Optical Illusions “What You See Is Not What You Get”
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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. -
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. -
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. -
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]. -
Eye and Brain
Eye and Brain We are so familiar with seeing, that it takes a leap of imagination to realize that there are problems to be solved. But consider it. We are given tiny distorted upside-down images in the eyes and we see separate solid objects in surrounding space. From the patterns of stimulation on the retina we percieve the worlds of objects and this is nothing short of a miracle. Richard L. Gregory, Eye and Brain, 1966 Problems to be Solved Organizational Rules of Visual Perception[2] Similarity Organizational Rules of Visual Perception[2] Proximity Organizational Rules of Visual Perception[2] Continuation Organizational Rules of Visual Perception[2] Contour Saliency Object Recognition depends on the separation of foreground and background in a scene[2] Optical Illusion Three level Processing of a Visual Scene[2] Three level Processing of a Visual Scene[2] Low-Level Processing Intermediate Level Processing High-Level Processing How this Vision Process or Interpretation of the world infront of us happens? Vision Processing Constructive Nature Low-level Visual Processing Intermediate-level Visual Processing High-level Visual Processing Vision Processing Constructive Nature Low-level Visual Processing Intermediate-level Visual Processing High-level Visual Processing Eye-Camera Analogy [1] Expectation and Perceptual task play a critical role in what is seen[2] Expectation and Perceptual task play a critical role in what is seen[2] How this constructive process took place? Structure of the Human Eye[2,3] Visual Pathway Visual -
Understanding Optical Illusions
Understanding Optical Illusions Mohit Gupta What are optical illusions? Perception: I see Light (Sensing) Truth: But this is an ! Oracle Optical Illusion in Nature Image Courtesy: http://apollo.lsc.vsc.edu/classes/met130/notes/chapter19/graphics/infer_mirage_road.jpg A Brightness Illusion Different kinds of illusions • Brightness and Contrast Illusions • Twisted Cord Illusions • Color Illusions • Perspective Illusions • Relative Motion Illusions • Illusions of Expressions Lightness Constancy Our Vision System tries to compensate for differences in illumination Why study optical illusions? • Studying how brain is fooled teaches us how it works “Illusions of the senses tell us the truth about perception” [Purkinje] • It makes us happy : Al Seckel Simultaneous Contrast Illusions Low-level Vision Explanation Negative Positive Photo-receptors Photo-receptors Receptive Fields in the Retina - Inhibitory Excitatory Light - + - Light - Low-level Vision Explanation - - - + - - + - Positive - - Negative Gradient Gradient High-level Vision Explanation: Context Less Incident More Incident Illumination Illumination Higher Perceived Lower Perceived Reflectance Reflectance Brightness = Reflectance * Incident Illumination The Hermann grid illusion The Hermann grid: Low level Explanation - - + - - Lateral Inhibition The Hermann grid illusion Focus on one intersection Why does the illusion disappear? Receptive fields are smaller near the fovea (center) of the eye The Waved Grid: No illusion! Scintillating Grids: Straight and Curved Adelson’s checkerboard -
7Th Grade Week 7 Art E-Learning Optical Illusion
7 th Grade Week 7 Art E-Learning Optical Illusion Drawing Prompts Complete a drawing activity on a piece of paper. Any kind of paper will be acceptable. Select one drawing prompt. Remember, creativity is all about thinking in new ways! ● Op Art: Create a dot (also known as a vanishing point) in the middle of the paper. Draw an even number of lines that start at the dot and extend to the edge of the paper, like a pinwheel. Draw curved lines (as pictured in the design to the right) → to create stripes in each section. Shade every other stripe to create an optical illusion. ● Op Art Shapes : Watch the video Art Lesson Online: Op-Art!. Follow the steps to create a mind boggling optical illusion using geometric shapes and stripes. Be sure to take a picture of your work. Images can be saved to a Google doc and shared with Mrs. Campbell or may be e-mailed to m [email protected]. ------------------------------------------------------------------------------------------------------------------------------------------------------- Op Art This week, you will continue to study perspective while taking a look at a modern art movement called Op Art. Read the text and complete the graphic organizer below on your own paper or in Google Classroom. 1. Read the paragraph below. 2. Very Important Points The term Op Art refers to Optical Art. Op Art followed the List 5 facts you feel are most important from the Pop Art movement of the 1960’s. It was first called paragraph. “kinetic art” (art which moves) because some of the art actually moved or appeared to move because of the way 1. -
Signature Redacted
SENSATION VS. PERCEPTION A Study and Analysis of Two Methods Affecting Cognition MSAHUSETT S INSTIfUTE by OF TECHNOLOGY Xiaoyan Shen AUG 2 2 2019 B.A.S. New Media LIBRARIES City University of Hong Kong ARCHIVES Submitted to the Department of Architecture In partial fulfilment of the requirements for the degree of Master of Science in Art, Culture and Technology at the Massachusetts Institute of Technology June 2019 © 2019 Xiaoyan Shen. All rights reserved. The author hereby grants MIT permission to reproduce and distribute publicly paper and electronic copies of this thesis document in whole or in part in any medium now known or hereafter created. Signature redacted ............................................... SIGNATURE OF AUTHOR Department of Architecture Signature redacted May10,2019 CERTIFIED BY Judith Barry Professor of Art, Culture and Technology Thesis Supervisor Signature-redacted ACCEPTED BY Nasser Rabbat Aga Khan Professor Chair of the Department Committee on Graduate Students COMMITTEE Thesis Supervisor Judith Barry Professor of Art, Culture and Technology Thesis Reader Caroline A. Jones Professor of History, Theory and Criticism 3 SENSATION VS. PERCEPTION A Study and Analysis of Two methods Affecting Cognition by Xiaoyan Shen Submitted to the Department of Architecture on May 10, 2019 In Partial Fulfilment of the Requirements for the Degree of Master of Science in Art, Culture and Technology Abstract In this thesis I discuss methods of projects that create cognitive effects that can be categorized into two situations: through sensation (outside stimulations/objective/bottom-up processing in neuroscience) or through perception (arousing background knowledge of inner mind/subjective/top-down processing in neuroscience). Similar effects can be reached through different ways. -
