Spatial Judgments with Monoscopic and Stereoscopic Presentation of Perspective Displays

Author(s):  
Yei-Yu Yeh ◽  
Louis D. Silverstein

Spatial judgments with monoscopic and stereoscopic presentation of perspective displays were investigated in the present study. The stimulus configuration emulated a visual scene consisting of a volume of airspace above a ground reference plane. Two target symbols were situated at various positions in the space, and observers were instructed to identify the relative depth or altitude of the two symbols. Three viewing orientations (15, 45, or 90 deg elevation angle) were implemented in the perspective projection. In the monoscopic view, depth cues in size, brightness, occlusion, and linear perspective were provided in the format. In the stereoscopic view, binocular disparity was added along the line of sight from the center of projection to reinforce the relative depth in the visual scene. Results revealed that spatial judgments were affected by manipulation of the relative spatial positions of the two target symbols and by the interaction between relative position and viewing orientation. The addition of binocular disparity improved judgments of three-dimensional spatial relationships, and the enhancement was greater when monocular depth cues were less effective and/or ambiguous in recovering the three-dimensional spatial characteristics.

2001 ◽  
Vol 86 (6) ◽  
pp. 2856-2867 ◽  
Author(s):  
Ken-Ichiro Tsutsui ◽  
Min Jiang ◽  
Kazuo Yara ◽  
Hideo Sakata ◽  
Masato Taira

We investigated the effects of linear perspective and binocular disparity, as monocular and binocular depth cues, respectively, on the response of surface-orientation–selective (SOS) neurons in the caudal part of the lateral bank of the intraparietal sulcus (area CIP). During the single-unit recording, monkeys were required to perform the delayed-matching-to-sample (successive same/different discrimination) of discriminating surface orientation in stereoscopic computer graphics. Of 211 visually responsive neurons, 66 were intensively tested using the solid-figure stereogram (SFS) of a square plate with both disparity and perspective cues (D+P condition), and 62 of these were identified as SOS neurons for responding selectively to the orientation of stimuli. All these neurons were further tested using a solid figure with perspective cues alone (P-only condition), and 58% (36/62) of these showed selective response to the orientation of the stimuli. Of the 62 SOS neurons, 35 neurons were also tested using SFS with disparity cues alone (D-only condition) in addition to the D+P and P-only conditions. We classified these 35 neurons into four groups by comparing the response selectivity under the P-only and D-only conditions. More than one-half of these (19/35) were sensitive to both perspective and disparity cues (DP neurons), and nearly one-third (11/35) of these were sensitive to disparity cues alone (D neurons), but a few (2/35) were sensitive to perspective cues alone (P neurons). The remaining (3/35) neurons exhibited orientation selectivity only when both cues were present. In DP neurons, the preferred orientation under the D+P condition was correlated to those under the D-only and P-only conditions, and the response magnitude under the D+P condition was greater than those under the D-only and P-only conditions, suggesting the integration of both cues for the perception of surface orientation. However, in these neurons, the orientation tuning sharpness under the D+P and D-only conditions was higher than that under the P-only condition, suggesting the dominance of disparity cues. After the single-unit recording experiments, muscimol was microinjected into the recording site to temporarily inactivate its function. In all three effective cases out of six microinjection experiments, discrimination of a three-dimensional (3D) surface orientation was impaired when disparity cues alone were present. In only one effective case, when a relatively large amount of muscimol was microinjected, discrimination of a 3D surface orientation was impaired even when both disparity and perspective cues were present. These results suggest that linear perspective is an important cue for representations of a 3D surface of SOS neurons in area CIP, although it is less effective than binocular disparity, and that both of these depth cues may be integrated in area CIP for the perception of surface orientation in depth.


