Relevant bibliographies by topics / Pictorial depth

Academic literature on the topic 'Pictorial depth'

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Published: 10 December 2022
Last updated: 28 January 2023

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Journal articles on the topic "Pictorial depth"

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Battu, Balaraju, Astrid M. L. Kappers, and Jan J. Koenderink. "Ambiguity in Pictorial Depth." Perception 36, no. 9 (September 2007): 1290–304. http://dx.doi.org/10.1068/p5591.

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Pictorial space is the 3-D impression that one obtains when looking ‘into’ a 2-D picture. One is aware of 3-D ‘opaque’ objects. ‘Pictorial reliefs’ are the surfaces of such pictorial objects in ‘pictorial space’. Photographs (or any pictures) do in no way fully specify physical scenes. Rather, any photograph is compatible with an infinite number of possible scenes that may be called ‘metameric scenes’. If pictorial relief is one of these metameric scenes, the response may be considered ‘veridical’. The conventional usage is more restrictive and is indeed inconsistent. Thus the observer has much freedom in arriving at such a ‘veridical’ response. To address this ambiguity, we determined the pictorial reliefs for eight observers, six pictures, and two psychophysical methods. We used ‘methods of cross-sections’ to operationalise pictorial reliefs. We find that linear regression of the depths of relief at corresponding locations in the picture for different observers often lead to very low (even insignificant) R2s. Thus the responses are idiosyncratic to a large degree. Perhaps surprisingly, we also observed that multiple regression of depth and picture coordinates at corresponding locations often lead to very high R2s. Often R2s increased from insignificant up to almost 1. Apparently, to a large extent ‘depth’ is irrelevant as a psychophysical variable, in the sense that it does not uniquely account for the relation of the response to the pictorial structure. This clearly runs counter to the bulk of the literature on pictorial ‘depth perception’. The invariant core of interindividual perception proves to be of an ‘affine’ rather than a Euclidean nature; that is to say, ‘pictorial space’ is not simply the picture plane augmented with a depth dimension.
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Kapoula, Zoï, Marie-Sarah Adenis, Thanh-Thuan Lê, Qing Yang, and Gabi Lipede. "Pictorial depth increases body sway." Psychology of Aesthetics, Creativity, and the Arts 5, no. 2 (May 2011): 186–93. http://dx.doi.org/10.1037/a0022087.

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Gillan, Douglas J. "Constancy of Height and Speed in Three-Dimensional Information Displays." Proceedings of the Human Factors and Ergonomics Society Annual Meeting 61, no. 1 (September 2017): 1562–66. http://dx.doi.org/10.1177/1541931213601754.

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Pictorial cues to depth create a three-dimensional appearance in two-dimensional displays. With sufficient pictorial depth cues, a given physical size appears to be larger at a greater perceived distance (or the perceived size is constant at different perceived depths, despite changes in the retinal image – size constancy). Two experiments investigated the effects of perceived depth on the relation between the actual height of an object and the perceived height (Experiment 1) and the relation between the actual speed of the object the perceived speed (Experiment 2). Consistent with Emmert’s Law (Perceived Size = Retinal Image Size x Perceived Depth), perceived depth influenced both perceived height and perceived speed. These findings suggest that displays that use pictorial cues to depth could easily result in misperception of the height or speed of objects in the display.
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Reinhardt-Rutland, Anthony H. "Perceiving the Orientation in Depth of Real Surfaces: Background Pattern Affects Motion and Pictorial Information." Perception 24, no. 4 (April 1995): 405–14. http://dx.doi.org/10.1068/p240405.

