Optical Illusions and Effects on Clothing Design1
Total Page:16
File Type:pdf, Size:1020Kb
Load more
Recommended publications
-
The Role of One-Shot Learning in #Thedress
Journal of Vision (2017) 17(3):15, 1–7 1 The role of one-shot learning in #TheDress Laboratory of Psychophysics, Brain Mind Institute, Ecole´ Polytechnique Fed´ erale´ de Lausanne (EPFL), Leila Drissi Daoudi Lausanne, Switzerland $ Laboratory of Psychophysics, Brain Mind Institute, Ecole´ Polytechnique Fed´ erale´ de Lausanne (EPFL), Adrien Doerig Lausanne, Switzerland $ Institute of Cognitive Neurosciences, Khatuna Parkosadze Agricultural University of Georgia, Tbilisi, Georgia $ Institute of Cognitive Neurosciences, Marina Kunchulia Agricultural University of Georgia, Tbilisi, Georgia $ Laboratory of Psychophysics, Brain Mind Institute, Ecole´ Polytechnique Fed´ erale´ de Lausanne (EPFL), Michael H. Herzog Lausanne, Switzerland $ #TheDress is remarkable in two aspects. First, there is a dress are black and blue. Although the differences in bimodal split of the population in the perception of the the perceived and true colors are striking, apparent dress’s colors (white/gold vs. black/blue). Second, changes in color are common in many illusions, such as whereas interobserver variance is high, intra-observer the checker shadow illusion (Adelson, 1995). These variance is low, i.e., the percept rarely switches in a given illusions are usually explained in terms of color individual. There are two plausible routes of explanations: constancy, where the luminance of the context plays the either one-shot learning during the first presentation of the image splits observers into two different, stable crucial role. Also in #TheDress, color constancy plays populations, or the differences are caused by stable traits an important role (Brainard & Hurlbert, 2015; Ge- of observers, such as different visual systems. Here, we genfurtner, Bloj, & Toscani, 2015; Winkler, Spillmann, hid large parts of the image by white occluders. -
Uncertainty and Decision-Making in the Human Brain
UNCERTAINTY AND DECISION-MAKING IN THE HUMAN BRAIN Iris M. D. Vilares Dissertation presented to obtain the Ph.D degree in Biology | Neuroscience Instituto de Tecnologia Química e Biológica | Universidade Nova de Lisboa Research work coordinated by: Oeiras, December, 2013 ii To my family iii iv APOIO FINANCEIRO/FINANCIAL SUPPORT Apoio financeiro da FCT e do FSE no âmbito do Quadro Comunitário de Apoio, bolsa de doutoramento n° SFRH/BD/33272/2007. O ultimo ano foi financiado pelo National Institute of Health, bolsa n° 2P01NS044393. Financial support for this thesis was provided by FCT and FSE through the Quadro Comunitário de Apoio, doctoral fellowship n° SFRH/BD/33272/2007. The last year was provided by the National Institute of Health, grant n° 2P01NS044393. v vi ACKNOWLEDGEMENTS Many people have helped me through this path, and I am immensely grateful to all of them. I would like to thank: My supervisor, Dr. Konrad Kording. Thank you for being an amazing supervisor, for always being there to help me. You developed in me a love for science and always believed in my scientific skills, sometimes even more than myself. Thank you for your guidance and support at all times. For always feeling welcomed to go to you for any question, be it scientific or not. Thank you for an incredible mentorship. You are my scientific role model. My internal supervisor, Dr. Rui Costa. Thank you for your enthusiasm and support at all times. Thank you for all the help you gave me in taking care of bureaucracy, especially this past month, when almost every day I was sending you an email. -
Ultimate-Bridal-Shopping-Guide.Pdf
Bridal Shopping Handbook Copyright ©2015 Omo Alo All rights reserved. First Edition No part of this book shall be reproduced or transmitted in any form or by any means, electronic or mechanical, including photocopying, recording or by any information retrieval system without written permission from the author. Although every precaution has been taken in the preparation of this book, the author assumes no responsibility for errors or omissions. Neither is any liability assumed for damages or loss of earnings resulting from the use of the information contained herein 2 Contents Chapter 1: Introduction……………………………………………………………. 4 Chapter 2: 3 Must Know Tips to Find Your Dream Dress………………………… 5 Chapter 3: Choosing the Right Dress for Your Body Shape …………………….... 