scholarly journals Retinal image generation method for retinal projection type super multi-view 3D head-mounted display

Author(s):  
Junya Kohno ◽  
Kayo Yoshimoto ◽  
Hideya Takahashi
2020 ◽  
pp. 103-131
Author(s):  
Erin Webster

This chapter provides a new intellectual context for John Milton’s treatment of light and vision in Paradise Lost (1667) by locating Milton’s poem within the framework of seventeenth-century optical theory. It does so by examining the parallels and distinctions between the role played by light in Milton’s model of vision and models proposed by Johannes Kepler and René Descartes. The main argument of the chapter is that Milton adopts Kepler’s theory of the retinal image, which posits that the human eye operates according to the mechanical principles of a camera obscura. But where Kepler and Descartes use the analogy of the camera obscura to explain the properties of light as it relates to vision, Milton uses it to express the fragility of vision within this new model. Speaking from a position of blindness, Milton’s narrator explores the theological and epistemological implications of having light at ‘one entrance quite shut out’, thereby being ‘presented with a Universal blanc’ (PL 3.48–50) in the place of the retinal projection screen.


2017 ◽  
Vol 2017 (5) ◽  
pp. 188-193
Author(s):  
Takashi Emoto ◽  
Tadayuki Konda ◽  
Kayo Yoshimoto ◽  
Hideya Takahashi

2017 ◽  
Vol 10 (1) ◽  
pp. 1-8 ◽  
Author(s):  
Junguo Lin ◽  
Dewen Cheng ◽  
Cheng Yao ◽  
Yongtian Wang

2016 ◽  
Vol 2016 (5) ◽  
pp. 1-6
Author(s):  
Yasuhiro Takatsuka ◽  
Kayo Yoshimoto ◽  
Hideya Takahashi

Author(s):  
Lydia M. Maniatis

Why do some two-dimensional (2D) drawings look three-dimensional (3D)? The answer is because their projection on our retinas is consistent with a 3D percept that has a “better” shape and orientation than the 2D figure. Whenever a retinal projection is interpreted by the visual system as the projection of a surface that is not frontoparallel (i.e., not parallel to the retinal surface), then the retinal image will differ in shape from the source of the projection in (a) the sizes of its internal angles and/or (b) the relative extents of its surfaces. The latter differences arise because, when an extent is assumed to be receding, then it must also be assumed to have undergone foreshortening in the projection. Using pictures, we can show that the visual system likes more, rather than less, mirror symmetry and a vertical axis of symmetry more than a tilted one.


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