Do 3D Visual Illusions Work for Immersive Virtual Environments?
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Optical Illusions “What You See Is Not What You Get”
Optical Illusions “What you see is not what you get” The purpose of this lesson is to introduce students to basic principles of visual processing. Much of the lesson revolves around the use of visual illusions and interactive demonstrations with the students. The overarching theme of this lesson is that perception and sensation are not necessarily the same, and that optical illusions are a way for us to study the way that our visual system works. Furthermore, there are cells in the visual system that specifically respond to particular aspects of visual stimuli, and these cells can become fatigued. Grade Level: 3-12 Presentation time: 15-30 minutes, depending on which activities are chosen Lesson plan organization: Each lesson plan is divided into three sections: Introducing the lesson, Conducting the lesson, and Concluding the lesson. Each lesson has specific principles with associated figures, class discussion (D), and learning activities (A). This lesson plan is provided by the Neurobiology and Behavior Community Outreach Team at the University of Washington: http://students.washington.edu/watari/neuroscience/k12/LessonPlans.html 1 Materials: Computer to display some optical illusions (optional) Checkerboard illusion: Provided on page 8 or available online with explanation at http://web.mit.edu/persci/people/adelson/checkershadow_illusion.html Lilac chaser movie: http://www.scientificpsychic.com/graphics/ as an animated gif or http://www.michaelbach.de/ot/col_lilacChaser/index.html as Adobe Flash and including scientific explanation -
Table of Contents and Index
CONTENTS 1. Thinking about Space 1 2. The Ways of Light 7 3. Sensing Our Own Shape 51 4. Brain Maps and Polka Dots 69 5. Sherlock Ears 107 6. Moving with Maps and Meters 143 7. Your Sunglasses Are in the Milky Way 161 8. Going Places 177 9. Space and Memory 189 10. Thinking about Thinking 203 Notes 219 Acknowledgments 225 Credits 231 Index 237 Color illustrations follow page 86 Groh Corrected Pages.indd 7 7/15/14 9:09 AM INDEX Italicized page numbers refer to figures and their captions acalculia, 214 aqueous humor, 22, 30, 31 action potentials, 56–59, 57, 60, 61, 71–72, 74, Aristotle, 24, 180 94–96, 140, 146; electrically stimulating, astronomy, and discoveries regarding optics, 102; and memory, 191; in MT, 99; in 26–32. See also Brahe, Tycho; Kepler, superior colliculus, 154. See also spikes, Johannes electrical in neurons axon: conduction speed along, 95; as part of active sites, of proteins, 17 neuron, 71–73; paths traveled by, 77–78, adjusting to new glasses, 192–193 86, 91, 93 akinetopsia, 100 alcohol, effects on vestibular system, 183–184 balance, sense of, 175, 180–185. See also Alhazen, 8, 11–12 vestibular system aliasing, of sound, 123–125 barn owls, and hearing, 122, 137–138, 157, analog coding, in the brain, 146–147. See also Plate 7 digital coding, in the brain; maps, as form basilar membrane, resonance gradient of, of brain code; meters, as form of brain 139–140; and sound transduction, 109, 110 code bats, and echolocation, 131–132, 132 anechoic, 127 Bergen, Edgar, 135 ants, and navigation, 185–187, Plate 9 biased random walk, and navigation, 178. -
Exploring 3D Stereo with Incremental Rehearsal and Partial Occlusion to Instigate and Modulate Smooth Pursuit and Saccade Responses in Baseball Batting
Old Dominion University ODU Digital Commons Computational Modeling & Simulation Computational Modeling & Simulation Engineering Theses & Dissertations Engineering Summer 2016 Toward Simulation-Based Training Validation Protocols: Exploring 3d Stereo with Incremental Rehearsal and Partial Occlusion to Instigate and Modulate Smooth Pursuit and Saccade Responses in Baseball Batting Ricardo A. Roca Old Dominion University, [email protected] Follow this and additional works at: https://digitalcommons.odu.edu/msve_etds Part of the Engineering Commons Recommended Citation Roca, Ricardo A.. "Toward Simulation-Based Training Validation Protocols: Exploring 3d Stereo with Incremental Rehearsal and Partial Occlusion to Instigate and Modulate Smooth Pursuit and Saccade Responses in Baseball Batting" (2016). Doctor of Philosophy (PhD), Dissertation, Computational Modeling & Simulation Engineering, Old