A Distinctive Characteristic of Pictorial Perception: The Zoom Effect

Perception ◽  
1978 ◽  
Vol 7 (6) ◽  
pp. 625-633 ◽  
Author(s):  
Margaret A Hagen ◽  
Harry B Elliott ◽  
Rebecca K Jones
Keyword(s):  
Surface Texture ◽  
Flat Surface ◽  
Motion Parallax ◽  
Linear Perspective ◽  
Head Motion ◽  
Surface Information ◽  
Pictorial Perception

To investigate the role of flat surface information for the plane of projection in pictorial perception, three studies were designed in which varying amounts of such information were made available to adult subjects. The first study tested preferences for true or modified linear perspective under conditions of presence or absence of surface texture cues for the plane of projection. In the second and third studies, the absence of texture cues for the plane was coupled with the addition of motion parallax and binocular information respectively. It was found that adults showed a consistent preference for parallel perspective in pictures when the flat-surface information was provided either by visible texture or by motion parallax; but no consistent preference for either true or modified perspective in the absence of all three sources of flatness information or when the flat surface information was given only by binocular cues in the absence of visible surface texture or head motion.

The Familiar-Size Cue to Depth under Reduced-Cue Viewing Conditions

Perception ◽  
1994 ◽  
Vol 23 (11) ◽  
pp. 1301-1312 ◽  
Author(s):  
John Predebon ◽  
Jacob Steven Woolley
Keyword(s):  
Motion Parallax ◽  
Verbal Report ◽  
Major Determinant ◽  
Relative Distance ◽  
Head Motion ◽  
Familiar Size ◽  
Verbal Reports ◽  
Direct Reports ◽  
Visual Conditions

The familiar-size cue to perceived depth was investigated in five experiments. The stimuli were stationary familiar objects viewed monocularly under otherwise completely darkened visual conditions. Perceived depth was measured directly with the method of verbal report and indirectly with the head-motion procedure. Although the familiar-size cue influenced verbal reports of the distances of the objects, it did not determine perceived depth as assessed with the head-motion procedure. These findings support the claim that familiar size is not a major determinant of perceived depth, and that cognitive or nonperceptual factors mediate the effects of familiar size on direct reports of depth and distance. Possible reasons for the failure of familiar size to influence the head-motion-derived measures of perceived depth are discussed with particular emphasis on the role of motion parallax in determining perceptions of depth and relative distance.

scholarly journals Estimating depth and distance in reach space: the role of head motion parallax

2010 ◽  
Vol 2 (7) ◽  
pp. 700-700
Author(s):  
A. M. Plooy ◽  
J. P. Wann
Keyword(s):  
Motion Parallax ◽  
Head Motion ◽  
Reach Space

scholarly journals The role of motion parallax in the perception of egocentric direction

2017 ◽  
Vol 17 (10) ◽  
pp. 985
Author(s):  
Kait Clark ◽  
Simon Rushton
Keyword(s):  
Motion Parallax ◽  
Egocentric Direction

scholarly journals Drawing and Conceiving Space: How to Express Spatial Experience Through Drawing?

2015 ◽  
Vol 40 (2) ◽  
pp. 74-79
Author(s):  
Robin Schaeverbeke ◽  
Hélène Aarts ◽  
Ann Heylighen
Keyword(s):  
Teaching Practice ◽  
Linear Perspective ◽  
Two Dimensional ◽  
Spatial Concepts ◽  
Architectural Practice ◽  
Virtual Spaces ◽  
Spatial Understanding ◽  
Sensory Experiences ◽  
Geometric Space

