scholarly journals The contribution of linear perspective cues and texture gradients in the perceptual rescaling of stimuli inside a Ponzo illusion corridor

PLoS ONE ◽  
2019 ◽  
Vol 14 (10) ◽  
pp. e0223583 ◽  
Author(s):  
Gizem Y. Yildiz ◽  
Irene Sperandio ◽  
Christine Kettle ◽  
Philippe A. Chouinard
Author(s):  
Robert A. King ◽  
Greg E. Fujawa ◽  
Kelly G. Elliott

The perceived size of a stimulus can be greatly influenced by the surrounding depth cues. The effect size of the Ponzo Illusion was tested in a virtual environment with many depth cues (MC) and few depth cues (FC) conditions. The effect of size and the depth cues on the perceived proximal size of the stimulus was measured. Methods. A modified Wheatstone stereoscope was used to present the stimuli on a monitor positioned 80 cm from the subjects. The subjects used a 6AFC confidence rating scale to indicate whether the first or second of two sequentially presented stimuli had a greater proximal extent. The ‘many cues’ (MC) condition included texture, relative height, foreshortening, linear perspective, relative brightness, and relative size. The few cues condition consisted of linear perspective, relative height, and relative size. Stimulus size (proximal extent) was varied independently from all other depth cues. Results. Both depth cue context and proximal size were found to have a significant effect on the perceived proximal size for FC conditions. However, for MC conditions only the depth cues, and not proximal size, had an effect on perceived proximal size. The effect size for both depth cues and proximal size had a significant linear trend. But proximal size had a larger trend that was significantly related to the size constancy function.


2016 ◽  
Vol 29 (4-5) ◽  
pp. 421-438 ◽  
Author(s):  
Joshua J. Dobias ◽  
Thomas V. Papathomas ◽  
Anuja Sarwate

A common form of the Ponzo illusion involves two test probes of equal size, embedded in a planar linear perspective painting depicting a three-dimensional (3D) scene, where the probe perceived to be farther is judged to be larger than the probe perceived closer to the viewer. In this paper, the same perspective 3D scene was painted on three surfaces: (a) A 2D surface incongruent with the 3D painted scene (flat perspective). (b) A 3D surface with a geometry congruent with the 3D scene (proper perspective). (c) A 3D surface with an opposite depth arrangement to the 3D scene (reverse perspective). This last stimulus was bistable and could be perceived veridically, as it physically existed, or as a depth-inverting illusion. For all experiments, observers relied on perspective gradients to estimate the size of a test probe placed within the scene; objects placed in a ‘far’ position as defined by perspective cues were perceived to be larger regardless of their physical distance. Further, illusion strength was tied to retinal size; small retinal-size differences (Experiments 1 and 2) did not affect illusion strength, whereas larger retinal-size differences (Experiment 3) did play a minor role.


1997 ◽  
Author(s):  
William Prinzmetal ◽  
Arthur P. Shimamura ◽  
Michelle Mikolinski

Author(s):  
Leonardo Baglioni ◽  
Federico Fallavollita

AbstractThe present essay investigates the potential of generative representation applied to the study of relief perspective architectures realized in Italy between the sixteenth and seventeenth centuries. In arts, and architecture in particular, relief perspective is a three-dimensional structure able to create the illusion of great depths in small spaces. A method of investigation applied to the case study of the Avila Chapel in Santa Maria in Trastevere in Rome (Antonio Gherardi 1678) is proposed. The research methodology can be extended to other cases and is based on the use of a Relief Perspective Camera, which can create both a linear perspective and a relief perspective. Experimenting mechanically and automatically the perspective transformations from the affine space to the illusory space and vice versa has allowed us to see the case study in a different light.


1983 ◽  
Vol 21 (6) ◽  
pp. 476-478 ◽  
Author(s):  
Kathryn A. L. Bayne ◽  
Roger T. Davis

2011 ◽  
Vol 12 (1) ◽  
pp. 27-44 ◽  
Author(s):  
Michael Kunz

Abstract Simulations of orographic precipitation over the low mountain ranges of southwestern Germany and eastern France with two different physics-based linear precipitation models are presented. Both models are based on 3D airflow dynamics from linear theory and consider advection of condensed water and leeside drying. Sensitivity studies for idealized conditions and a real case study show that the amount and spatial distribution of orographic precipitation is strongly controlled by characteristic time scales for cloud and hydrometeor advection and background precipitation due to large-scale lifting. These parameters are estimated by adjusting the model results on a 2.5-km grid to observed precipitation patterns for a sample of 40 representative orography-dominated stratiform events (24 h) during a calibration period (1971–80). In general, the best results in terms of lowest rmse and bias are obtained for characteristic time scales of 1600 s and background precipitation of 0.4 mm h−1. Model simulations of a sample of 84 events during an application period (1981–2000) with fixed parameters demonstrate that both models are able to reproduce quantitatively precipitation patterns obtained from observations and reanalyses from a numerical model [Consortium for Small-scale Modeling (COSMO)]. Combining model results with observation data shows that heavy precipitations over mountains are restricted to situations with strong atmospheric forcings in terms of synoptic-scale lifting, horizontal wind speed, and moisture content.


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