8 Chapter 4: Get a Tiny Waist Look in Your Wedding Dress ………………………. 14 Chapter 5: Different Bridal Fabrics…………………………………………………18 Chapter 6: Bridal Inspiration from Past Estilo Moda Brides ……………………… 21 Chapter 7: Wedding Dress Shopping ……………………………………………... 43 Chapter 8: Conclusion …………………………………………………………….. 46 3 Chapter 1 Introduction Meet Eliza, who got married a few years ago and still wishes every day that she had worn a different wedding dress something different for her wedding. Unfortunately, she’s about 3 years too late now. She still hopes her husband would be open to a marriage blessing and then she can finally wear her dream dress. Long before Steven proposed to Eliza, she knew what her dream wedding dress would look like. She was sure it would be perfect for her and she knew what every last detail would be. She wanted to look like a modern day princess. The bodice would have been reminiscent of Grace Kelly’s wedding dress bodice: lightly beaded lace, high neck but with cap sleeves rather than long sleeves. -
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. -
Making Mannequins, Part 2
Making mannequins, part 2 Fosshape mannequins This information sheet outlines how to make simple, bespoke mannequins for displaying garments. A garment displayed on a correctly fitted mannequin will reveal its style and shape but also ensures that there is no strain on the fabric. In the Conservation Unit of the Museum of Applied Arts and Sciences, we frequently make Fosshape mannequins and accessory supports in our exhibitions. Using Fosshape material to make mannequins is simple, creative, inexpensive, quick, clean and very effective. What is Fosshape? Fosshape is a low melt, non-woven, polyester fabric, similar in appearance to felt but stiffens when heated with steam. It is lightweight, breathable and easy to cut and stitch. A piece of Fosshape can be fitted onto a form, such as a dressmaker’s mannequin or mannequin parts, such as heads, legs, arms. Applying heat and pressure to the Fosshape will cause it to stiffen and take on the Example of a silk wedding dress, from 1887, on an shape of the form beneath it. Fosshape will shrink invisible mannequin. MAAS Collection, donated by Mrs James, 1986. 86/648 by 15% and become smoother when it is heat activated. It can be bought by the metre from milliner suppliers. Fosshape comes in white and black and 3 different weight grades (300, 400 and 600 grams per sq/metre). Uses Fosshape can be used to create mannequins and accessory supports for hats, gloves or even mermaid tails. It can also be used to create invisible forms which allows a garment to be viewed as it is without the distraction of a mannequin. -
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. -
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). -
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. -
Do 3D Visual Illusions Work for Immersive Virtual Environments?
Do 3D Visual Illusions Work for Immersive Virtual Environments? Filip Skolaˇ Roman Gluszny Fotis Liarokapis CYENS – Centre of Excellence Solarwinds CYENS – Centre of Excellence Nicosia, Cyprus Brno, Czech Republic Nicosia, Cyprus [email protected] [email protected] [email protected] Abstract—Visual illusions are fascinating because visual per- The majority of visual illusions are generated by two- ception misjudges the actual physical properties of an image or dimensional pictures and their motions [9], [10]. But there are a scene. This paper examines the perception of visual illusions not a lot of visual illusions that make use of three-dimensional in three-dimensional space. Six diverse visual illusions were im- plemented for both immersive virtual reality and monitor based (3D) shapes [11]. Visual illusions are now slowly making their environments. A user-study with 30 healthy participants took appearance in serious games and are unexplored in virtual place in laboratory conditions comparing the perceptual effects reality. Currently, they are usually applied in the fields of brain of the two different mediums. Experimental data were collected games, puzzles and mini games. from both a simple ordering method and electrical activity of the However, a lot of issues regarding the perceptual effects brain. Results showed unexpected outcomes indicating that only some of the illusions have a stronger effect in immersive virtual are not fully understood in the context of digital games. reality, others in monitor based environments while the rest with An overview of electroencephalography (EEG) based brain- no significant effects. computer interfaces (BCIs) and their present and potential Index Terms—virtual reality, visual illusions, perception, hu- uses in virtual environments and games has been recently man factors, games documented [12]. -
