perceptual fading was consciously intended by Monet, our findings indicate that observers’ oculomotor dynamics are a contributor to the cornerstone of Impressionism. 

Errors in radiologic interpretation are largely the result of failures of perception. This remains true despite the increasing use of computer-aided detection and diagnosis. We surveyed the literature on visual illusions during the viewing of radiologic images. Misperception of anatomical structures is a potential cause of error that can lead to patient harm if disease is seen when none is present. However, visual illusions can also help enhance the ability of radiologists to detect and characterize abnormalities. Indeed, radiologists have learned to exploit certain perceptual biases in diagnostic findings and as training tools. We propose that further detailed study of radiologic illusions would help clarify the mechanisms underlying radiologic performance and provide additional heuristics to improve radiologist training and reduce medical error.