Dominion University, DOI: 10.25777/hvse-ts08 https://digitalcommons.odu.edu/msve_etds/3 This Dissertation is brought to you for free and open access by the Computational Modeling & Simulation Engineering at ODU Digital Commons. It has been accepted for inclusion in Computational Modeling & Simulation Engineering Theses & Dissertations by an authorized administrator of ODU Digital Commons. For more information, please contact [email protected]. TOWARD SIMULATION-BASED TRAINING VALIDATION PROTOCOLS: EXPLORING 3D STEREO WITH INCREMENTAL REHEARSHAL AND PARTIAL OCCLUSION TO INSTIGATE AND MODULATE SMOOTH PURSUIT AND SACCADE RESPONSES IN BASEBALL BATTING by Ricardo A. Roca B.S.E. May 1986, Tulane University M.S. January 2002, George Mason University A Dissertation Submitted to the Faculty of Old Dominion University in Partial Fulfillment of the Requirements for the Degree of DOCTOR OF PHILOSOPHY MODELING & SIMULATION OLD DOMINION UNIVERSITY August 2016 Approved by: Stacie I. Ringleb (Director) Michel A. Audette (Member) Lance M. -
The Role of Selective Attention in Perceptual Switching By
The Role of Selective Attention in Perceptual Switching By Brenda Marie Stoesz A Thesis Submitted to the Faculty of Graduate Studies In Partial Fulfillment of the Requirements For the Degree of Master of Arts Department of Psychology University of Manitoba Winnipeg, Manitoba © Stoesz, Brenda M.; 2008 Perceptual Switching ii Abstract When viewing ambiguous figures, individuals can exert selective attentional control over their perceptual reversibility behaviour (e.g., Strüber & Stadler, 1999). In the current study, we replicated this finding but we also found that ambiguous figures containing faces are processed quite differently from those containing objects. Furthermore, inverting an ambiguous figure containing faces (i.e., Rubin’s vase-face) resulted in an “inversion effect”. These findings highlight the importance of considering how we attend to faces in addition to how we perceive and process faces. Describing the perceptual reversal patterns of individuals in the general population allowed us to draw comparisons to behaviours exhibited by individuals with Asperger Syndrome (AS). The group data suggested that these individuals were less affected by figure type or stimulus inversion. Examination of individual scores, moreover, revealed that the majority of participants with AS showed an atypical reversal pattern, particularly with ambiguous figures containing faces, and an atypical inversion effect. Together, our results show that ambiguous figures can be a very valuable tool for examining face processing mechanisms in the general population and other distinct groups of individuals, particularly those diagnosed with AS. Perceptual Switching iii Acknowledgements I would like to deeply thank my mentor, Dr. Lorna S. Jakobson, who, over the year that I have worked on this particular research project, provided me with much support and guidance. -
Bridget Riley Valentine Op Art Heart
Op Art: Lesson Bridget Riley 6 Valentine Op Art Heart • How do 2D geometric shapes invoke movement? • How can the manipulation of geometric shapes and patterns create dimension in 2D art? LESSON OVERVIEW/OBJECTIVES Students will learn about the artist Bridget Riley and her work in Optical Art (Op Art). Riley (1931-present) is a British artist known for bringing about the Op Art movement. Op Art is a style of visual art that uses precise patterns and color to create optical illusions. Op art works are abstract, with many better known pieces created in black and white. Typically, they give the viewer the impression of movement, hidden images, flashing and vibrating patterns, or of swelling or warping. After learning about Bridget Rily and the Op Art movement, students will create an Op Art heart and background for Valentine’s Day. KEY IDEAS THAT CONNECT TO VISUAL ARTS CORE CURRICULUM: Based on Utah State Visual Arts Core Curriculum Requirements (3rd Grade) Strand: CREATE (3.V.CR.) Students will generate artistic work by conceptualizing, organizing, and completing their artistic ideas. They will refine original work through persistence, reflection, and evaluation. Standard 3.V.CR.1: Elaborate on an imaginative idea and apply knowledge of available resources, tools, and technologies to investigate personal ideas through the art-making process. Standard 3.V.CR.2: Create a personally satisfying artwork using a variety of artistic processes and materials. Standard 3.V.CR.3: Demonstrate an understanding of the safe and proficient use of materials, tools and equipment for a variety of artistic processes. -
