L’extension des limites (boundary extension, Intraub & Richardson, 1989) fait référence à unedistorsion de la mémoire visuo-spatiale survenant suite à la perception de scènes. Celle-ci setraduit par une tendance à surestimer l’étendue de la scène préalablement perçue,l’observateur se remémorant des détails que ne contenait pas la scène originale, mais que lecontexte rend plausible d’inférer. Bien que décrite comme robuste, quelques recherchesmenées ces dernières années en suggèrent la modulation par certaines caractéristiques propresà l’observateur (Mathews & Mackintosh, 2004 ; Munger, Owens, & Conway, 2005).L’ensemble des études présentées ici s’inscrit dans cette lignée, en testant à la fois le rôle desconnaissances préalables - que celles-ci soient relatives à la structure environnante de la scèneperçue, ou qu’il s’agisse de connaissances expertes - et le rôle de la réactivité de l’individu àcertains stimuli de nature émotionnelle. L’ensemble des résultats observés fait état d’unemodulation de l’extension (i.e. réduction, voire annulation) par les facteurs décrits ci-dessus. / Boundary extension phenomenon (Intraub & Richardson, 1989) refers to a memory distortionoccuring when an observer tends to remember a perceived scene. Subjects generally tend tooverestimate the scope of the scene, including to their representation details that the originalscene did not contain, but likely to be present. Although BE is described as a robustphenomenon, observer’s chacteristics can modulate it (Mathews & Mackintosh, 2004 ;Munger, Owens, & Conway, 2005). Studies exposed here intend to examine in more detailthis question, by testing the effects of knowledge relative to larger scene context, expertknowledge, or reactivity of the observer to emotional stimuli on the phenomenon. Our resultsshow a modulation of BE (i.e. reduction, or disappearance) by these factors

Tyrimo tikslas – ištirti, kuriais atvejais įvyksta ribų išplėtimas iš atminties perpiešiant skirtingo turinio paveikslėlius. Regimųjų vaizdų ribų išplėtimo tyrimo metodika buvo sukurta remiantis Hubbard ir bendraautorių (2010) parašyta „Boundary extension: Findings and theories“ metaanalize. Metodiką sudaro 12 stimulų (matmenys 10x15 cm), kuriuose vaizduojamas fotografuotas vaizdas arba piešinio eskizas. Pateikiamoje stimulinėje medžiagoje vaizduojami skirtingo turinio vaizdai – užbaigtas objektas, objektas su nukirptais kraštais, emociškai neutralus, pozityvus ir neigiamas objektas, judantis objektas. Tyrime dalyvavo 120 tiriamųjų, kurių amžius nuo 14 – 45 metų (amžiaus vidurkis 25,6 m.). Tiriamieji buvo suskirstyti į tris grupes: 1. 14 – 19 metų (imtinai) paaugliai; 2. 20 – 30 metų (imtinai) jaunieji suaugusieji; 3. 31 – 45 metų (imtinai) vyresnieji suaugusieji. Pirmoji hipotezė, teigianti, kad ribų išplėtimas dažnesnis iš atminties perpiešiant paveikslus, vaizduojančius objektus su nukirptais kraštais, nei vaizduojančius užbaigtus objektus, pasitvirtino. Antroji hipotezė, teigianti, kad ribų išplėtimas dažnesnis iš atminties perpiešiant paveikslus, vaizduojančius emociškai neutralius objektus, nei vaizduojančius emociškai pozityvius ar emociškai įtemptus objektus, nepasitvirtino. Palyginus paveikslus pagal jų emocinį turinį nustatyta, kad ribų išplėtimas dažnesnis iš atminties perpiešiant paveikslus, vaizduojančius emociškai pozityvius ar emociškai įtemptus objektus... [toliau žr. visą tekstą] / The goal of this study was to investigate in which cases boundary extension occurs when repainting visual images with different content from your memory. Method that were used in this study is based on meta-analysis conducted by Hubbard and co-authors (2010), it is called „Boundary extension: Findings and theories“. Method consists of 12 stimuli (dimensions 10x15 cm), which shows photographic image or sketch of a painting. Presented stimuli material contains images with different content – finished object, object with its corners removed, emotionally neutral, positive and negative object, moving object. 120 respondents participated in the study, their age ranged from 14 to 45 years old (average age - 25,6). Subjects were divided into three groups: 1. 14 – 19 years old (inclusively) teenagers; 2. 20 – 30 year old (inclusively) young adults; 3. 31 – 45 year old (inclusively) older adults. First hypothesis, stating that boundary extension is more frequent with images of objects with removed corners than those of finished objects repainted from memory, was confirmed. Second hypothesis, stating that boundary extension is more frequent with images of emotionally neutral objects than those of emotionally positive or intense objects repainted from memory, was not confirmed. After comparing images in terms of their emotional content it was found, that boundary extension is more often when images repainted from memory contain emotionally positive or emotionally intense objects... [to full text]

This thesis follows up a cognitive psychological phenomenon, called boundary extension. This effect describes a situation, when we remember parts of a scene during scene perception, which could be located outside of the frame, but we actually did not see it. The literary review part offers up summary of fundamental findings of approximately thirty years of research of this phenomenon. The research part submits an experiment examining a boundary extension in panoramic photographs with respect to an effect of multiple factors, a sequence length (nine and thirteen frames), a type of sequence (indoor and outdoor), a target picture size (normal, close-up, wide-angle). This experiment is the first larger study of boundary extension in Czech population and the examined effect of factors was not experimentally verified in previous studies. Keywords Boundary extension, panoramic photographs, sequence length, type of sequence, target picture size