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Motion information contributes weakly to veridical depth perception of real stimuli. To test whether background pattern might enhance veridicality, observers judged the orientations in depth of pictorially matched trapezoidal and rectangular surfaces, with and without a rectangular grid of vertical stripes in a frontal plane behind surfaces; viewing was monocular with lateral head motions of 15 cm extent. The grid did not enhance veridicality; instead, surfaces actually or pictorially slanted to the frontal plane were judged more slanted with the grid present. In a second experiment, observers were static or moved through 30 cm; the grid had little effect during stasis, but again elicited judgments of greater slant during motion, despite broadly veridical responses without the grid. Results from actual slant are interpreted in terms of motion contrast and suggest that motion information may be important in conveying differences in orientation. Results from pictorial slant suggest that the influence of pictorial information increases as its complexity increases.
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Gunderson, Virginia M., Albert Yonas, Patricia L. Sargent, and Kimberly S. Grant-Webster. "Infant Macaque Monkeys Respond to Pictorial Depth." Psychological Science 4, no. 2 (March 1993): 93–98. http://dx.doi.org/10.1111/j.1467-9280.1993.tb00467.x.

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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.
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ICHIHARA, Shigeru. "Contrast as a pictorial depth cue." Journal of Japan Society for Fuzzy Theory and Intelligent Informatics 20, no. 3 (2008): 296–302. http://dx.doi.org/10.3156/jsoft.20.3_296.

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Parks, Theodore E., and Lumei Hui. "Pictorial depth and the Poggendorff illusion." Perception & Psychophysics 46, no. 5 (September 1989): 465–68. http://dx.doi.org/10.3758/bf03210861.

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van Doorn, Andrea, Jan Koenderink, and Johan Wagemans. "Rank Order Scaling of Pictorial Depth." i-Perception 2, no. 7 (January 2011): 724–44. http://dx.doi.org/10.1068/i0432aap.

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Wagemans, Johan, Andrea J. van Doorn, and Jan J. Koenderink. "Pictorial Depth Probed through Relative Sizes." i-Perception 2, no. 9 (January 2011): 992–1013. http://dx.doi.org/10.1068/i0474.

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Turetzky, Philip. "Pictorial depth: intensity and aesthetic surface." Axiomathes 15, no. 1 (March 2005): 1–28. http://dx.doi.org/10.1007/s10516-004-4905-8.

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Dissertations / Theses on the topic "Pictorial depth"

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Plant, Benjamin Thomas Wasantha. "Children's perception and production of pictorial depth cues." Thesis, University of York, 1995. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.297152.

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Parks, Nathan A. "Attending to pictorial depth electrophysiological and behavioral evidence of visuospatial attention in apparent depth /." Thesis, Available online, Georgia Institute of Technology, 2005, 2005. http://etd.gatech.edu/theses/available/etd-04182005-105934/unrestricted/parks%5Fnathan%5Fa%5F200505%5Fmast.pdf.

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Thesis (M. S.)--Psychology, Georgia Institute of Technology, 2005.
Randall W. Engle, Ph.D., Committee Member ; Paul M. Corballis, Ph.D., Committee Chair ; Daniel H. Spieler, Ph.D., Committee Member. Includes bibliographical references.
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Chang, Chia Wei, and 張家維. "Pictorial Depth Cues for Information Guide of Augmented Reality." Thesis, 2014. http://ndltd.ncl.edu.tw/handle/55166089478666035418.

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碩士
國立雲林科技大學
工業設計系
102
The interface of Augmented Reality guide can reduce the time on orientation judgment, but it lack of the distance judgment. The purposes of study investigated the visual symbols and age differences whether influenced the judgment in depth of information of augmented reality interface. Through reference, understand that the spatial cognition was given by the depth cues. Experiment was divided into two parts, the first part, investigate the main elements and the visual restrain of the depth cues, the second part, explore whether the difference of the age and size, blur, brightness combination affect the extent of the distance. Results show that the(1) Size - the most obvious effects from distance , and make the user significantly to generate different distances. (2)Lightness – If only use lightness to change ,it needs to make great difference of change to make people generate the difference in the distance ; when go with size , the user only can generate the distance, when the brightness are in weak effect. Moreover, due to the different life experiences of young people and the elderly, resulting the brightness feel the biggest difference between three depth cues , the change of brightness make the elderly generate difference distance; But for young people , did not consider as distance , most of them consider brightness as other functionality . (3)Blur - When go with size , the user only can generate the distance, when the blur are in strong effect. .
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Ling-Yin, Liao, and 廖翎吟. "The elementary school children''''s pictorial depth perception capability on 3D computer image with the factors of different depth cues." Thesis, 2003. http://ndltd.ncl.edu.tw/handle/24694601688984658848.

