The Interpretation of Stereo-Disparity Information: The Computation of Surface Orientation and Depth

Perception ◽  
1982 ◽  
Vol 11 (4) ◽  
pp. 387-407 ◽  
Author(s):  
John Mayhew
Keyword(s):  
Surface Orientation ◽  
The Other ◽  
Surface Patch ◽  
Viewing Distance ◽  
Horizontal Disparity ◽  
Planar Surface ◽  
Local Surface ◽  
Stereo Disparity ◽  
The Gaze ◽  
Perceptual Phenomenon

Two methods for interpreting disparity information are described. Neither requires extraretinal information to scale for distance: one method uses horizontal disparities to solve for the viewing distance, the other uses the vertical disparities. Method 1 requires the assumption that the disparities derive from a locally planar surface. Then from the horizontal disparities measured at four retinal locations the viewing distance and the equation of local surface ‘patch’ can be obtained. Method 2 does not need this assumption. The vertical disparities are first used to obtain the values of the gaze and viewing distance. These are then used to interpret the horizontal disparity information. An algorithm implementing the methods has been tested and is found to be subject to a perceptual phenomenon known as the ‘induced effect’.

Unifying shading and texture through an active observer

1989 ◽  
Vol 238 (1290) ◽  
pp. 25-37 ◽  
Keyword(s):  
Three Dimensional ◽  
Shape From Shading ◽  
Surface Orientation ◽  
The Other ◽  
Simple Solution ◽  
Image Intensity ◽  
Other Hand ◽  
Shape From Texture ◽  
Perceptual Phenomenon

Shading (variations of image intensity) provides an important cue for understanding the shape of three-dimensional surfaces from monocular views. On the other hand, texture (distribution of discontinuities on the surface) is a strong cue for recovering surface orientation by using mon­ocular images. But given the image of an object or scene, what tech­nique should we use to recover the shape of what is imaged ? Resolution of shape from shading requires knowledge of the reflectance of the imaged surface and, usually, the fact that it is smooth (i. e. it shows no disconti­nuities). Determination of shape from texture requires knowledge of the distribution of surface markings (i. e. discontinuities). One might expect that one method would work when the other does not. I present a theory on how an active observer can determine shape from the image of an object or scene regardless of whether the image is shaded, textured, or both, and without any knowledge of reflectance maps or the distri­bution of surface markings. The approach is successful because the active observer is able to manipulate the constraints behind the perceptual phenomenon at hand and thus derive a simple solution. Several experi­mental results are presented with real and synthetic images.

BRIDGING THE ABYSS: VICTOR BASCH'S POLITICAL AND AESTHETIC MINDSET

2013 ◽  
Vol 10 (1) ◽  
pp. 87-107
Author(s):  
RAJESH HEYNICKX
Keyword(s):  
Psychological Theory ◽  
The Other ◽  
The Gaze ◽  
Political Reason ◽  
Political Position ◽  
Political Ideas ◽  
Jewish Art ◽  
Art Philosophy ◽  
Changing World

This essay cross-examines both the correlation and the disjunction between art philosophy and political reason in the thinking of the French Jewish art philosopher, Kant specialist and socialist politician Victor Basch (1863–1944). Two interwoven lines of questioning will be in play. One considers the extent to which Basch's theory of beauty, which was primarily grounded in a psychological theory of Einfühlung, was a corollary to his political ideas and practices. The other line of inquiry raises questions about how Basch's political position, namely his anti-facist defending of republican values, became influenced by his work on aesthetics. By answering both questions, this article challenges the traditional historiography of interwar aesthetics. The esaay shows how conceptual debates of aesthetics were not just sterile theoretical products, but to a large extent offered an apparatus to diagnose and orientate a rapidly changing world. Therefore this essay develops a reflection about the gaze needed to take in the complex historical situations from which aesthetic reflections grew, and which in turn they addressed.

Nina Simone as Poet and Orchestrator

2021 ◽  
Vol 33 (2) ◽  
pp. 130-147
Author(s):  
Marcus R. Pyle
Keyword(s):  
Semantic Content ◽  
Black Body ◽  
Black Female ◽  
The Self ◽  
The Other ◽  
Female Subjectivity ◽  
The Gaze ◽  
Nina Simone

How do you fashion an identity in a society that, at every turn, tries to snuff you out? In this article, I address Nina Simone's praxis of renaming and reinvention to demonstrate strategies of resistance. To this point, I analyze the musico-poetic setting of Nina Simone’s songs “Images” (1964) and “Four Women” (1965) to argue that her artistic musical choices sonically orchestrate varying issues of Black female subjectivity, identity, and self-making. In Simone’s songs, she refuses to discount the materiality of the Black body; instead, she envelops the Black body with signifiance and significance. The sonic bearers of semantic content become extensions of the Self—transmutable and heterodox. The compositional and poetic subtleties in these songs claim that the gaze of the Other can potentiate exteriority and freedom—what I term the “exo(p)tic.”

