The Synoptic Art Experience

2016 ◽  
Vol 4 (1-2) ◽  
pp. 73-105 ◽  
Author(s):  
M.W.A. Wijntjes ◽  
A. Füzy ◽  
M.E.S. Verheij ◽  
T. Deetman ◽  
S.C. Pont
Keyword(s):  
Individual Differences ◽  
20Th Century ◽  
Visual Cues ◽  
Pictorial Space ◽  
Depth Cues ◽  
Pictorial Cues ◽  
Practical Design ◽  
Acuity Test ◽  
Stereo Acuity

At the start of the 20th century, Moritz von Rohr invented the synopter: a device that removes 3D depth cues that arise from binocular disparities and vergence. In the absence of these visual cues, the observer is less aware of the physical flatness of the picture. This results in a surprisingly increased depth impression of pictorial space, historically known as the ‘plastic effect’. In this paper we present a practical design to produce a synopter and explore which elements of a painting influence the plastic effect. In the first experiment we showed 22 different paintings to a total of 35 observers, and found that they rate the synoptic effect rather consistent over the various paintings. Subsequent analyses indicated that at least three pictorial cues were relevant for the synoptic effect: figure–ground contrast, compositional depth and shadows. In experiment 2, we used manipulated pictures where we tried to strengthen or weaken these cues. In all three cases we found at least one effect that confirmed our hypothesis. We also found substantial individual differences: some observers experience little effect, while others are very surprised by the effect. A stereo acuity test revealed that these differences could not be attributed to how well disparities are detected. Lastly, we informally tested our newly designed synopter in museums and found similar idiosyncratic appraisal. But the device also turned out to facilitate discussions among visitors.

P-35: Individual Differences in the Use of Binocular and Monocular Depth Cues in 3D-Graphic Environments

2012 ◽  
Vol 43 (1) ◽  
pp. 1190-1193 ◽  
Author(s):  
Hirotaka Fujisaki ◽  
Haruto Yamashita ◽  
Ken Kihara ◽  
Sakuichi Ohtsuka
Keyword(s):  
Individual Differences ◽  
Depth Cues ◽  
Monocular Depth Cues ◽  
Monocular Depth

scholarly journals Seeing Depth with One Eye and Pictorial Space

2021 ◽  
Author(s):  
Paul Linton
Keyword(s):  
Binocular Disparity ◽  
3D Vision ◽  
Pictorial Space ◽  
Pictorial Cues

In my second post I questioned whether the integration of pictorial cues and binocular disparity occurs at the level of perception. In this third post, I push the argument further by questioning whether pictorial cues contribute to 3D vision at all.

scholarly journals AR Displays: Next-Generation Technologies to Solve the Vergence–Accommodation Conflict

2019 ◽  
Vol 9 (15) ◽  
pp. 3147 ◽  
Author(s):  
Roberts Zabels ◽  
Krišs Osmanis ◽  
Mārtiņš Narels ◽  
Uģis Gertners ◽  
Ainārs Ozols ◽  
...  
Keyword(s):  
Leisure Activities ◽  
Next Generation ◽  
Refresh Rate ◽  
Depth Cues ◽  
Industry Standard ◽  
Practical Design ◽  
Core Solution ◽  
3D Scene ◽  
Near Work ◽  
Image Depth

Augmenting reality (AR) holds many benefits in how people perceive information and use it in their workflow or leisure activities. A cohesive AR experience has many components; nevertheless, the key is display technologies. The current industry standard for the core solution is still conventional stereoscopy, which has proven to be inadequate for near-work due to the caused vergence–accommodation conflict and the inability to precisely overlay the 3D content on the real world. To overcome this, next-generation technologies have been proposed. While the holographic method holds the highest potential of being the ultimate solution, its current level of maturity is not sufficient to yield a practical product. Consequently, the next solution for near-work-capable AR displays will be of another type. LightSpace Technologies have developed a static multifocal display architecture based on stacked liquid crystal-based optical diffuser elements and a synchronized high-refresh rate image projector. A stream of 2D image depth planes comprising a 3D scene is projected onto respective physically-separated diffuser elements, causing the viewer to perceive a scene as continuous and having all relevant physical as well as psychological depth cues. A system with six image depth planes yielding 6 cpd resolution and 72° horizontal field-of-view has been demonstrated to provide perceptually continuous accommodation over 3.2 Diopter range. A further optimization by using a conventional image combiner resulted in the compact and practical design of the AR display.

