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result(s) for
"picture perception"
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Undercover : one of these things is almost like the others
This colorful illlustrations-only book features duotone stencil images grouped together with one \"odd one out\" for readers to find.
Book
Detecting meaning in RSVP at 13 ms per picture
The visual system is exquisitely adapted to the task of extracting conceptual information from visual input with every new eye fixation, three or four times a second. Here we assess the minimum viewing time needed for visual comprehension, using rapid serial visual presentation (RSVP) of a series of six or 12 pictures presented at between 13 and 80 ms per picture, with no interstimulus interval. Participants were to detect a picture specified by a name (e.g.,
smiling couple
) that was given just before or immediately after the sequence. Detection improved with increasing duration and was better when the name was presented before the sequence, but performance was significantly above chance at all durations, whether the target was named before or only after the sequence. The results are consistent with feedforward models, in which an initial wave of neural activity through the ventral stream is sufficient to allow identification of a complex visual stimulus in a single forward pass. Although we discuss other explanations, the results suggest that neither reentrant processing from higher to lower levels nor advance information about the stimulus is necessary for the conscious detection of rapidly presented, complex visual information.
Journal Article
Threefoldness
Theories of picture perception aim to understand our perceptual relation to both the picture surface and the depicted object. I argue that we should talk about not two, but three entities when understanding picture perception: (A) the picture surface, (B) the three dimensional object the picture surface visually encodes and (C) the three dimensional depicted object. As (B) and (C) can come apart, we get a more complex picture of picture perception than normally assumed and one where the notion of twofoldness, which has played an important albeit controversial role in understanding picture perception is replaced by the concept of threefoldness.
Journal Article
Are you small?
\"Are YOU small? This tiny question allows readers to zoom in from an average-sized kid down to a single quark\"-- Provided by publisher.
Book
Seeing in 3-D With Just One Eye: Stereopsis Without Binocular Vision
Humans can perceive depth when viewing with one eye, and even when viewing a two-dimensional picture of a three-dimensional scene. However, viewing a real scene with both eyes produces a more compelling three-dimensional experience of immersive space and tangible solid objects. A widely held belief is that this qualitative visual phenomenon (stereopsis) is a by-product of binocular vision. In the research reported here, we empirically established, for the first time, the qualitative characteristics associated with stereopsis to show that they can occur for static two-dimensional pictures without binocular vision. Critically, we show that stereopsis is a measurable qualitative attribute and that its induction while viewing pictures is not consistent with standard explanations based on depth-cue conflict or the perception of greater depth magnitude. These results challenge the conventional understanding of the underlying cause, variation, and functional role of stereopsis.
Journal Article
Big or little?
Some days Toby feels big, like when he pours his own milk. But other days, he feels little, like when he spills it ...
Book
Picture perception reveals mental geometry of 3D scene inferences
Pose estimation of objects in real scenes is critically important for biological and machine visual systems, but little is known of how humans infer 3D poses from 2D retinal images. We show unexpectedly remarkable agreement in the 3D poses different observers estimate from pictures. We further show that all observers apply the same inferential rule from all viewpoints, utilizing the geometrically derived back-transform from retinal images to actual 3D scenes. Pose estimations are altered by a fronto-parallel bias, and by image distortions that appear to tilt the ground plane. We used pictures of single sticks or pairs of joined sticks taken from different camera angles. Observers viewed these from five directions, and matched the perceived pose of each stick by rotating an arrow on a horizontal touchscreen. The projection of each 3D stick to the 2D picture, and then onto the retina, is described by an invertible trigonometric expression. The inverted expression yields the back-projection for each object pose, camera elevation, and observer viewpoint. We show that a model that uses the back-projection, modulated by just two free parameters, explains 560 pose estimates per observer. By considering changes in retinal image orientations due to position and elevation of limbs, the model also explains perceived limb poses in a complex scene of two bodies lying on the ground. The inferential rules simply explain both perceptual invariance and dramatic distortions in poses of real and pictured objects, and show the benefits of incorporating projective geometry of light into mental inferences about 3D scenes.
Journal Article
Learning to see creatively : design, color & composition in photography
\"Completely revised and updated throughout, Bryan Peterson's classic guide to creativity helps photographers visualize their work, and the world, in a whole new light by developing their photographic vision. Fully revised with 100 percent new photography, this best-selling guide takes a radical approach to creativity by explaining how it is not just an inherent ability but a skill that can be learned and applied. Using inventive photos from his own stunning portfolio, author and veteran photographer Bryan Peterson deconstructs creativity for photographers. He details the basic techniques that go into not only taking a particular photo, but also provides insights on how to improve upon it--helping readers avoid the visual pitfalls and technical dead ends that can lead to dull, uninventive photographs. This revised edition features a complete section on color as a design element and all new photographs to illustrate Peterson's points. Learning to See Creatively is the definitive reference for any photographer looking for a fresh perspective on their work\"-- Provided by publisher.
Book
Looking Into Mona Lisa’s Smiling Eyes: Allusion to an Illusion
We present results from two experiments aimed at studying the direction of Mona Lisa’s gaze and its affective expression. In experiment 1 we studied the effect of retinal image size on the perception of her gaze by manipulating observation distances of a high-quality print of the painting. Participants (N=30) were asked to answer a simple question (is the person portrayed looking at you?) from 6 different distances ranging from 55 to 755 cm. One group of participants started evaluations from 55 cm; the other group did the opposite. Results show an effect of distance on the perception of Mona Lisa’s gaze as staring at the observer: from the furthest distances, the impression of a staring Mona Lisa is robust; from the nearest distances such impression becomes ambiguous. Experiment 2 presents data concerning the direction of Mona Lisa’s gaze and whether this appears to be smiling, derived from an experiment aimed at studying the impression of gaze (direction and emotional content) in portraits (paintings and fotographs). Only data concerning Mona Lisa are reported. Participants (N=41) were randomly assigned to one of two groups: on a CRT screen, one group saw the entire head, the other group saw only a section reproducing Mona Lisa’s eyes. Experimental sessions were 2: in session 1 participants had to decide whether the image (whole-head or eyes only) was looking at them; in session 2 participants had to decide whether the head (or the eyes) was smiling. RTs from the two groups of participants were not statistically significant. Results for session 1 confirm experiment’s 1 general findings. Results for session 2 clearly show that Mona Lisa is not only smiling with her face, but also with her eyes. Results are discussed in relation to the literature on Mona Lisa’s gaze and smile
Journal Article