UC Berkeley UC Berkeley Electronic Theses and Dissertations
UC Berkeley UC Berkeley Electronic Theses and Dissertations Title Light, Nearwork, and Visual Environment Risk Factors in Myopia Permalink https://escholarship.org/uc/item/1bj5m20w Author Alvarez, Amanda Aleksandra Publication Date 2012 Peer reviewed|Thesis/dissertation eScholarship.org Powered by the California Digital Library University of California Light, Nearwork, and Visual Environment Risk Factors in Myopia By Amanda Aleksandra Alvarez A dissertation submitted in partial satisfaction of the requirements for the degree of Doctor of Philosophy in Vision Science in the Graduate Division of the University of California, Berkeley Committee in charge: Professor Christine F. Wildsoet, Chair Professor Austin Roorda Professor Ruzena Bajcsy Fall 2012 Light, Nearwork, and Visual Environment Risk Factors in Myopia Copyright © 2012 by Amanda Aleksandra Alvarez Abstract Light, Nearwork, and Visual Environment Risk Factors in Myopia By Amanda Aleksandra Alvarez Doctor of Philosophy in Vision Science University of California, Berkeley Professor Christine F. Wildsoet, Chair Myopia, or nearsightedness, is a form of visual impairment in which distant objects appear blurry due to excessive axial eye growth that is mismatched to the eye’s refractive power. This condition, though treatable with spectacles, contact lenses, or refractive surgery, continues to increase in prevalence, particularly in some Asian countries, where up to 80-90% of young people and students are myopic. High myopia (< -6.00 D) is associated with greater risk of glaucoma, retinal detachment, and other blinding complications. Myopia is a complex disease with both genetic and environmental components. Rising myopia prevalence rates have mirrored lifestyle shifts that include reduced outdoor and light exposure. The directionality and impact of environmental risk factors, particularly light exposure, on myopia, continue to be poorly understood, partly due to the lack of in vivo and realtime instruments for measuring these effects. -
Bare Witness
are • THE METROPOLITAN MUSEUM OF ART "This is a backless age and there is no single smarter sunburn gesture than to hm'c every low-backed cos tume cut on exactly the same lines, so that each one makes a perfect frame for a smooth brown back." British Vogue, July 1929 "iVladame du V. , a French lady, appeared in public in a dress entirely a Ia guil lotine. That is to say ... covered with a slight transparent gauze; the breasts entirely bare, as well as the arms up as high as the shoulders.... " Gemleman's A·1agazine, 1801 "Silk stockings made short skirts wearable." Fortune, January 1932 "In Defence ofSh** ld*rs" Punch, 1920s "Sweet hem·ting matches arc very often made up at these parties. It's quite disgusting to a modest eye to see the way the young ladies dress to attract the notice of the gentlemen. They are nearly naked to the waist, only just a little bit of dress hanging on the shoulder, the breasts are quite exposed except a little bit coming up to hide the nipples." \ Villiam Taylor, 1837 "The greatest provocation oflust comes from our apparel." Robert Burton, Anatomy ofi\Jelancholy, 1651 "The fashionable woman has long legs and aristocratic ankles but no knees. She has thin, veiled arms and fluttering hands but no elbows." Kennedy Fraser, The Fashionahlc 1VIind, 1981 "A lady's leg is a dangerous sight, in whatever colour it appears; but, when it is enclosed in white, it makes an irresistible attack upon us." The Unil'ersol !:lpectator, 1737 "'Miladi' very handsome woman, but she and all the women were dccollctees in a beastly fashion-damn the aristocratic standard of fashion; nothing will ever make me think it right or decent that I should see a lady's armpit flesh-folds when I am speaking to her." Georges Du ~ - laurier, 1862 "I would need the pen of Carlyle to describe adequately the sensa tion caused by the young lady who first tr.od the streets of New York in a skirt ..