Kinsella Feb 13
MORPHEUS: A BILDUNGSROMAN A PARTIALLY BACK-ENGINEERED AND RECONSTRUCTED NOVEL MORPHEUS: A BILDUNGSROMAN A PARTIALLY BACK-ENGINEERED AND RECONSTRUCTED NOVEL JOHN KINSELLA B L A Z E V O X [ B O O K S ] Buffalo, New York Morpheus: a Bildungsroman by John Kinsella Copyright © 2013 Published by BlazeVOX [books] All rights reserved. No part of this book may be reproduced without the publisher’s written permission, except for brief quotations in reviews. Printed in the United States of America Interior design and typesetting by Geoffrey Gatza First Edition ISBN: 978-1-60964-125-2 Library of Congress Control Number: 2012950114 BlazeVOX [books] 131 Euclid Ave Kenmore, NY 14217 [email protected] publisher of weird little books BlazeVOX [ books ] blazevox.org 21 20 19 18 17 16 15 14 13 12 01 02 03 04 05 06 07 08 09 10 B l a z e V O X trip, trip to a dream dragon hide your wings in a ghost tower sails crackling at ev’ry plate we break cracked by scattered needles from Syd Barrett’s “Octopus” Table of Contents Introduction: Forging the Unimaginable: The Paradoxes of Morpheus by Nicholas Birns ........................................................ 11 Author’s Preface to Morpheus: a Bildungsroman ...................................................... 19 Pre-Paradigm .................................................................................................. 27 from Metamorphosis Book XI (lines 592-676); Ovid ......................................... 31 Building, Night ...................................................................................................... -
Vision V Overview of Topics Chapter 8 in Goldstein Perceiving Movement (Chp
Vision V Overview of Topics Chapter 8 in Goldstein Perceiving Movement (chp. 9 in 7th ed.) • Movement is tied up with all other aspects of vision (colour, depth, shape perception...) • Differentiating self-motion from other- motion. • Physiology of motion perception • Higher order motion processing 1 2 1 2 Motion is Everything Motion Makes Colour • J.J. Gibson criticized standard perception research & proposed the “ecological approach” instead. • Gibson: Motion is tied up with all other aspects of vision. Studying reductionistic static stimuli is the wrong way to go. • Example: We don’t stand still while looking at objects but perception researchers still use static images of objects in their research. 3 4 3 4 Motion Defines Depth Motion Defines Shape (and 3D Shape) 5 6 5 6 Five Ways to Perceive Movement Motion is Always There • Real movement • Apparent movement (Even When it Isn’t) • Induced movement (a.k.a. relative movement) • Movement aftereffect • Movement illusions in static stimuli 7 8 7 8 Real Movement Apparent Movement (or is it?) 9 10 9 10 Induced Motion Movement Aftereffects • Movement aftereffect • Observer looks at movement of object for 30 to 60 sec • Then observer looks at a stationary object • Movement appears to occur in the opposite direction from the original movement • Waterfall illusion is an example of this 11 12 11 12 Motion Aftereffects Motion Illusions (Waterfall Illusion) in Static Stimuli 13 14 13 14 Functions of Movement Questions Perception • Survival in the environment What are five ways to perceive motion? • Predators use movement of prey as a primary • means to location in hunting What other aspects of vision does motion • • Prey must be able to gauge movement of predators play a role in? to avoid them. -
Visual Perception Glossary
Visual Perception Glossary Amodal perception The part of an object that is not visible because occlu- ded can be amodally perceived. Amodal perception is different and one step removed from modal percepti- on of real or illusory contours. Apparent motion When an object is presented at two different locati- ons after a brief time interval observers perceive mo- tion. The fi rst empirical investigation was carried out by Sigmund Exner . His aim, as well as the subsequent work by Max Wertheimer , was in establishing that motion was a basic sensation. Attention Refers to the selective processing of some aspect of information, while ignoring other information. The sudden onset of a stimulus can capture attention, but people can also exert some control on where they di- rect their attention. Bi-stable stimulus A particular stimulus that can produce two percepts over time, even though it is unchanged as a stimulus. An example is the Necker cube . Brightness Brightness refers to perception of how much light is coming from a given surface or object. A brighter objects refl ects more light than a less bright object. However perception of brightness is not fully deter- mined by luminance (see Illusory contours). 192 Visual Perception Glossary Cerebral lobe The cerebral cortex of the human brain is divided into four main lobes. Frontal (at the front), occipital (at the back), temporal (on the sides) and parietal (at the top). Consciousness Sorry this is too hard, your guess is as good as mine. Cortex The cortex is the outer layer of the brain . In most mammals the cortex is folded and this allows the surface to have a greater area given in the confi ned space available inside the skull.