2005 ◽  
Vol 93 (1) ◽  
pp. 620-626 ◽  
Author(s):  
Jay Hegdé ◽  
David C. Van Essen

Disparity tuning in visual cortex has been shown using a variety of stimulus types that contain stereoscopic depth cues. It is not known whether different stimuli yield similar disparity tuning curves. We studied whether cells in visual area V4 of the macaque show similar disparity tuning profiles when the same set of disparity values were tested using bars or dynamic random dot stereograms, which are among the most commonly used stimuli for this purpose. In a majority of V4 cells (61%), the shape of the disparity tuning profile differed significantly for the two stimulus types. The two sets of stimuli yielded statistically indistinguishable disparity tuning profiles for only a small minority (6%) of V4 cells. These results indicate that disparity tuning in V4 is stimulus-dependent. Given the fact that bar stimuli contain two-dimensional (2-D) shape cues, and the random dot stereograms do not, our results also indicate that V4 cells represent 2-D shape and binocular disparity in an interdependent fashion, revealing an unexpected complexity in the analysis of depth and three-dimensional shape.


2013 ◽  
Vol 110 (1) ◽  
pp. 190-203 ◽  
Author(s):  
Aidan P. Murphy ◽  
Hiroshi Ban ◽  
Andrew E. Welchman

Reliable estimation of three-dimensional (3D) surface orientation is critical for recognizing and interacting with complex 3D objects in our environment. Human observers maximize the reliability of their estimates of surface slant by integrating multiple depth cues. Texture and binocular disparity are two such cues, but they are qualitatively very different. Existing evidence suggests that representations of surface tilt from each of these cues coincide at the single-neuron level in higher cortical areas. However, the cortical circuits responsible for 1) integration of such qualitatively distinct cues and 2) encoding the slant component of surface orientation have not been assessed. We tested for cortical responses related to slanted plane stimuli that were defined independently by texture, disparity, and combinations of these two cues. We analyzed the discriminability of functional MRI responses to two slant angles using multivariate pattern classification. Responses in visual area V3B/KO to stimuli containing congruent cues were more discriminable than those elicited by single cues, in line with predictions based on the fusion of slant estimates from component cues. This improvement was specific to congruent combinations of cues: incongruent cues yielded lower decoding accuracies, which suggests the robust use of individual cues in cases of large cue conflicts. These data suggest that area V3B/KO is intricately involved in the integration of qualitatively dissimilar depth cues.


Author(s):  
Claudia Hendrix ◽  
Woodrow Barfield

In this study we investigate the effects of computer graphics eyepoint elevation, display type (perspective vs. stereoscopic), and location of computer-generated images within a particular quadrant on the accuracy of spatial judgments. Twelve volunteer participants judged the azimuth and elevation separation between two computer-generated cubes using different computer graphics eyepoint elevation angles and either a stereoscopic or perspective display. The results indicated that eyepoint elevations between 15|dG and 45|dG led to the best overall performance for judgments of both elevation and azimuth. Whereas an eyepoint elevation of -15|dG resulted in significantly degraded judgments in azimuth because of depth compression, an eyepoint elevation of 75|dG resulted in significantly degraded judgments in elevation because of vertical compression. Furthermore, when objects were located in the quadrant closest to the computer graphics eyepoint, significant degradation in elevation judgments were observed because of vertical compression. In addition, the data indicated that stereoscopic viewing did not enhance performance over perspective displays because the monocular depth cues in the scene were effective in aiding participants in their performance of the spatial tasks. We discuss the implications of the results for display design.


Author(s):  
Woodrow Barfield ◽  
Craig Rosenberg

The purpose of this study was to investigate the use of three-dimensional display formats for judgments of spatial information using an exocentric frame of reference. Eight subjects judged the azimuth and elevation that separated two computer-generated objects using either a perspective or stereoscopic display. Errors, which consisted of the difference in absolute value between the estimated and actual azimuth or elevation, were analyzed as the response variable. The data indicated that the stereoscopic display resulted in more accurate estimates of elevation, especially for images aligned approximately orthogonally to the viewing vector. However, estimates of relative azimuth direction were not improved by use of the stereoscopic display. Furthermore, it was shown that the effect of compression resulting from a 45--deg computer graphics eye point elevation produced a response bias that was symmetrical around the horizontal plane of the reference cube, and that the depth cue of binocular disparity provided by the stereoscopic display reduced the magnitude of the compression errors. Implications of the results for the design of spatial displays are discussed.