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碩士
國立新竹師範學院
美勞教育研究所
91
Computer image is ubiquitous and become the most influential medium in modern society. Art educator concerning the impact of digital technology on visual literacy now are focus on the issues of children’s perception of digital image as the digital image become the substantial learning tools in art education. Since pictorial depth perception was an important factor in visual perception research, thus, it is essential to understand the capability of children’s visual perception on digital image. The purpose of this study was to investigate the elementary school children’s pictorial depth judgment on static 3D computer image with different depth cues. The arguments in the data analysis include age, gender and different pictorial depth cues. The pictorial depth cues include the liner perspective, the texture gradients and the shading. The dependent variable is the children’s spatial depth judgment ability, which to appraise the differences of the children’s pictorial depth perception in 3D computer image. The total number of the subject includes 737 boys and girls from the lower grade, the middle grade and the higher grade at elementary school level separately. The research also meditates the difference of object’s in horizontal and vertical position. The major findings describe as follow: (1) There was a significant difference on the using pictorial depth cues in perceiving 3D computer image among the grades; (2) The gender were not the crucial factor for the different responses to the perception of pictorial depth cues in 3D computer image; (3) The horizontal placed object is more easily for children to perceive the spatial depth; (4) The clear the liner perspective angle the easier to perceive the spatial depth; (5) The greater texture gradients the easier to perceive the spatial depth; (6) Shading is an effective depth cues to improve the pictorial depth perception. According to the findings, this study suggests that art educator in designing learning activity should consider the factors of children’s visual perception on digital image. Finally, further research on the digital image’s depth perception was proposed.
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Tone, Yu Sheng, and 俞聖棠. "The Relationship Between the Pictorial Cues in Depth Perceptions of Two-Dimensional Images and the Commands of Image Processing Software." Thesis, 1999. http://ndltd.ncl.edu.tw/handle/80672885791180679451.

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碩士
國立交通大學
應用藝術所
88
Abstract Walter Benjamin has suggested that once we try to evolve the skill of the art, we can make the art progress. Plenty of artists try to use newspaper,movies,radio as well as photography froquentlly as kinds of new art production skill. Accordingly, an artist would not only be care about the goal of the art but also the tool of the art croation. They have been making their effort to understand how to construct art form technically. Computer images are basically built up by the novel science and technology formally. It was operated coordinately with the modernism as well as the mixing of clloage technique. Could it happen that to construct an art by the use of computer media would replace the impression of the one construct by the traditional artistic construction media? Computer artist uses the computer software constructed by modern science and technology to be engaged in the art composition. Then, the command-oriented computer software should be related to the form of the depth perception of the modern computer art. In that case, the commands would affect the art form and the style. They might guide the users to follow the convention to build up their artistic creation. The design of the command may influent the art form. It causes the art form to be the relacted result of the command. As a result of those comments, the study infer that the commands of the image software like Copy, Cut, Paste, Transform, Scale, Filter, and Image may cause the style or the form of the artistic production with the convention or customary practice. Accordingly, the study impliment three experiments to investigate the relationship between computer commands and the depth perception. Experiment 1: The purpose of this experiment was to inspect the identification of the commands which were used. Experiment 2:To analyse the general habits and characteristics of those computer artists in using those commands in form and evaluated the commands which were used by the used computer artist selected from SIGGRAPH97-98. Experiment 3:The study obtain the tendency of overall depth impression from the 35 SIGGRAPH97-98 computer image productions.The study investigated the most effective one among the models of depth perception on the computer images .The relationships between the commands and the depth perception were alse examined. Accroding to the experiment, command and the depth perception are related. Computer artist tend to use simple command to create art work .There is an obvious relationship among Perspective, Relative Size,Texture Gradints, and Atmospheric perspective .Using the Scale and Curves command affect computer image’s depth perception.Scale command causes the Perspective and Reative Size effects by changing the size.Curves command causes Color and Texture Gradints effects by changing the color. Key words：Principles of depth perception Commands Image prosessing sortware Art form
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Drory, Ami. "Computer Vision and Machine Learning for Biomechanics Applications : Human Detection, Pose and Shape Estimation and Tracking in Unconstrained Environment From Uncalibrated Images, Videos and Depth." Phd thesis, 2017. http://hdl.handle.net/1885/129415.

