Depth Perception in Pandora's Box and Size Illusion: Evolution with Age

Perception ◽  
1983 ◽  
Vol 12 (2) ◽  
pp. 177-185 ◽  
Author(s):  
Jacques Chevrier ◽  
André Delorme

The aim of the experiment was to study the evolution with age (6, 8, 11 and 14 years) of pictorial depth perception in Pandora's box and to compare it with the evolution of size illusion with the same subjects and the same pictorial backgrounds. In addition to familiar size and relative position, each pictorial stimulus contained one or more of the following depth cues: linear perspective, texture gradient, and interposition. The two kinds of measurements produced different results. Size illusions, although present, did not vary with age but increased with the number of cues. Estimates of distance in Pandora's box increased with age and varied according to the type of cue present: texture gradient seemed to be critical to the amount of depth perceived. The correlation between size adjustments and distance adjustments was significant only for the two oldest groups of subjects (11 and 14 years).

1993 ◽  
Vol 4 (2) ◽  
pp. 93-98 ◽  
Author(s):  
Virginia M. Gunderson ◽  
Albert Yonas ◽  
Patricia L. Sargent ◽  
Kimberly S. Grant-Webster

The studies described here are the first to demonstrate that a nonhuman primate species is capable of responding to pictorial depth information during infancy. In two experiments, pigtailed macaque ( Macaca nemestrina) infants were tested for responsivity to the pictorial depth cues of texture gradient/linear perspective and relative size. The procedures were adapted from human studies and are based on the proclivity of infants to reach more frequently to closer objects than to objects that are farther away. The stimulus displays included two equidistant objects that, when viewed monocularly, appear separated in space because of an illusion created by pictorial depth cues. When presented with these displays, animals reached significantly more often to the apparently closer objects under monocular conditions than under binocular conditions. These findings suggest that infant macaques are sensitive to pictorial depth information, the implication being that this ability has ancient phylogenetic origins and is not learned from exposure to the conventions of Western art.


1997 ◽  
Vol 6 (5) ◽  
pp. 513-531 ◽  
Author(s):  
R. Troy Surdick ◽  
Elizabeth T. Davis ◽  
Robert A. King ◽  
Larry F. Hodges

The ability effectively and accurately to simulate distance in virtual and augmented reality systems is a challenge currently facing R&D. To examine this issue, we separately tested each of seven visual depth cues (relative brightness, relative size, relative height, linear perspective, foreshortening, texture gradient, and stereopsis) as well as the condition in which all seven of these cues were present and simultaneously providing distance information in a simulated display. The viewing distances were 1 and 2 m. In developing simulated displays to convey distance and depth there are three questions that arise. First, which cues provide effective depth information (so that only a small change in the depth cue results in a perceived change in depth)? Second, which cues provide accurate depth information (so that the perceived distance of two equidistant objects perceptually matches)? Finally, how does the effectiveness and accuracy of these depth cues change as a function of the viewing distance? Ten college-aged subjects were tested with each depth-cue condition at both viewing distances. They were tested using a method of constant stimuli procedure and a modified Wheat-stone stereoscopic display. The perspective cues (linear perspective, foreshortening, and texture gradient) were found to be more effective than other depth cues, while effectiveness of relative brightness was vastly inferior. Moreover, relative brightness, relative height, and relative size all significantly decreased in effectiveness with an increase in viewing distance. The depth cues did not differ in terms of accuracy at either viewing distance. Finally, some subjects experienced difficulty in rapidly perceiving distance information provided by stereopsis, but no subjects had difficulty in effectively and accurately perceiving distance with the perspective information used in our experiment. A second experiment demonstrated that a previously stereo-anomalous subject could be trained to perceive stereoscopic depth in a binocular display. We conclude that the use of perspective cues in simulated displays may be more important than the other depth cues tested because these cues are the most effective and accurate cues at both viewing distances, can be easily perceived by all subjects, and can be readily incorporated into simpler, less complex displays (e.g., biocular HMDs) or more complex ones (e.g., binocular or see-through HMDs).


Author(s):  
R. Troy Surdick ◽  
Elizabeth T. Davis ◽  
Robert A. King ◽  
Gregory M. Corso ◽  
Alexander Shapiro ◽  
...  

We tested seven visual depth cues (relative brightness, relative size, relative height, linear perspective, foreshortening, texture gradient, and stereopsis) at viewing distances of one and two meters to answer two questions. First, which cues provide effective depth information (i.e., only a small change in the depth cue results in a noticeable change in perceived depth). Second, how does the effectiveness of these depth cues change as a function of the viewing distance? Six college-aged subjects were tested with each depth cue at both viewing distances. They were tested using a method of constant stimuli procedure and a modified Wheatstone stereoscopic display. Accuracies for perceptual match settings for all cues were very high (mean constant errors were near zero), and no cues were significantly more or less accurate than any others. Effectiveness of the perspective cues (linear perspective, foreshortening, and texture gradient) was superior to that of other depth cues, while effectiveness of relative brightness was vastly inferior. Moreover, stereopsis, among the more effective cues at one meter, was significantly less so at two meters. These results have theoretical implications for models of human spatial perception and practical implications for the design and development of 3D virtual environments.


1968 ◽  
Vol 27 (2) ◽  
pp. 601-602 ◽  
Author(s):  
Philip L. Kilbride ◽  
Michael C. Robbins

A positive and significant relationship between the amount of formal education and the use of the linear perspective cue to pictorial depth perception was found among 523 Ss living in Uganda.


Perception ◽  
1981 ◽  
Vol 10 (3) ◽  
pp. 305-312 ◽  
Author(s):  
David R Topper ◽  
William A Simpson

The range of pictorial depth perception was tested with four pictures from the repertoire of European art, rather than the customary line drawings or photographs. These pictures included those rendered in linear perspective and inverse perspective, as well as those with different degrees of depth. Using Pandora’ Box, the subjects were asked to place a lamp at the same apparent depth as objects in the pictures. The subjects did so without regard to the depiction technique. The results suggest that depth is seen in pictures both where the rules of linear perspective hold and where they have been violated.


Perception ◽  
1997 ◽  
Vol 26 (5) ◽  
pp. 599-612 ◽  
Author(s):  
Robert P O'Shea ◽  
Donovan G Govan ◽  
Robert Sekuler

Studies have shown that blur can act as a pictorial cue to depth perception. But blurring a stimulus reduces its contrast, and studies have also shown that contrast can act as a pictorial cue to depth perception. To determine whether blur and contrast have separate influences on depth perception, each variable was independently manipulated in two experiments. Observers reported depth alternations in a simple reversible figure. Both contrast and blur were found to influence depth perception, but blur had its greatest effect at moderate contrasts. When blurred and sharp stimuli were equated on either Michelson or RMS contrast, blur continued to affect depth perception. Hence blur can act as a depth cue independently of contrast. It is speculated that blur is effective as a pictorial cue because of its usual association with other depth cues, particularly in pictures and photographs.


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