Volume 2 addresses stereoscopic vision. It starts with the physiology of stereoscopic mechanisms. It then deals with binocular rivalry, binocular summation, and interocular transfer. A review of how images are brought into binocular register is followed by a review of stimulus tokens used to detect disparities. Cyclopean effects, such as cyclopean illusions, cyclopean motion, texture segregation, and binocular direction are reviewed. Factors that influence stereoacuity are discussed. Two chapters describe how stimuli in distinct depth planes produce contrast effects, and affect motion perception and whiteness perception. The Pulfrich stereomotion effect and perception of motion in depth are reviewed. The volume ends with a review of applications of stereoscopy.
The three-volume work Perceiving in Depth is a sequel to Binocular Vision and Stereopsis and to Seeing in Depth, both by Ian P. Howard and Brian J. Rogers. This work is much broader in scope than the previous books and includes mechanisms of depth perception by all senses, including aural, electrosensory organs, and the somatosensory system. Volume 1 reviews sensory coding, psychophysical and analytic procedures, and basic visual mechanisms. Volume 2 reviews stereoscopic vision. Volume 3 reviews all mechanisms of depth perception other than stereoscopic vision. The three volumes are extensively illustrated and referenced and provide the most detailed review of all aspects of perceiving the three-dimensional world. Volume 2 addresses stereoscopic vision in cats and primates, including humans. It begins with an account of the physiology of stereoscopic mechanisms. It then deals with binocular rivalry, binocular summation, binocular masking, and the interocular transfer of visual effects, such as the motion aftereffect and visual learning. The geometry of the region in binocular space that creates fused images (the horopter) is discussed in some detail. Objects outside the horopter produce images with binocular disparities that are used for stereoscopic vision. Two chapters provide accounts of mechanisms that bring the images into binocular register and of stimulus tokens that are used to detect binocular disparities. Another chapter discusses cyclopean effects, such as cyclopean illusions, cyclopean motion, and binocular direction that are seen only with binocular vision. Stereoacuity is the smallest depth interval that can be detected. Methods of measuring stereoacuity and factors that influence it are discussed. Two chapters deal with the various types of binocular disparity and the role of each type in stereoscopic vision. Another chapter deals with visual effects, such as figure perception, motion perception, and whiteness perception that are affected by the relative distances of stimuli. The spatiotemporal aspects of stereoscopic vision, including the Pulfrich stereomotion effect are reviewed. The volume ends with an account of techniques used to create stereoscopic displays and of the applications of stereoscopy.
The three-volume work Perceiving in Depth is a sequel to Binocular Vision and Stereopsis and to Seeing in Depth, both by Ian P. Howard and Brian J. Rogers. This work is much broader in scope than the previous books and includes mechanisms of depth perception by all senses, including aural, electrosensory organs, and the somatosensory system. Volume 1 reviews sensory coding, psychophysical and analytic procedures, and basic visual mechanisms. Volume 2 reviews stereoscopic vision. Volume 3 reviews all mechanisms of depth perception other than stereoscopic vision. The three volumes are extensively illustrated and referenced and provide the most detailed review of all aspects of perceiving the three-dimensional world.Volume 1 starts with a review of the history of visual science from the ancient Greeks to the early 20th century with special attention devoted to the discovery of the principles of perspective and stereoscopic vision. The first chapter also contains an account of early visual display systems, such as panoramas and peepshows, and the development of stereoscopes and stereophotography. A chapter on the psychophysical and analytic procedures used in investigations of depth perception is followed by a chapter on sensory coding and the geometry of visual space. An account of the structure and physiology of the primate visual system proceeds from the eye through the LGN to the visual cortex and higher visual centers. This is followed by a review of the evolution of visual systems and of the development of the mammalian visual system in the embryonic and post-natal periods, with an emphasis on experience-dependent neural plasticity. An account of the development of perceptual functions, especially depth perception, is followed by a review of the effects of early visual deprivation during the critical period of neural plasticity on amblyopia and other defects in depth perception. Volume 1 ends with accounts of the accommodation mechanism of the human eye and vergence eye movements.
Volume 3 addresses depth-perception mechanisms other than stereopsis. It starts by reviewing monocular cues to depth, including accommodation, vergence, perspective, interposition, shading, and motion parallax. Constancies, such as the ability to perceive the sizes and shapes of objects as they move are reviewed. The ways in which different depth cues interact are discussed. One chapter reviews information used to perceive motion in depth. Pathologies of depth perception, including stereoanomalies and albanism are reviewed. Visual depth-perception mechanisms through the animal kingdom are reviewed together with a discussion of the evolution of stereoscopic vision. The next chapter describes how visual depth perception guides movements of the hand and body. The next three chapters review non-visual mechanisms of depth perception, including auditory localization, echolocation in bats and marine mammals, the lateral-line system of fish, electrolocation, and heat-sensitive sense organs. The volume ends with a discussion of mechanisms used by animals to navigate.
