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The Impossible Vase: an Exploration in Perception

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The Impossible Vase: an Exploration in Perception THE IMPOSSIBLE VASE: AN EXPLORATION IN PERCEPTION A Thesis Presented to the Faculty of the Graduate School of Cornell University in Partial Fulfillment of the Requirements for the Degree of Master of Science by SuAnne Fu May 2002 © 2002 SuAnne Fu ALL RIGHTS RESERVED ABSTRACT The Impossible Vase is a digital installation combining elements of perception and computer graphics to create a unique visual experience through light projection. The projected images are cast upon solid objects rather than a traditional flat canvas. This installation will explore perceptual issues by deconstructing visual cues and analyzing the way our minds process visual information into a coherent story. The projected imagery, along with the movement of the three dimensional canvas, will create physical impossibilities to demonstrate when and where our perceptual process collapses. During these isolated moments, we can then analyze the paramount elements contributing to our minds’ interpretation of a cohesive image and draw a correlation that may be applied to computer graphics. BIOGRAPHICAL SKETCH The author was born in China on April 26, 1976 and grew up in New Jersey for most of her life. She has received degrees of B.F.A. in Digital Media and a B.A. in History of Art from Cornell University in 1999. In 1999 she also joined the Program of Computer Graphics at Cornell University as a Masters Student. iii For My Mom, Whose Stubbornness I Inherited iv ACKNOWLEDGEMENTS Most importantly I need to thank my advisor Don Greenberg for giving me the opportunity to explore interdisciplinary research in art and computer graphics at the Program of Computer Graphics. He opened the doorway and encouraged me to explore what I like best about both disciplines and taught me that if you think hard enough, you can find a path to bridge all your interests. I like to extend my thanks to my other advisor, Barry Perlus and Jim Ferwerda for pointing me in the right directions and letting me consult them on short notices. I would also like to thank all the students and staff who contributed their efforts in making my work in the lab possible. From the beginning, there were my forerunners in the program, Moreno Piccolotto and Corey Toler who introduced me to the world of computer graphics and inadvertently pulled me in with their fascinating work and commitment. My heartfelt thanks goes to my entering class, Rich Levy, Steve Berman, and Sherwin Tam, who accompanied me through both the tears and the laughter. I like to offer special thanks to Rich Levy, who loaned me his applet for my projections. I couldn’t have done it without the graciousness and unending patience of the PCG staff, especially Peggy Anderson, for helping me put together the tent covering, Hurf Sheldon for taking extra hours to help me set up my installation, and the undeniable Steve Westin for lending me the felt for my light trap. Another special thanks goes to my officemate, Sebastian v Fernandez, who has been great company and has lots of patience to put up with my over-crowding tent. I would also like to thank all the students and staff members of PCG for helping me through my years at Cornell. They are Linda Stephenson, Ben Trumbore, Jack Tumblin, Jonathan Corson-Rikert, Martin Berggren, Fabio Pellacini, Parag Tole, Randy Fernando, Hongsong Li, and Jeremy Selan.. This acknowledgment would not be complete without mentioning the highly caffeinated coffee gang, Moreno Piccolotto, Sebastian Fernandez, Kavita Bala and Ryan Ismert who kept me well dosed in expresso, sweet pastries, and good company when I needed a break. I’m also grateful to Mary Armstrong for always taking care of all of us and not letting us stray too much towards turning our offices into a pigsty. Finally, I’d like to thank Philip Dutré, Tang Fang, and Young Ho Cho for helping me through the most difficult times when I wanted to throw in the towel. Their listening ears and crazy ideas gave me a better perspective of all I want and need to do with my life. vi TABLE OF CONTENTS 1 Introduction.................................................................................................... 1 1.1 Challenging the Familiarity of Sight .................................................. 1 1.2 Thesis Organization ............................................................................. 2 2 Illusions and Perception in Art: A Re-investigation of Traditional Masterpieces................................................................................................... 4 2.1 Perception and Art............................................................................... 4 2.2 Perspective............................................................................................ 5 2.3 Size Constancy...................................................................................... 9 2.4 Resolution/Frequency ....................................................................... 13 2.5 Foveal / Peripheral Visual Acuity.................................................... 15 2.6 Localized Perception.......................................................................... 19 2.7 The Reverse Perspective .................................................................... 23 2.8 Motion ................................................................................................. 25 2.9 Perception issues represented in Art................................................ 29 3 Previous Works............................................................................................ 30 3.1 Perceptual Influences from Entertainment...................................... 30 3.2 Influences from Art............................................................................ 36 3.3 Educational/Research Influences..................................................... 38 4 Installation of the Impossible Vase............................................................ 41 4.1 The Digital Sculpture......................................................................... 41 4.2 First Run.............................................................................................. 42 4.3 The Idea............................................................................................... 46 4.4 Layout ................................................................................................. 49 4.5 Changing Material Properties........................................................... 51 4.6 The Illusion......................................................................................... 52 vii 5 The Impossible Vase’s Investigation in Perception................................. 53 5.1 The Eye of the Beholder..................................................................... 53 5.2 Localized Perception.......................................................................... 53 5.3 Mind in the Gutter ............................................................................. 56 5.4 Betting on the Odds ........................................................................... 59 5.5 The Narrative...................................................................................... 59 5.6 Combined Visual Triggers of the Impossible Vase......................... 63 6 Conclusion and Future Implications ........................................................ 65 6.1 Computers, Perception, and Art… Oh, my! .................................... 65 6.2 Perception Research Directing the Viewer’s Gaze .......................... 66 6.3 Conclusion .......................................................................................... 67 Bibliography ......................................................................................................... 69 viii LIST OF FIGURES 2.1 Color Constancy Chart.......................................................................5 2.2 Zhao Meng Fu, Autumn Colors on the Ch’iao and Hua Mountains ...6 2.3 Albrecht Dürer, Tracing a Lute. .........................................................7 2.4 Size Constancy illustration................................................................9 2.5 Photo of two figures standing in Ames Room...............................10 2.6 Diagram of the Ames Room............................................................10 2.7 Edward Hopper, Second Story Sunlight ..........................................12 2.8 Second Story Sunlight diagram of areas where the correct perspective projections are not adhered. .......................................12 2.9 Georges Seurat, Sunday Afternoon on the Island of La Grande Jatte.15 2.10 Piérre Bonnard, Large Dining Room Overlooking the Garden ..........17 2.11 M.C. Escher, Ascending and Descending...........................................20 2.12 René Magritte, Key of Dreams...........................................................21 2.13 David Hockney, The Desk ................................................................23 2.14 David Hockney, Pearblossom Highway ............................................24 2.15 Marcel Duchamp, Nude Descending a Staircase, No. 2 ....................27 2.16 Pablo Picasso, Femme Couchée..........................................................28 3.1 Disney’s Haunted Mansion, The Stretching Room..........................32 3.2 Illustration of the Pepper’s Ghost Illusion.....................................33 3.3 Plan of Pepper’s Ghost.....................................................................34 3.4 Stage set for the Grand Ballroom in Disney’s Haunted Mansion ..35 3.5 Organist animatronic for
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