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Motivation. In Biomechanics, musculoskeletal models yield information that cannot be non-invasively obtained by direct measurement based on skeletal kinematics. Unsatisfactorily, obtaining accurate skeletal kinematics is limited to either user manual labelling or marker-based motion capture systems (MoCaps) that are limited by expansive infrastructure, environmental conditions, obtrusive markers causing movement impediment and occlusion errors. Moreover, they cannot yield surface geometry that is critical for many biomechanical applications. To advance the state of knowledge, real-time user-free acquisition of individualised pose and surface geometry is currently needed, and motivates our work on this thesis. Aims. The goals of this dissertation are; 1) to explore how advances in computer vision and machine learning algorithms can be levered to provide the necessary framework for in-natura acquisition of skeletal kinematics, 2) in a challenge to the traditional biomechanics modelling reliance on skeletal pose only, explore how computer vision algorithms can be used to develop shape recovery framework, 3) to demonstrate the potential of human detection, tracking, pose estimation and surface recovery techniques to address open problems in biomechanics. Contributions. We demonstrate skeletal pose estimation from monocular images in challenging environments under a discriminative pictorial structure framework. We extend the flexible part based approach to explicitly model human-object interaction. Our empirical performance results show that our proposed extension to the technique improves pose estimation. Further, we develop a hybrid framework for human detection and shape recovery using a discriminative deformable part based model for detection with a learnt shape and appearance model priors for shape recovery from monocular images. We also develop a real time framework for simultaneous activity recognition, pose estimation and shape recovery using information from a structured light sensor. For a demonstrator application, we develop a theoretical model that uses the recovered shape to solve downstream open questions in biomechanics. Finally, we develop object detection and tracking in a particularly challenging environment from image sequences that include rapid shot and view transition using complementary trained discriminative classifiers. We apply our techniques to the human ambulatory modalities of cycling and kayaking because they are common in both the clinical and sports biomechanics settings, but are rarely studied because they present unique challenges. Specifically, many applied problems relating to those modalities remain open due to absence of robust markerless motion capture that can recover skeletal kinematics and surface geometry in-natura. Impact. The developed methods can subsequently provide new insights into open applied problems, such as enhance the understanding of bluff bodies, specifically cycling, aerodynamics, and kayaking performance. More importantly, we believe that from a higher level standpoint, our full-body human shape modelling and surface recovery represents a significant paradigm shift in biomechanical modelling, which traditionally relies on skeletal pose only. The knowledge gained is intended to form the foundation for the development of evidence-based decision support tools for diagnosis and treatment through enhanced understanding of human motion. We envision that these methods will have a transformative effect on the field of biomechanics, analogously to the effect of medical imaging on the field of medicine.
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Sampson, David Douglas Quarles. "Troilos Infelix: The Prevalence of the Achilles and Troilos Death Myth on Attic "Tyrrhenian" Group Neck-Amphorae and in the Etruscan Pictorial Tradition." Thesis, 2009. http://hdl.handle.net/1974/5182.