In This Research Report We Will Explore the Gestalt Principles and Their Implications and How Human’S Perception Can Be Tricked
The Gestalt Principles and there role in the effectiveness of Optical Illusions. By Brendan Mc Kinney Abstract Illusion are created in human perception in relation to how the mind process information, in this regard on to speculate that the Gestalt Principles are a key process in the success of optical illusions. To understand this principle the research paper will examine several optical illusions in the hopes that they exhibit similar traits used in the Gestalt Principles. In this research report we will explore the Gestalt Principles and their implications and how human’s perception can be tricked. The Gestalt Principles are the guiding principles of perception developed from testing on perception and how human beings perceive their surroundings. Human perception can however be tricked by understanding the Gestalt principles and using them to fool the human perception. The goal of this paper is to ask how illusions can be created to fool human’s perception using the gestalt principles as a basis for human’s perception. To examine the supposed, effect the Gestalt Principles in illusions we will look at three, the first being Rubin’s Vase, followed by the Penrose Stairs and the Kanizsa Triangle to understand the Gestalt Principles in play. In this context we will be looking at Optical Illusion rather than illusions using sound to understand the Gestalt Principles influence on human’s perception of reality. Illusions are described as a perception of something that is inconsistent with the actual reality (dictionary.com, 2015). How the human mind examines the world around them can be different from the actuality before them, this is due to the Gestalt principles influencing people’s perception. -
Springer Science+Business Media, LLC, Part of Springer Nature 2019 D
F Figure-Ground Segregation, Once figure-ground segmentation is achieved, Computational Neural the figure region often delineates a zone of addi- Models of tional attentive visual processing. Arash Yazdanbakhsh1 and Ennio Mingolla2 1 Computational Neuroscience and Vision Lab, Detailed Description Department of Psychological and Brain Sciences, Graduate Program for Neuroscience (GPN), The Importance of Figure-Ground Center for Systems Neuroscience (CSN), Center Segregation for Research in Sensory Communications and Visual function in animals has broadly increased Neural Technology (CReSCNT), Boston in complexity and competence across eons of University, Boston, MA, USA fi 2 evolution, with gure-ground perception being Department of Communication Sciences and among the later and more intriguing achieve- Disorders, Bouvé College of Health Sciences, ments of relatively sophisticated visual species. Northeastern University, Boston, MA, USA The importance of figure-ground perception can be seen by considering its advantages to animals that have the capability, as compared to the visual Definition limitations of animals whose visual systems do not support figure-ground perception (Land and Figure-ground segregation refers to the capacity Nilsson 2002). For example, the single-celled of a visual system to rapidly and reliably pick out euglena can use its eyespot and flagellum to orient for greater visual analysis, attention, or awareness, its locomotion in a light field, but it cannot take or preparation for motor action, a region of the account of the edges of individual objects in the visual field (figure) that is distinct from the com- sense of figure-ground for purposes of steering. bined areas of all the rest of the visual field Arrays of visual receptors that sample different (ground). -
Conjoint Representations and the Mental Capacity for Multiple Simultaneous Perspectives
