Effects of Visual-Field Inversions on the Reverse-Perspective Illusion

Cook, Norman D.; Hayashi, Toshiyuki; Amemiya, Toshihiko; Suzuki, Kimihiro; Leumann, Lorenz

doi:10.1068/p3336

Cited by 26 publications

(36 citation statements)

References 5 publications

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“…150 years ago when he folded visiting cards and placed them so that they were illuminated more from one side than from the other side (Mach 1866). The reverse-perspective scenes are attractive, both in art and in research (Cook et al 2002;Papathomas 2000Papathomas , 2002, because they bring about a conflict between depth specified by perspective and depth specified by disparity. The foreshortening (linear perspective) of the portrayed door in figure 1b specifies that the door's right side is receding in depth.…”

Section: Introductionmentioning

confidence: 99%

Voluntarily controlled bi–stable slant perception of real and photographed surfaces

Krumina

Pont

et al. 2005

Proc. R. Soc. B.

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We have quantified voluntarily selected perceived slant of real trapezoidal surfaces (a 'reverse-perspective' scene) and their photographed counterparts (pictorial space). The surfaces were slanted about the vertical axis and observers estimated slant relative to the frontal plane. We were particularly interested in those cases in which binocular disparity and monocular perspective provided conflicting slant information. We varied the monocularly and binocularly specified surface slants independently across stimulus presentations. To eliminate texture and shading cues we used sand-blasted aluminium trapezoidal surfaces illuminated from all directions. When disparity-specified slant and perspective-specified slant were conflicting, observers were able to perceive the surfaces in two ways: they perceived either a trapezoid or a rectangle. Our main finding is twofold. First, when subjects chose to perceive the trapezoid, the slant estimates followed the disparitypredicted slant with only a slight underestimation, as if they selected a pure binocular representation of slant governed only by disparity. Second, when subjects chose to perceive the rectangle their estimates for real surfaces were similar to those for photographed surfaces, as if they selected a representation of slant governed by perspective foreshortening.

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Section: Introductionmentioning

confidence: 99%

Voluntarily controlled bi–stable slant perception of real and photographed surfaces

Krumina

Pont

et al. 2005

Proc. R. Soc. B.

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“…The interaction of depth cues in perceiving reverspectives is a key question in this area. Thus far, the main cues that have been studied are binocular disparity, linear perspective and motion parallax [5,33,34]. It appears that prior experiences, specifically with retinal perspective projection, play a leading role in the depth-inversion illusion.…”

Section: The Influence Of Prior Experiences On Visual Perceptionmentioning

confidence: 99%

Hughes’s Reverspectives: Radical Uses of Linear Perspective on Non-Coplanar Surfaces

Papathomas

Hughes²

2019

Vision

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Two major uses of linear perspective are in planar paintings—the flat canvas is incongruent with the painted 3-D scene—and in forced perspectives, such as theater stages that are concave truncated pyramids, where the physical geometry and the depicted scene are congruent. Patrick Hughes pioneered a third major art form, the reverse perspective, where the depicted scene opposes the physical geometry. Reverse perspectives comprise solid forms composed of multiple planar surfaces (truncated pyramids and prisms) jutting toward the viewer, thus forming concave spaces between the solids. The solids are painted in reverse perspective: as an example, the left and right trapezoids of a truncated pyramid are painted as rows of houses; the bottom trapezoid is painted as the road between them and the top forms the sky. This elicits the percept of a street receding away, even though it physically juts toward the viewer. Under this illusion, the concave void spaces between the solids are transformed into convex volumes. This depth inversion creates a concomitant motion illusion: when a viewer moves in front of the art piece, the scene appears to move vividly. Two additional contributions by the artist are discussed, in which he combines reverse-perspective parts with forced and planar-perspective parts on the same art piece. The effect is spectacular, creating objects on the same planar surface that move in different directions, thus “breaking” the surface apart, demonstrating the superiority of objects over surfaces. We conclude with a discussion on the value of these art pieces in vision science.

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“…In our own work in empirical musicology (Cook, 2002, 2009, 2017; Cook and Fujisawa, 2006; Cook et al, 2006; Cook and Hayashi, 2008; Fujisawa and Cook, 2011), and visual aesthetics (Cook et al, 2002, 2008a,b; Hayashi et al, 2007; Cook, 2012), we have manipulated the simplest of auditory and visual stimuli, and found that there is a dramatic leap in perceived complexity as one moves specifically from two to three sensory cues. In contrast, there is a trend toward increased complexity in the transition from three to four cues, or from four to five cues (etc.…”

Section: Introductionmentioning

confidence: 99%

The Triadic Roots of Human Cognition: “Mind” Is the Ability to go Beyond Dyadic Associations

Cook

2018

Front. Psychol.

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Empirical evidence is reviewed indicating that the extraordinary aspects of the human mind are due to our species’ ability to go beyond simple “dyadic associations” and to process the relations among three items of information simultaneously. Classic explanations of the “triadic” nature of human skills have been advocated by various scholars in the context of the evolution of human cognition. Here I summarize the core processes as found in (i) the syntax of language, (ii) tool-usage, and (iii) joint attention. I then review the triadic foundations of two perceptual phenomena of great importance in human aesthetics: (iv) harmony perception and (v) pictorial depth perception. In all five subfields of human psychology, most previous work has emphasized the recursive, hierarchical complexity of such “higher cognition,” but a strongly reductionist approach indicates that the core mechanisms are triadic. It is concluded that the cognitive skills traditionally considered to be “uniquely” human require three-way associational processing that most non-Primate animal species find difficult or impossible, but all members of Homo sapiens – regardless of small cultural differences – find easy and inherently intriguing.

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Effects of Visual-Field Inversions on the Reverse-Perspective Illusion

Cited by 26 publications

References 5 publications

Voluntarily controlled bi–stable slant perception of real and photographed surfaces

Voluntarily controlled bi–stable slant perception of real and photographed surfaces

Hughes’s Reverspectives: Radical Uses of Linear Perspective on Non-Coplanar Surfaces

The Triadic Roots of Human Cognition: “Mind” Is the Ability to go Beyond Dyadic Associations

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