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This thesis will look at the depiction of the Achilles and Troilos death myth on the Attic Black-Figure “Tyrrhenian” Group and its possible influence in Etruria from the mid 6th century BC to the Hellenistic period. The appearance of this Attic-made export ware in Etruscan sites of the 6th century BC, distribution of extant group pots with known provenance along with the emulation of the “Tyrrhenian” neck-amphora style and narrative frieze content in mid to late 6th century BC Etruscan pottery supports evidence for the popularity of the group amongst the Etruscan population. I will approach my investigation in Chapter Three by first giving an overview of the construction and decoration of the Attic-made “Tyrrhenian” Group and listing the variety of traits that characterize this group as being a true case of Athenian export product to Etruria. In Chapter Four I will focus on the appearance of the Achilles and Troilos myth on pots of the “Tyrrhenian” Group and trace the development of the myth’s iconography in Greek art starting in the mid 7th century BC. In Chapter Five I will focus on the appearance of the myth in Etruscan art in the mid 6th century BC and its subsequent development in Etruscan mythology through the analysis of Etruscan-made specimens. I will also attempt to give a reasoning behind the Etruscans’ adaptation of the Greek myth into their corpus.
Thesis (Master, Classics) -- Queen's University, 2009-09-22 13:27:11.548
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Books on the topic "Pictorial depth"

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California in depth: A stereoscopic history. San Francisco: Chronicle Books, 1994.

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Riyue jing shen: Depth of the Sun and Moon Lake view. Taizhong Shi: Zhan du wen hua shi ye you xian gong si, 2007.

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Zeller, Bob. The Civil War in depth: History in 3-D. San Francisco: Chronicle Books, 1997.

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Cornett, James W. Death Valley National Monument: A pictorial history. [Death Valley, Calif.]: Death Valley Natural History Association, 1995.

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Cornett, James W. Death Valley National Monument: A pictorial history. Death Valley, CA: Death Valley Natural History Association, 1986.

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Beard, Brian. Edmonton Fire Department, 1892-1986: A pictorial history. Langley, B.C: B. Beard & J. Scott, 1987.

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Manchester firefighting: A pictorial history. Charleston, SC: History Press, 2010.

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Ireland's hidden depths. Cork: Sherkin Island Marine Station, 2011.

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Beautiful death. [s.l.]: Illustrated Monthly, 2014.

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Starrs, James E. Meriwether Lewis: His death and his monument : an historical and pictorial portfolio. Washington, D.C: J.E. Starrs, 1997.

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Book chapters on the topic "Pictorial depth"

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Yonas, Albert, and Carl E. Granrud. "The Development of Sensitivity of Kenetic, Binocular and Pictorial Depth Information in Human Infants." In Brain Mechanisms and Spatial Vision, 113–45. Dordrecht: Springer Netherlands, 1985. http://dx.doi.org/10.1007/978-94-009-5071-9_6.

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Kalinke, Marianne. "Pictorial Hagiography. The Gotlandic Death of a German Emperor." In Acta Scandinavica, 65–82. Turnhout, Belgium: Brepols Publishers, 2022. http://dx.doi.org/10.1484/m.as-eb.5.126782.

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"Moral depth and pictorial art." In Art and Morality, 178–92. Routledge, 2003. http://dx.doi.org/10.4324/9780203454763-12.

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Armstrong, John. "Moral depth and pictorial art." In Art and Morality, 170–84. Routledge, 2020. http://dx.doi.org/10.4324/9781003060222-10.

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"How to reinforce perception of depth in single two-dimensional pictures." In Pictorial Communication In Real And Virtual Environments, 553–73. CRC Press, 1991. http://dx.doi.org/10.1201/9781482295177-48.