Teaching drawing in architectural education raises questions regarding the representation of spatial experiences: to what extent can sensory experiences of space be intensified through observing and drawing and, perhaps equally important, what those drawings would look like? In the context of their drawing classes, the authors started to inquire the discrepancy between conceiving and perceiving space, and the aptitude of representing spatial concepts upon a two dimensional surface. Through observation and translating observation into drawings, students discover that conventionalised ways of drawing, such as linear perspective, only reveal part of the story. While linear perspective remains the dominant way of representing space, obviously visible in photography, film, 3D-imaging and architectural impressions, the authors started looking for ways of drawing which inquire possibilities of expressing spatial experiences. Drawing as an activity which is able to enhance spatial understanding, rather than as a tool to communicate virtual spaces. Next to drawing as a ‘skill’, which can be learnt, the drawing classes started to inquire non-visual aspects of space by analysing attributes of spatiality, which are difficult to convey through two dimensional drawings. Starting from a contextualisation of spatial drawing within architectural practice, the article examines the discrepancy between geometric space and lived space, in order to reveal the dubious role of linear perspective within (architectural) culture and history. After a brief return to how we imagined and represented space in our childhood, the article presents a series of practice based examples. Drawing on the authors’ teaching practice, it illustrates possibilities to expand our visual language by exploring space and spatiality through observing and drawing.

scholarly journals Bringing the German Pavilion Back Home

2021 ◽  
Author(s):  
◽  
Jessica Wright
Keyword(s):  
Projective Geometry ◽  
Principal Part ◽  
Linear Perspective ◽  
Two Dimensional ◽  
Dimensional Representation ◽  
New Form

<p>This research investigates a correspondence between the architectural representational tool of drawing, and the translations of these into something recognised as ‘built’. It is fundamentally concerned around representation in architecture driven by the principles that our entire engagement with architecture is via representation. Architects do not produce buildings but produce images of buildings, and the role of two-dimensional representation plays a principal part in architecture. Architecture is always representational, and the more we engage with representation the more we might push the envelope with what we understand architecture to be.   This thesis aims to establish within the contemporary discipline, what we understand about the responsibility of linear perspective as a representational tool. By understanding what lies behind the canon of perspective in architecture, this thesis questions whether the representation of conventional architecture could benefit from a new way of drawing linear perspective?   The discovery of perspective during the Renaissance has influenced not only our way of representing architecture but also how we view, and therefore design it. It has become integrated with our understanding of architecture at an unconscious level. Architects no longer need control of projective geometry, and due to this cannot be critical of the system of representation or control its limits. This leads to mediate a shift in perspective, with the intention to generate a representation of new form.   The motivation for this thesis was that from linear perspective, as it has done so for centuries, we can produce evocative and meaningful vocabularies that attempt to enrich architecture.</p>

Apparent Depth with Retinal Image Motion of Expansion and Contraction Yoked to Head Movement

Perception ◽  
1998 ◽  
Vol 27 (8) ◽  
pp. 937-949 ◽  
Author(s):  
Takanao Yajima ◽  
Hiroyasu Ujike ◽  
Keiji Uchikawa
Keyword(s):  
Motion Parallax ◽  
Ccd Camera ◽  
Head Movements ◽  
Image Motion ◽  
Apparent Depth ◽  
Motion Cues ◽  
Relative Expansion ◽  
Retinal Image Motion ◽  
Self Motion

The two main questions addressed in this study were (a) what effect does yoking the relative expansion and contraction (EC) of retinal images to forward and backward head movements have on the resultant magnitude and stability of perceived depth, and (b) how does this relative EC image motion interact with the depth cues of motion parallax? Relative EC image motion was produced by moving a small CCD camera toward and away from the stimulus, two random-dot surfaces separated in depth, in synchrony with the observers' forward and backward head movements. Observers viewed the stimuli monocularly, on a helmet-mounted display, while moving their heads at various velocities, including zero velocity. The results showed that (a) the magnitude of perceived depth was smaller with smaller head velocities (<10 cm s−1), including the zero-head-velocity condition, than with a larger velocity (10 cm s−1), and (b) perceived depth, when motion parallax and the EC image motion cues were simultaneously presented, is equal to the greater of the two possible perceived depths produced from either of these two cues alone. The results suggested the role of nonvisual information of self-motion on perceiving depth.

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