Inferring local surface orientation from motion fields

1982 ◽  
Vol 72 (7) ◽  
pp. 888 ◽  
Author(s):  
D. D. Hoffman
Keyword(s):  
Surface Orientation ◽  
Local Surface

Presenting the self for the gaze of the Other: Ethnic identity in portraits by black South African artists

de arte ◽  
2005 ◽  
Vol 40 (72) ◽  
pp. 4-16 ◽  
Author(s):  
Anitra Nettleton
Keyword(s):  
Ethnic Identity ◽  
South African ◽  
The Self ◽  
The Other ◽  
Black South African ◽  
The Gaze

scholarly journals The Eye, the Brain, the Screen – What Neuroscience Can Teach Film Theory

2019 ◽  
Vol 1 (1) ◽  
pp. 1-16
Author(s):  
Paul Elliott
Keyword(s):  
Molecular Biology ◽  
Cultural Theory ◽  
Film Theory ◽  
Mirror Neuron ◽  
The Other ◽  
Perceptual Processing ◽  
Literary Texts ◽  
Cross Model ◽  
The Gaze ◽  
The Brain

“I don’t believe that linguistics and psychoanalysis offer a great deal to the cinema. On the contrary, the biology of the brain – molecular biology – does.” Gilles DeleuzeModels of the brain are inextricably linked to the surrounding cultural episteme: whether it is viewed as a complex clockwork device, a computer, a self-regulating network or even a cinema screen, our understanding of neurophysiology has always relied on discourses and images taken from other fields. In turn, however, our knowledge of cerebral processes (such as sight for instance) has always, inevitably, affected the way that we approach artworks, literary texts and cultural artefacts.Based on this, this paper looks at how recent neuroscientific research on vision and cognition can help us better understand the processes inherent in film theory. Focussing mainly on the recently discovered concept of the mirror neuron but also citing synaesthesia and limbic perceptual processing, I suggest that neuroscience can provide us with a fertile new ground for thinking about areas such as spectatorship and the facilitation of emotional affect, it can also offer us alternatives to monolithic ideas like the Gaze and the patriarchal nature of visual pleasure.Prompted perhaps by a shift in scopic thinking, some recent neuroscientific research has even mirrored film and cultural theory by foregrounding notions such embodiment, cross-model perception and mimesis, adding to the dialogic relationship that exists between these two disciplines. This paper then is not only concerned with how different fields communicate but with how each can provide models, metaphors and frameworks for the other.

scholarly journals El Hombre / Mujer, el Ángel / Demonio. Cuerpo, misterio e inquietud en Sirena Selena Vestida de Pena

2014 ◽  
Vol 4 (1) ◽  
Author(s):  
Guillermo A Severiche
Keyword(s):  
Gender Stereotypes ◽  
The Body ◽  
The Other ◽  
The Gaze

Resumen: En la novela de Mayra Santos-Febres, la mirada de los demás personajes configura el cuerpo de Sirena Selena como un cuerpo que reconcilia dicotomías, que las fusiona: hombre / mujer, ángel / demonio. Este cuerpo fusionado se idealiza con el fin de despertar el deseo. El mismo sirve como motivación para generar una inquietud tanto en los demás personajes como en los lectores: ¿qué cuerpo es digno de ser amado, de ser deseado? Exploraremos el armado de su cuerpo a través de una subversión de ciertos estereotipos y para ello nos centraremos en dos nociones: la de disidentification y la de tropicalization. El cuerpo funciona aquí como una suerte de entidad que revitaliza estereotipos de género (hombre/mujer), religiosos (angel/demonio) y al mismo tiempo, los deconstruye. El cuerpo se erige como superficie de inscripción y de crítica frente a la artificialidad de estos discursos para mostrar que justamente son artificiales, que son construcciones. Abstract: In Mayra Santos-Febres’ novel, Sirena Selena, the gaze of the other characters configures the protagonist’s body; a body that reconciles dichotomies and merges them: man/woman, angel/demon. This merged body is idolized and its aim is to provoke desire. This body also becomes a motivation to generate an anxiety in the other characters as well as readers: what body deserves to be loved, to be desired? We will explore the assembly of her body through the subversion of certain stereotypes and in order to do that we will focus on two notions: disidentification and tropicalization. The body works as a sort of entity that revitalizes gender stereotypes (man/woman) and at the same time, it deconstructs them. The body becomes a surface of inscription and a form of criticism for the artificiality of these discourses; and it shows their artificiality, their constructiveness.

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