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Leonhard, Karin. "Painted Landscape before Landscape Painting in Early Modern England." In Landscape and Earth in Early Modernity. Nieuwe Prinsengracht 89 1018 VR Amsterdam Nederland: Amsterdam University Press, 2022. http://dx.doi.org/10.5117/9789463729437_ch03.

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This paper investigates the period before landscape painting was regarded as an autonomous genre and became a key concept of British national identity—that is, in paintings of the sixteenth and seventeenth centuries. Painting landscapes then regularly appears as the task of developing a spatial-plastic continuum; beginning from the foreground, the painter works, layer by layer, toward the most distant point in the depth of the pictorial space, revealing different layers or steps of visibility.
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"THE FRAMING EFFECT DIMINISHES PICTORIAL DEPTH PERCEPTION: IMPLICATIONS FOR INDIRECT MANIPULATION VIA VIDEO LINKS." In Contemporary Ergonomics 2003, 180–85. Taylor & Francis, 2003. http://dx.doi.org/10.1201/b12800-29.

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Nancy, Jean-Luc. "The Eye." In Portrait, translated by Sarah Clift and Simon Sparks, 54–55. Fordham University Press, 2018. http://dx.doi.org/10.5422/fordham/9780823279944.003.0008.

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In one way or another though, the portrait is in some sense aimed at a distant and unattainable reality, one in relation to which it is measured and thought. The portrait is turned toward the recoil, removal, or withdrawal of an alterity and it is only exposed to our gazes in order to show us how it is exposed to this alterity. More precisely, the alterity of its “subject”—in the pictorial sense, its figure, as well as in the ontological sense, the ipseity within the figure—opens the retreat and carries away the withdrawal, the interminable sliding toward a depth whose thin surface in two dimensions indicates that it is unfathomable....
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"Pictorial Inserts." In Photography and Death: Framing Death throughout History, 85–108. Emerald Publishing Limited, 2020. http://dx.doi.org/10.1108/978-1-83909-045-520201011.

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Gahir, Navjot K., and Mirriam Shah. "Anatomy of the eye and the healthy fundus." In Diabetic Retinopathy: Screening to Treatment (Oxford Diabetes Library), 13–24. Oxford University Press, 2020. http://dx.doi.org/10.1093/med/9780198834458.003.0003.

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The human eye is an intricate and widely used major sense organ of the body, and has been commonly likened to a camera. Broadly it can be divided into two main segments—the anterior segment and the posterior segment. Understanding the basic anatomy of the human eye is a requirement for all health-care providers, but sound knowledge is of paramount importance to those involved in eye screening. This chapter describes and includes pictorial emphasis of the anatomy of the eye, and more specifically, the human retina and its structure and function. The detail provided here is limited, but relevant to those involved in eye screening. A more in-depth and comprehensive discussion of the anatomy of the eye is beyond the scope of this book and, therefore, further reading is recommended.
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Conference papers on the topic "Pictorial depth"

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Yoshida, Kenichi, Shigeo Takahashi, Hiroaki Ono, Issei Fujishiro, and Masato Okada. "Perceptually-Guided Design of Nonperspectives through Pictorial Depth Cues." In 2010 Seventh International Conference on Computer Graphics, Imaging and Visualization (CGIV). IEEE, 2010. http://dx.doi.org/10.1109/cgiv.2010.33.

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Tai, Nan-Ching, and Mehlika Inanici. "Depth Perception in Real and Pictorial Spaces: A Computational Framework to Represent and Simulate Built Environments." In CAADRIA 2009: Between Man and Machine? Integration, Intuition, Intelligence. CAADRIA, 2009. http://dx.doi.org/10.52842/conf.caadria.2009.543.

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Tai, Nan-Ching, and Mehlika Inanici. "Lighting in real and pictorial spaces: a computational framework to investigate the scene-based lighting distributions and their impact on depth perception." In CAADRIA 2010: New Frontiers. CAADRIA, 2010. http://dx.doi.org/10.52842/conf.caadria.2010.501.

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