in: H. Hecht, R. Schwartz & M. Atherton (eds.) (2003). Looking into Pictures: An In- terdisciplinary Approach to Pictorial Space (pp. 17-60). Cambridge, Mass.: MIT Press Conjoint Representations and the Mental Capacity for Multiple Simultaneous Perspectives Rainer Mausfeld Table of Contents The dual character of pictures Conflicts in cue integration with respect to depth or spatial representations Conjoint representations in picture perception Triggering and parameter setting: The dual function of sensory inputs with respect to representational primitives Conjoint representations as a general structural property of our basic cogni- tive architecture Examples from visual psychophysics Examples from other areas of cognitive science Vagueness, smooth transitions between representational primitives, and the need of a ʹproximal modeʹ References 1 Mens videt, mens audit: Cetera surda et coeca. It is the mind that sees and the mind that hears; the rest are deaf and blind. Epicharmos 1 Common-sense taxonomies were, inevitably, the origin from which the natural sci- ences, at their earliest stages of development, derived their categorizations of phenom- ena. This can be witnessed by the classical division of physics into e.g. optics, acoustics, theory of heat, and mechanics. During the process of its theoretical development, phys- ics became increasingly divorced from these kinds of classifications and rather grouped phenomena in accordance with its own internal theoretical structure (the classical the- ory of heat, for instance, disintegrated into statistical mechanics, on the one hand, and electrodynamics, on the other hand). In perceptual psychology corresponding pre- theoretical classifications of phenomena are mirrored in the standard textbook organi- zation in terms of salient perceptual attributes, such as colour, depth, size, or form. -
Op Art Learning Targets
Op Art Learning Targets Students will be able to develop and use criteria to evaluate craftsmanship in an artwork. Students will use elements and principles to organize the composition in his or her own artwork. How will hit these targets? Discuss craftsmanship Review Elements and Principles PowerPoint Presentation Practice drawing Project: Optical Illusion drawing So what is “craftsmanship”? “craftsmanship” skill in a particular craft the quality of design and work shown in something made by hand; artistry “craftsmanship” skill in a particular craft the quality of design and work shown in something made by hand; artistry. Elements and Principles Elements of art: Principles of • Line Design: • Color • Rhythm • Value • Movement • Shape • Pattern • Form • Balance • Texture • Contrast • Space • Emphasis • Unity Optical Illusions Back in 1915, a cartoonist named W.E. Hill first published this drawing. It's hard to see what it's supposed to be. Is it a drawing of a pretty young girl looking away from us? Or is it an older woman looking down at the floor? Optical Illusions Well, it's both. PERCEPTION: a The key is way of regarding, perception and understanding, or what you expect interpreting something; a to see. mental impression Optical Illusions This simple line drawing is titled, "Mother, Father, and daughter" (Fisher, 1968) because it contains the faces of all three people in the title. How many faces can you find? Optical Illusion: something that deceives/confuses the eye/brain by appearing to be other than it is Optical Illusions Optical Art is a mathematically- oriented form of (usually) Abstract art. It uses repetition of simple forms and colors to create vibrating effects, patterns, an exaggerated sense of depth, foreground- background confusion, and other visual effects. -
Persistence of Vision: the Value of Invention in Independent Art Animation
Virginia Commonwealth University VCU Scholars Compass Kinetic Imaging Publications and Presentations Dept. of Kinetic Imaging 2006 Persistence of Vision: The alueV of Invention in Independent Art Animation Pamela Turner Virginia Commonwealth University, [email protected] Follow this and additional works at: http://scholarscompass.vcu.edu/kine_pubs Part of the Film and Media Studies Commons, Fine Arts Commons, and the Interdisciplinary Arts and Media Commons Copyright © The Author. Originally presented at Connectivity, The 10th ieB nnial Symposium on Arts and Technology at Connecticut College, March 31, 2006. Downloaded from http://scholarscompass.vcu.edu/kine_pubs/3 This Presentation is brought to you for free and open access by the Dept. of Kinetic Imaging at VCU Scholars Compass. It has been accepted for inclusion in Kinetic Imaging Publications and Presentations by an authorized administrator of VCU Scholars Compass. For more