This book celebrates binocular vision by presenting illustrations that require two eyes to see the effects of cooperation and competition between them. Pictures are flat but by printing them in different colours and viewing them through similarly coloured filters (included with the hardcover book) they are brought to life either in stereoscopic depth or in rivalry with one another. They are called anaglyphs and all those in the book display the ways in which the eyes interact. Thus, the reader is an integral element in the book and not all readers will see the same things. The history, science and art of binocular vision can be experienced in ways that are not usually available to us and with images made specifically for this book. The study of vision with two eyes was transformed by the invention of stereoscopes in the early 19th century. Anaglyphs are simple forms of stereoscopes that have three possible outcomes from viewing them – with each eye alone to see the monocular images, with both eyes to see them in stereoscopic depth or rivalry, or without the red/cyan glasses where they can have an appeal independent of the binocularity they encompass. Through the binocular pictures and the words that accompany them there will be an appreciation of just how remarkable the processes are that yield binocular singleness and depth. Moreover, the opportunities for expressing these processes are explored with many examples of truly binocular art.
Over the past decade, the integration of psychology and fine art has sparked growing academic interest among researchers of these disciplines. The author, both a psychologist and artist, offers up a unique merger and perspective of these fields. Through the production of fine art, which is directly informed by neuroscientific and optical processes, this volume aims to fill a gap in the literature and understanding of the creation and perception of the grid image created as a work of art. The grid image is employed (for reasons discussed in the text) to illustrate more general processes associated with the integration of vision, visual distortion, and painting. Existing at the intersection of perceptual neuroscience, psychology, fine art and art history, this volume concerns the act of painting and the process of looking. More specifically, the book examines vision and the effects of visual impairment and how these can be interpreted through painting within a theoretical framework of visual neuroscience.
Beginning with his doctoral dissertation in 1950 which introduced the study of event perception and the application of vector analysis to perception, Gunnar Johansson has been a seminal figure in the field of perception. His work on biomechanical motion in the 1970s challenged conventional notions and stimulated great interest among experimental psychologists and students of machine vision. In 1989 Johansson published his latest theoretical synthesis, the optic sphere theory, an innovative conceptualization that goes beyond his earlier proposals. This volume presents -- for the first time -- an extensive precis of the out-of-print classic 1950 monograph prepared by Johansson. It also includes a representative set of Johansson's important publications produced over the ensuing four decades. These papers served as the springboard for a set of original essays by a distinguished group of North American and European scientists. Part critical commentary, part elaboration, and part seeking new directions, the entire collection makes for a singularly rich treatment of the perception of objects and events.
This posthumous volume, the culmination of a long and distinguished career, brings together an original essay by the author together with a careful selection of previously published articles (most by Rock) on the theory that perception is an indirect process in which visual experience is derived by inference, rather than being directly and independently determined by retinal stimulation.
This volumes collects new essays by top philosophers, all on the theme of perception while also making connections between perception and other philosophical areas like epistemology, metaphysics, and philosophy of action. Perception has become a major area of philosophical interest, with a number of important collections and monographs appearing recently. This may partly be due to the growing use of empirical and neuroscientific data by philosophers of mind. The contributors in this volume represent the high quality of current scholars (many OUP authors) working in the area, among them Jesse Prinz, Fred Dretske, Susanna Siegel, and Benj Hellie. Some of the questions they raise include, What is the object of perception? How can perception give rise to knowledge? What is the link between perception and action? Between perception and belief? How do we perceive colors? What do animals perceive? How do empirical findings inform traditional philosophical thinking about perception? Does perception represent the world? What are the properties that are represented in perception? Nanay also provides a detailed introduction surveying the state of the field. This volume contains new work by some of the top figures in the field on a broad topic of interest.
Human Anatomy and Physiology is designed for the two-semester anatomy and physiology course taken by life science and allied health students. The textbook follows the scope and sequence of most Human Anatomy and Physiology courses, and its coverage and organization were informed by hundreds of instructors who teach the course. Instructors can customize the book, adapting it to the approach that works best in their classroom. The artwork for this textbook is aimed focusing student learning through a powerful blend of traditional depictions and instructional innovations. Significant use of micrographs from the University of Michigan complement the illustrations, and provide the students with a meaningful alternate depiction of each concept. Finally, enrichment elements provide relevance and deeper context for students, particularly in the areas of health, disease, and information relevant to their intended careers
