The Leaning Tower Illusion

2017 ◽  
Author(s):  
Frederick A. A. Kingdom ◽  
Ali Yoonessi ◽  
Elena Gheorghiu
Keyword(s):  
Three Dimensional ◽  
Size Constancy ◽  
Two Dimensional ◽  
The Relationship ◽  
Two Dimensional Images

The Leaning Tower Illusion is the illusion in which two identical images of the Leaning Tower of Pisa photographed from below, placed side by side, appear to rise at different angles. The illusion is not restricted to the Pisa tower however; it occurs in any pair of identical images of objects that appear to recede into the distance. This chapter argues that the illusion results from the misapplication of the visual system’s in-built mechanisms for correcting the distortions due to perspective in two-dimensional images of three-dimensional scenes. The relationship between the Leaning Tower illusion and size constancy illusions is discussed, and it is concluded that they are likely to be closely related.

scholarly journals Until I see your dream in dark skies

IDEA JOURNAL ◽  
2017 ◽  
pp. 16-47
Author(s):  
Remco Roes ◽  
Peter Snowdon
Keyword(s):  
Three Dimensional ◽  
Waste Material ◽  
Two Dimensional ◽  
Dark Space ◽  
Artistic Work ◽  
The Relationship ◽  
Two Dimensional Images

  This visual essay and accompanying text explores the work of the Belgian assemblage artist Camiel Van Breedam through a series of dialogues: between Van Breedam’s personal archive of waste material, and the works that he has shaped out of it; through the very different works that Remco Roes has himself made using that same archive; through the relationship between the two-dimensional images that make up the visual essay, and the complex three-dimensional spaces they seek both to articulate and to conceal; and through the ensuing conversation between Roes and Peter Snowdon, which itself simultaneously explicates, complicates, revises and evades the visual modes of knowledge developed by the images. In this dialogue, it is suggested that none of these spaces – whether tactile, visual or verbal – can exist apart from the particular bodies that engage them as their “sole locus of reference,”and that the dark space where the raw, fragmentary material is collected and conserved is never exhausted by the emergent work, but persists and insists as its ground and its condition. The result is not a commentary or an analysis, in images or in words, but a form of resonance between interiority as a sensory practice, and the exposed surfaces of the always-provisional artistic work.

scholarly journals Visual Depth Perception of three dimensional images and two dimensional images

1990 ◽  
Vol 26 (Supplement) ◽  
pp. 248-249
Author(s):  
Am CHO ◽  
Kageyu NORO ◽  
Shinya KOSHIE ◽  
Atsuko HONDO ◽  
Sakae YAMAMOTO
Keyword(s):  
Depth Perception ◽  
Three Dimensional ◽  
Two Dimensional ◽  
Visual Depth ◽  
Three Dimensional Images ◽  
Two Dimensional Images

SBART 2.4: An IEC Tool for Creating Two-Dimensional Images, Movies and Collages

Leonardo ◽  
2002 ◽  
Vol 35 (2) ◽  
pp. 189-191 ◽  
Author(s):  
Tatsuo Unemi
Keyword(s):  
User Interface ◽  
Three Dimensional ◽  
Interactive System ◽  
Small Computer ◽  
Two Dimensional ◽  
The Creation ◽  
Color Value ◽  
Two Dimensional Images

In this article, the author gives an overview of SBART 2.4, an interactive system used to create abstract two-dimensional images, collages and movies. The system, one of the successors of Karl Sims's system, runs on a small computer that uses a function to calculate the color value of each pixel as a genotype. All of the ranges and domains are three-dimensional vectors. The system utilizes a multi-field user interface to enhance the diversity of production and has optional facilities that allow the creation of collages of external images or short movies.

scholarly journals Making Anaglyphs in Photoshop

2005 ◽  
Vol 13 (3) ◽  
pp. 36-39 ◽  
Author(s):  
Jerry Sedgewick
Keyword(s):  
Imaging System ◽  
Three Dimensional ◽  
Ct Scans ◽  
Two Dimensional ◽  
The Right ◽  
Two Dimensional Images

In order to achieve a three dimensional appearance to a pair of two dimensional images, two off-axis images can be produced and colorized. These can be overlayed slightly apart and then viewed through glasses with two differently colored sides, one color for the left eye and another for the right eye in combinations containing red, green or blue colors. These off-axis and colorized images are referred to as anaglyphs.Off-axis images can be achieved through the use of a tilting stage on a microscope, by physically changing the position of a camera in relation to a still object, or through changing the axis of an optical stack of sections, such as what is created by confocal/CT scans. Some images lend themselves more to a 3D look both by virtue of inherent three dimensionality limited by the resolution of the imaging system.

scholarly journals A system for three-dimensional gaze fixation analysis using eye tracking glasses

2017 ◽  
Vol 5 (4) ◽  
pp. 449-457 ◽  
Author(s):  
Ryo Takahashi ◽  
Hiromasa Suzuki ◽  
Jouh Yeong Chew ◽  
Yutaka Ohtake ◽  
Yukie Nagai ◽  
...  
Keyword(s):  
Eye Tracking ◽  
Three Dimensional ◽  
Prototype System ◽  
Two Dimensional ◽  
Dimensional Model ◽  
Three Dimensional Model ◽  
Heat Maps ◽  
Gaze Fixation ◽  
Tracking Device ◽  
Two Dimensional Images

Abstract Eye tracking is a technology that has quickly become a commonplace tool for evaluating package and webpage design. In such design processes, static two-dimensional images are shown on a computer screen while a subject's gaze where he or she looks is measured via an eye tracking device. The collected gaze fixation data are then visualized and analyzed via gaze plots and heat maps. Such evaluations using two-dimensional images are often too limited to analyze gaze on three-dimensional physical objects such as products because users look at them not from a single point of view but rather from various angles. Therefore in this study we propose methods for collecting gaze fixation data for a three-dimensional model of a given product and visualizing corresponding gaze plots and heat maps also in three dimensions. To achieve our goals, we used a wearable eye-tracking device, i.e., eye-tracking glasses. Further, we implemented a prototype system to demonstrate its advantages in comparison with two-dimensional gaze fixation methods. Highlights Proposing a method for collecting gaze fixation data for a three-dimensional model of a given product. Proposing two visualization methods for three dimensional gaze data; gaze plots and heat maps. Proposed system was applied to two practical examples of hair dryer and car interior.

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