Author(s):  
Birgitta Dresp-Langley ◽  
Adam Reeves

Victor Vasarely’s (1906-1997) important legacy to the study of human perception is brought to the forefront and discussed. A large part of his impressive work conveys the appearance of striking three-dimensional shapes and structures in a large-scale pictorial plane. Current perception science explains such effects by invoking brain mechanisms for the processing of monocular (2D) depth cues. Here in this study, we illustrate and explain the local effects of 2D color and contrast cues on the perceptual organization in terms of figure-ground assignments, i.e. which local surfaces are likely to be seen as “nearer” or “bigger” in the image plane. Paired configurations are embedded in a larger, structurally ambivalent pictorial context inspired by some of Vasarely’s creations. The figure-ground effects these configurations produce reveal a significant correlation between perceptual solutions for “nearer” and “bigger” when no other monocular depth cues are given in the image. In consistency with previous findings on similar, albeit simpler visual displays, a specific color may compete with luminance contrast in resolving the planar ambiguity of a complex pattern context. Vasarely intuitively understood, and successfully exploited, this kind of subtle context effect in his art, well before empirical investigations had set out to study and explain their genesis in terms of information processing by the visual brain.


Perception ◽  
10.1068/p3342 ◽  
2003 ◽  
Vol 32 (2) ◽  
pp. 131-153 ◽  
Author(s):  
Makoto Ichikawa ◽  
Takahiko Kimura ◽  
Hiroyuki Egusa ◽  
Makiko Nakatsuka ◽  
Jun Amano ◽  
...  

For 35 to 39 days, four observers wore continuously left–right reversing spectacles which pseudoscopically reverse the order of binocular disparity and direction of convergence. In three tests, we investigated how the visual system copes with the transformation of depth and distance information due to the reversing spectacles. In stereogram observation, after a few days of wearing the spectacles, the observers sometimes perceived a depth order which was opposite to the depth order that they had perceived in the pre-spectacle-wearing period. Monocular depth cues contributed more to depth perception in the spectacle-wearing period than they did in the pre-spectacle-wearing period. While the perceived distance significantly decreased during the spectacle-wearing period, we found no evidence of adaptive change in distance perception. The results indicate that the visual system adapts itself to the transformed situation by not only changing the processing of disparity but also by changing the relative efficiency of each cue in determining apparent depth.


Perception ◽  
2016 ◽  
Vol 46 (1) ◽  
pp. 100-108
Author(s):  
Jan B. Deręgowski ◽  
Benjamin W. Tatler

Monocular depth cues can lead not only to illusory depth in two-dimensional patterns but also to perspective reversals in three-dimensional objects. When a viewer perceptually inverts (reverses) a three-dimensional object, stimuli on the inner surfaces of that object also invert. However, the perceptual fate of anything occurring within the space that is enclosed by the walls of a perceptually reversible object is unknown. In the present study, perceptions of the relative vertical heights of stimuli within a truncated pyramidal chute were compared for stimuli placed laterally, on the inner surface of the chute, or centrally, suspended within the volume enclosed by the chute. The typical inversion was obtained for lateral stimuli, but central stimuli did not invert. While central stimuli maintained their veridical vertical order, participants experienced a considerable compression of perceptual depth. These results imply a dilution of the illusion within the centre of the volume of space that it encloses.


2013 ◽  
Vol 1 (1-2) ◽  
pp. 49-64 ◽  
Author(s):  
Robert Pepperell ◽  
Anja Ruschkowski

‘Double images’ are a little-noticed feature of human binocular vision caused by non-convergence of the eyes outside of the point of fixation. Double vision, or psychological diplopia, is closely linked to the perception of depth in natural vision as its perceived properties vary depending on proximity of the stimulus to the viewer. Very little attention, however, has been paid to double images in art or in scientific studies of pictorial depth. Double images have rarely been depicted and do not appear among the list of commonly cited monocular depth cues. In this study we discuss some attempts by artists to capture the doubled appearance of objects in pictures, and some of the relevant scientific work on double vision. We then present the results of a study designed to test whether the inclusion of double images in two-dimensional pictures can enhance the illusion of three-dimensional space. Our results suggest that double images can significantly enhance depth perception in pictures when combined with other depth cues such as blur. We conclude that double images could be added to the list of depth cues available to those wanting to create a greater sense of depth in pictures.


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