Interaction between Transparency and Structure from Motion

Kersten, Daniel; Bülthoff, HH; Schwartz, Bennett L.; Kurtz, Kenneth J.

doi:10.1162/neco.1992.4.4.573

Cited by 33 publications

(14 citation statements)

References 29 publications

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“…solely luminance contrast-<:an influence the perception of motion (Krauskopf and Farell 1990;Nakayama and Shimojo 1990;Kersten et al 1992;Kooi et al 1992;Dobkins and Albright 1993;Trueswell and Hayhoe 1993). Our results suggest the reverse: that the ·perception of motion is linked to the perception of color and the spread of subjective color over achromatic regions defined by motion.…”

Section: Resultsmentioning

confidence: 65%

Color from Motion: Dichoptic Activation and a Possible Role in Breaking Camouflage

Cicerone

Hoffman

1997

Perception

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Abstract. 'Color from motion' describes the perception of a spread of subjective color over achromatic regions seen as moving. The effect can be produced in a display of multiple frames shown in quick succession, each frame consisting of a fixed, random placement of colored dots on a high-luminance white background with color assignments of some dots, but not dot locations, changing from frame to frame. Evidence is presented that the perception of apparent motion and the spread of subjective color can be activated by binocular combination of disjoint signals to each eye. The dichoptic presentation of every odd-numbered frame of the full stimulus sequence presente·d to one eye and, out of phase, every even-numbered frame to the other eye produces a compelling perception of color from motion equal to that seen with the full sequence presented to each eye alone. This is consistent with the idea that color from motion is regulated in sites at or beyond the convergence of monocular pathways. When the background field in the stimulus display is of low luminance, an amodaJJy complete object, fully colored and matching the dots defining the moving region in hue and saturation, is seen to move beh.iad a partially occluding screen. Observers do not perceive such an object in still view. He!llce, color from motion can be used by the visual system to produce amodal completion, which suggests that it may play a role in enhancing the visibility of camoutlaged objects.

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Section: Resultsmentioning

confidence: 65%

Color from Motion: Dichoptic Activation and a Possible Role in Breaking Camouflage

Cicerone

Hoffman

1997

Perception

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“…As the conditions and ranges of achromatic transparencies have been assessed in many studies (for instance in [Kasrai and Kingdom 2001]), very few works focused on the perceived layout of superimposed transparent media. [Kersten et al 1992] used two squares separated in depth and rocking back and forth to show that the perceived transparency can bias the depth extracted from motion information, and even alter the impression of a rigid motion.…”

Section: The Perception Of Transparencymentioning

confidence: 99%

“…[Nawrot and Blake 1989]), but the interplay between transparency and motion information has not been thoroughly studied, as most of the works related to KDE implement point clouds or wire objects. [Kersten et al 1992] studied how phenom- enal transparency can alter the perception in depth of two overlapping squares, and [Kersten et al 2006] analyzed the influence of stereo and atmospheric perspective to improve the perception of depth in the X-RAY rendering of a rotating cylinder.…”

Section: Experiments 2: Importance Of Dynamic Information In Differentmentioning

confidence: 99%

A perceptive evaluation of volume rendering techniques

Boucheny

Bonneau

Droulez

et al. 2009

ACM Trans. Appl. Percept.

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The display of space filling data is still a challenge for the community of visualization. Direct Volume Rendering (DVR) is one of the most important techniques developed to achieve direct perception of such volumetric data. It is based on semi-transparent representations, where the data are accumulated in a depth-dependent order. However, it produces images that may be difficult to understand, and thus several techniques have been proposed so as to improve its effectiveness, using for instance lighting models or simpler representations (e.g. Maximum Intensity Projection). In this paper we present two perceptual studies that question how DVR meets its goals, in either static or dynamic context. We show that a static representation is highly ambiguous, even in simple cases, but this can be counterbalanced by use of dynamic cues, i.e. motion parallax, provided that the rendering parameters are correctly tuned. Besides, perspective projections are demonstrated to provide relevant information to desambiguate depth perception in dynamic displays.

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“…A visual decision regarding the material (transparent, opaque surface or shadow) a¡ects more or less how the motions are seen. Kersten et al (1992) reported a movie with a bistable percept of apparent rigid or non-rigid motion of two square planar overlapping surfaces. The type of motion perceived (rigid or non-rigid) was contingent on which of the two surfaces appeared to be transparent.…”

Section: K Now L E D G E R E Qu I R E D To R E S Olv E S C E N E a mentioning

confidence: 99%

“…Human vision shows interactions between a number of pictorial cues and the more`direct' information from stereo and motion. These interactions have been documented for occlusion and stereo (Nakayama et al 1989), transparency and stereo (Trueswell & Hayhoe 1993), and transparency and structure from motion (Kersten et al 1992). For shape, there are interactions between stereo and shading (Bu« ltho¡ & Mallot 1988), texture and stereo (Johnston et al 1994), and texture and motion (Landy et al 1995).…”

mentioning

confidence: 94%

Perceptual categories for spatial layout

Kersten

1997

Phil. Trans. R. Soc. Lond. B

Self Cite

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The central problems of vision are often divided into object identification and localization. Object identification, at least at fine levels of discrimination, may require the application of top–down knowledge to resolve ambiguous image information. Utilizing top–down knowledge, however, may require the initial rapid access of abstract object categories based on low–level image cues. Does object localization require a different set of operating principles than object identification or is category determination also part of the perception of depth and spatial layout? Three–dimensional graphics movies of objects and their cast shadows are used to argue that identifying perceptual categories is important for determining the relative depths of objects. Processes that can identify the causal class (e.g. the kind of material) that generates the image data can provide information to determine the spatial relationships between surfaces. Changes in the blurriness of an edge may be characteristically associated with shadows caused by relative motion between two surfaces. The early identification of abstract events such as moving object/shadow pairs may also be important for depth from shadows. Knowledge of how correlated motion in the image relates to an object and its shadow may provide a reliable cue to access such event categories.

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Interaction between Transparency and Structure from Motion

Cited by 33 publications

References 29 publications

Color from Motion: Dichoptic Activation and a Possible Role in Breaking Camouflage

Color from Motion: Dichoptic Activation and a Possible Role in Breaking Camouflage

A perceptive evaluation of volume rendering techniques

Perceptual categories for spatial layout

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