Some Quantitative Aspects of an Opponent-Colors Theory I Chromatic Responses and Spectral Saturation

Jameson, Dorothea; Hurvich, Leo M.

doi:10.1364/josa.45.000546

Cited by 343 publications

(160 citation statements)

References 13 publications

Supporting

Mentioning

148

Contrasting

Order By: Relevance

“…The remarkable fact is that double-opponent cells, which are familiar as color-processing units in psychophysics (Jameson & Hurvich, 1955;Zrenner et al, 1990) Boundary-surface consistency is achieved via Pathways 7 in Figure 12B. Pathways 7 are activated by the contours of successfully filled-in surface regions at the monocular ADOs.…”

Section: Filling-in Of Monocular Surface Representationsmentioning

confidence: 99%

Cortical dynamics of three-dimensional figure–ground perception of two-dimensional pictures.

Grossberg¹

1997

Psychological Review

189

254

View full text Add to dashboard Cite

This article develops the FACADE theory of 3-dimensional (3-D) vision and figure-ground separation to explain data concerning how 2-dimensional pictures give rise to 3-D percepts of occluding and occluded objects. The model describes how geometrical and contrastive properties of a picture can either cooperate or compete when fonning the boundaries and surface representations that subserve conscious percepts. Spatially long-range cooperation and spatially short-range competition work together to separate the boundaries of occluding figures from their occluded neighbors. This boundary ownership process is sensitive to image T junctions at which occluded figures contact occluding figures. These boundaries control the filling-in of color within multiple depth-sensitive surface representations. Feedback between surface and boundary representations strengthens consistent boundaries while inhibiting inconsistent ones. Both the boundary and the surface representations of occluded objects may be amodally completed, while the surface representations of unoccluded objects become visible through modal completion. Functional roles for conscious modal and amodal representations in object recognition, spatial attention, and reaching behaviors are discussed. Model interactions are interpreted in tenns of visual, temporal, and parietal cortices.

show abstract

Section: Filling-in Of Monocular Surface Representationsmentioning

confidence: 99%

Cortical dynamics of three-dimensional figure–ground perception of two-dimensional pictures.

Grossberg¹

1997

Psychological Review

189

254

View full text Add to dashboard Cite

show abstract

“…Perceptual opponency of red/green forms the conceptual basis for quantifying the redness of monochromatic light. In a classic study, Jameson and Hurvich (Jameson and Hurvich, 1955) reasoned that the amount of redness in a monochromatic light can be measured by combining it with a second light that appears green when viewed alone (Shevell, 2003). It should be noted that color appearance is reasonably stable with increasing age of the painter (Schefrin and Werner, 1990).…”

Section: Chromatic Ratiomentioning

confidence: 99%

Atmospheric effects of volcanic eruptions as seen by famous artists and depicted in their paintings

Zerefos

Gerogiannis²,

Balis

et al. 2007

Atmos. Chem. Phys.

View full text Add to dashboard Cite

Abstract.Paintings created by famous artists, representing sunsets throughout the period 1500-1900, provide proxy information on the aerosol optical depth following major volcanic eruptions. This is supported by a statistically significant correlation coefficient (0.8) between the measured redto-green ratios of a few hundred paintings and the dust veil index. A radiative transfer model was used to compile an independent time series of aerosol optical depth at 550 nm corresponding to Northern Hemisphere middle latitudes during the period 1500-1900. The estimated aerosol optical depths range from 0.05 for background aerosol conditions, to about 0.6 following the Tambora and Krakatau eruptions and cover a period practically outside of the instrumentation era.

show abstract

“…These psychophysical findings and the strength of their implications, which Iink the red/green opponent-response function in such a simple way to the underlying pigments, encouraged us to investigate the yellow/blue process. Jameson and Hurvich (1955) determined a series of yellow/blue equilibrium colors in the course of their measurement of the yellow/blue chromatic-response function. Their measurements are shown in Fig.…”

Section: Introductionmentioning

confidence: 99%

Opponent process additivity—II. Yellow/blue equilibria and nonlinear models

1975

View full text Add to dashboard Cite

Abstract-A yellow/blue equilibrium Iight is one which appears neither yellowish nor bluish (i.e. uniquely red, uniquely green, or achromatic). The spectral locus of the monochromatic greenish equilibrium (around 500 nm) shows little, if any, variation over a luminance range of .! log,, units. Reddish equilibria are extraspectral. involving mixtures of short-and long-wave light. Their wavelength composition is noninvariant with luminance: a reddish equilibrium light turns bluish-red if luminance is increased with wavelength composition constant.The additive mixture of the reddish and greenish equilibria is again a yellow, blue equilibrium light.We conclude that yellow/blue equilibrium can be described as the zeroing of a nonlinear functional.which is, however, approximately linear in the short-wavelength ("blue") and middle-wavelength ("green") cone responsesand nonlinear only in the long-wavelength ("red") cone response. The "red" cones contribute to yellowness but via a compressive function of luminance. This effect works against the direction of the Bezold-Briicke hue shift. The Jameson-Hurvich yellowiblue chromatic-response function is only approximately correct; the relative values of yellow/blue chromatic response for an equal energy spectrum must vary somewhat with the energy level.

show abstract

Some Quantitative Aspects of an Opponent-Colors Theory I Chromatic Responses and Spectral Saturation

Cited by 343 publications

References 13 publications

Cortical dynamics of three-dimensional figure–ground perception of two-dimensional pictures.

Cortical dynamics of three-dimensional figure–ground perception of two-dimensional pictures.

Atmospheric effects of volcanic eruptions as seen by famous artists and depicted in their paintings

Opponent process additivity—II. Yellow/blue equilibria and nonlinear models

Contact Info

Product

Resources

About