Filmmakers and editors have empirically developed techniques to ensure the spatiotemporal continuity of a film's narration. In terms of time, editing techniques (e.g., elliptical, overlapping, or cut minimization) allow for the manipulation of the perceived duration of events as they unfold on screen. More specifically, a scene can be edited to be time compressed, expanded, or real-time in terms of its perceived duration. Despite the consistent application of these techniques in filmmaking, their perceptual outcomes have not been experimentally validated. Given that viewing a film is experienced as a precise simulation of the physical world, the use of cinematic material to examine aspects of time perception allows for experimentation with high ecological validity, while filmmakers gain more insight on how empirically developed techniques influence viewers' time percept. Here, we investigated how such time manipulation techniques of an action affect a scene's perceived duration. Specifically, we presented videos depicting different actions (e.g., a woman talking on the phone), edited according to the techniques applied for temporal manipulation and asked participants to make verbal estimations of the presented scenes' perceived durations. Analysis of data revealed that the duration of expanded scenes was significantly overestimated as compared to that of compressed and real-time scenes, as was the duration of real-time scenes as compared to that of compressed scenes. Therefore, our results validate the empirical techniques applied for the modulation of a scene's perceived duration. We also found interactions on time estimates of scene type and editing technique as a function of the characteristics and the action of the scene presented. Thus, these findings add to the discussion that the content and characteristics of a scene, along with the editing technique applied, can also modulate perceived duration. Our findings are discussed by considering current timing frameworks, as well as attentional saliency algorithms measuring the visual saliency of the presented stimuli.

Any sensory experience of the world, from the touch of a caress to the smile on our friend’s face, is embedded in time and it is often associated with the perception of the flow of it. The perception of time is therefore a peculiar sensory experience built without dedicated sensors. How the perception of time and the content of a sensory experience interact to give rise to this unique percept is unclear. A few empirical evidences show the existence of this interaction, for example the speed of a moving object or the number of items displayed on a computer screen can bias the perceived duration of those objects. However, to what extent the coding of time is embedded within the coding of the stimulus itself, is sustained by the activity of the same or distinct neural populations and subserved by similar or distinct neural mechanisms is far from clear. Addressing these puzzles represents a way to gain insight on the mechanism(s) through which the brain represents the passage of time. In my talk I will present behavioral and neuroimaging studies to show how concurrent changes of visual stimulus duration, speed, visual contrast and numerosity, shape and modulate brain’s and pupil’s responses and, in case of numerosity and time, influence the topographic organization of these features along the cortical visual hierarchy.

Decades of research have investigated the relationship between perception of time and heart rate with often mixed results. In search of such a relationship, I will present my far journey between two projects: from time perception in the realistic VR experience of crowded subway trips in the order of minutes (project 1); to the perceived duration of sub-second white noise tones (project 2). Heart rate had multiple concurrent relationships with subjective temporal distortions for the sub-second tones, while the effects were lacking or weak for the supra-minute subway trips. What does the heart have to do with sub-second time perception? We addressed this question with a cardiac drift-diffusion model, demonstrating the sensory accumulation of temporal evidence as a function of heart rate.