Sickert, Walter (1860–1942)

2018 ◽  
Author(s):  
Tom Furness
Keyword(s):  
20Th Century ◽  
Subject Matter ◽  
New Age ◽  
Future Generations ◽  
Early 20Th Century ◽  
Pictorial Space ◽  
Edgar Degas ◽  
British Art

Walter Sickert is widely acknowledged as one of the most important figures in modern British art. He was instrumental in furthering acceptance of Impressionist art in Britain and in the progression of modern British painting during the pre-war period in his capacities as both a painter and a writer for periodicals such as New Age. Sickert’s works demonstrate an abiding interest in the surface of pictures and the essence of paint as a material. The painting Minnie Cunningham at the Old Bedford (1892) shows Sickert at the confluence of his two great influences. Inspired by the tutelage of Whistler, its thin washes of wet paint and a shallow pictorial space depict a theatrical subject matter much favored by Edgar Degas. A decade later, in early 20th-century London, Sickert found his place as the elder statesman amongst artists including Spencer Gore, Harold Gilman and Malcolm Drummond in the Camden Town Group and London Group. Through his teaching at, among others, the Westminster School of Art, he imparted his devotion to everyday, urban subjects and his dispassionate recording of visual fact to future generations of figurative artists including William Coldstream and David Bomberg.

On the Problem of “Reverse Perspective”: Definitions East and West

Leonardo ◽  
2010 ◽  
Vol 43 (5) ◽  
pp. 464-469 ◽  
Author(s):  
Clemena Antonova
Keyword(s):  
20Th Century ◽  
Dimensional Space ◽  
Three Dimensional ◽  
The West ◽  
Pictorial Space ◽  
History Of ◽  
The Subject ◽  
East And West ◽  
Three Dimensional Space

The author considers the history of the theory of “reverse perspective” in the 20th century. She identifies six distinct views on reverse perspective, some of which are mutually exclusive. The first four definitions have circulated in both Western and Russian scholarship, while two further views proposed by Russian authors are little known in the West. The most useful contribution of Russian theory to the subject is the suggestion of a pictorial space fundamentally different from the three-dimensional space frequently taken for granted by Western viewers.

scholarly journals Individual differences in the use of motor and visual cues in memory retrieval

2021 ◽  
Vol 21 (9) ◽  
pp. 2239
Author(s):  
Keren Taub ◽  
Yonatan Goshen-Gottstein ◽  
Shlomit Yuval-Greenberg
Keyword(s):  
Individual Differences ◽  
Memory Retrieval ◽  
Visual Cues

scholarly journals Within-Person Variability

2019 ◽  
Author(s):  
Emorie D Beck ◽  
Joshua James Jackson
Keyword(s):  
Individual Differences ◽  
20Th Century ◽  
Statistical Models ◽  
Cutting Edge ◽  
Future Research ◽  
Idiographic Approach ◽  
History Of ◽  
Nomothetic Approach

From its emergence at the beginning of the 20th century, personality scientists pursued two goals – a nomothetic approach that investigated the structure of individual differences between people in a population and an idiographic approach that explored variation within a person relative to him or herself. In this chapter, we first track the how the history of these two perspectives impacted the study of within-person variability. Next, we review findings and unanswered contemporary questions regarding within-person variability. Finally, we conclude by providing questions for future research, some of which were proposed by early personality theorists but progressed slowly due to a lack of adequate methods. We outline cutting-edge statistical models and idiographic techniques to move the study of within-person variability – and personality science – forward.

Continuous Assessment of Presence in Stereoscopic Displays

Perception ◽  
1997 ◽  
Vol 26 (1_suppl) ◽  
pp. 186-186 ◽  
Author(s):  
W A IJsselsteijn ◽  
J Freeman ◽  
S E Avons ◽  
J Davidoff ◽  
H de Ridder ◽  
...  
Keyword(s):  
Temporal Variation ◽  
Visual Cues ◽  
Sensory Information ◽  
Subjective Assessment ◽  
Continuous Assessment ◽  
Central Importance ◽  
Stereoscopic Displays ◽  
Sense Of Presence ◽  
Being There ◽  
Stereo Acuity

Presence, a sense of ‘being there’ evoked by a display, can be regarded as a concept of central importance in the evaluation of broadcasting and entertainment services in general and virtual reality applications in particular. Subjective methods of assessing presence that have either been used or proposed to date do not provide a measure of temporal variation in observers' presence. To overcome this limitation, we have applied the method of continuous assessment (ITU-R, BT 500-7) to the measurement of presence. Thirty observers (twelve at IPO, eighteen at UoE) with normal or corrected-to-normal vision and good stereo-acuity viewed a stereoscopic film. While watching, observers were asked to continuously rate their perceptions of depth, naturalness and presence. The stimulus material varied considerably in the amount and strength of the visual cues presented over time. This enabled us to investigate whether the extent of sensory information presented to an observer was a determinant of presence, as proposed by Sheridan [1992 Presence: Teleoperators and Virtual Environments1(1) 120 – 125]. The results, which were very similar across two independent laboratories, suggested that continuous assessment provides a promising methodology for the subjective assessment of temporal variation in the observer's sense of presence. Further, increasing the extent of sensory information presented to an observer may enhance the sense of presence, provided the depth cues introduced are consistent and within natural bounds. [ Note: First and second author in arbitrary order.]

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