information, please contact [email protected]. Pamela Turner 2220 Newman Road, Richmond VA 23231 Virginia Commonwealth University – School of the Arts 804-222-1699 (home), 804-828-3757 (office) 804-828-1550 (fax) [email protected], www.people.vcu.edu/~ptturner/website Persistence of Vision: The Value of Invention in Independent Art Animation In the practice of art being postmodern has many advantages, the primary one being that the whole gamut of previous art and experience is available as influence and inspiration in a non-linear whole. Music and image can be formed through determined methods introduced and delightfully disseminated by John Cage. Medieval chants can weave their way through hip-hopped top hits or into sound compositions reverberating in an art gallery. -
The Figure Is in the Brain of the Beholder: Neural Correlates of Individual Percepts in The
The Figure is in the Brain of the Beholder: Neural Correlates of Individual Percepts in the Bistable Face-Vase Image A Thesis Presented to The Division of Philosophy, Religion, Psychology, and Linguistics Reed College In Partial Fulfillment of the Requirements for the Degree Bachelor of Arts Phoebe Bauer May 2015 Approved for the Division (Psychology) Michael Pitts Acknowledgments I think some people experience a degree of unease when being taken care of, so they only let certain people do it, or they feel guilty when it happens. I don’t really have that. I love being taken care of. Here is a list of people who need to be explicitly thanked because they have done it so frequently and are so good at it: Chris: thank you for being my support system across so many contexts, for spinning with me, for constantly reminding me what I’m capable of both in and out of the lab. Thank you for validating and often mirroring my emotions, and for never leaving a conflict unresolved. Rennie: thank you for being totally different from me and yet somehow understanding the depths of my opinions and thought experiments. Thank you for being able to talk about magic. Thank you for being my biggest ego boost and accepting when I internalize it. Ben: thank you for taking the most important classes with me so that I could get even more out of them by sharing. Thank you for keeping track of priorities (quality dining: yes, emotional explanations: yes, fretting about appearances: nu-uh). #AshHatchtag & Stella & Master Tran: thank you for being a ceaseless source of cheer and laughter and color and love this year. -
Optical Illusions and Effects on Clothing Design1
International Journal of Science Culture and Sport (IntJSCS) June 2015 : 3(2) ISSN : 2148-1148 Doi : 10.14486/IJSCS272 Optical Illusions and Effects on Clothing Design1 Saliha AĞAÇ*, Menekşe SAKARYA** * Associate Prof., Gazi University, Ankara, TURKEY, Email: [email protected] ** Niğde University, Niğde, TURKEY, Email: [email protected] Abstract “Visual perception” is in the first ranking between the types of perception. Gestalt Theory of the major psychological theories are used in how visual perception realizes and making sense of what is effective in this process. In perception stage brain takes into account not only stimulus from eyes but also expectations arising from previous experience and interpreted the stimulus which are not exist in the real world as if they were there. Misperception interpretations that brain revealed are called as “Perception Illusion” or “Optical Illusion” in psychology. Optical illusion formats come into existence due to factors such as brightness, contrast, motion, geometry and perspective, interpretation of three-dimensional images, cognitive status and color. Optical illusions have impacts of different disciplines within the study area on people. Among the most important types of known optical illusion are Oppel-Kundt, Curvature-Hering, Helzholtz Sqaure, Hermann Grid, Muller-Lyler, Ebbinghaus and Ponzo illusion etc. In fact, all the optical illusions are known to be used in numerous area with various techniques and different product groups like architecture, fine arts, textiles and fashion design from of old. In recent years, optical illusion types are frequently used especially within the field of fashion design in the clothing model, in style, silhouette and fabrics. The aim of this study is to examine the clothing design applications where optical illusion is used and works done in this subject.