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Journal articles on the topic 'Stereoscopic depth'

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Author: Grafiati

Published: 4 June 2021

Last updated: 11 February 2022

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1

Wade, Nicholas J. "On Stereoscopic Art." i-Perception 12, no. 3 (May 2021): 204166952110071. http://dx.doi.org/10.1177/20416695211007146.

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Pictorial art is typically viewed with two eyes, but it is not binocular in the sense that it requires two eyes to appreciate the art. Two-dimensional representational art works allude to depth that they do not contain, and a variety of stratagems is enlisted to convey the impression that surfaces on the picture plane are at different distances from the viewer. With the invention of the stereoscope by Wheatstone in the 1830s, it was possible to produce two pictures with defined horizontal disparities between them to create a novel impression of depth. Stereoscopy and photography were made public at about the same time and their marriage was soon cemented; most stereoscopic art is now photographic. Wheatstone sought to examine stereoscopic depth without monocular pictorial cues. He was unable to do this, but it was achieved a century later by Julesz with random-dot stereograms The early history of non-photographic stereoscopic art is described as well as reference to some contemporary works. Novel stereograms employing a wider variety of carrier patterns than random dots are presented as anaglyphs; they show modulations of pictorial surface depths as well as inclusions within a binocular picture.

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2

Guan, Phillip, and Martin S. Banks. "Stereoscopic depth constancy." Philosophical Transactions of the Royal Society B: Biological Sciences 371, no. 1697 (June 19, 2016): 20150253. http://dx.doi.org/10.1098/rstb.2015.0253.

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Depth constancy is the ability to perceive a fixed depth interval in the world as constant despite changes in viewing distance and the spatial scale of depth variation. It is well known that the spatial frequency of depth variation has a large effect on threshold. In the first experiment, we determined that the visual system compensates for this differential sensitivity when the change in disparity is suprathreshold, thereby attaining constancy similar to contrast constancy in the luminance domain. In a second experiment, we examined the ability to perceive constant depth when the spatial frequency and viewing distance both changed. To attain constancy in this situation, the visual system has to estimate distance. We investigated this ability when vergence, accommodation and vertical disparity are all presented accurately and therefore provided veridical information about viewing distance. We found that constancy is nearly complete across changes in viewing distance. Depth constancy is most complete when the scale of the depth relief is constant in the world rather than when it is constant in angular units at the retina. These results bear on the efficacy of algorithms for creating stereo content. This article is part of the themed issue ‘Vision in our three-dimensional world’.

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3

Klahr, Douglas M. "Stereoscopic Architectural Photography and Merleau-Ponty’s Phenomenology." ZARCH, no. 9 (December 4, 2017): 84–105. http://dx.doi.org/10.26754/ojs_zarch/zarch.201792269.

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Stereoscopic photography utilizes dual camera lenses that are placed at approximately the interocular distance of human beings in order to replicate the slight difference between what each eye sees and therefore the effect of parallax. The pair of images that results is then viewed through a stereoscope. By adjusting the device, the user eventually sees the two photographs merge into a single one that has receding planes of depth, often producing a vivid illusion of intense depth. Stereoscopy was used by photographers throughout the second half of the Nineteenth Century to document every building that was deemed to be culturally significant by the European and American photographers who pioneered the medium, starting with its introduction to the general public at the Crystal Palace in London in 1851. By the early 1900s, consumers in Europe and America could purchase from major firms stereoscopic libraries of buildings from around the world. Stereoscopic photography brought together the emotional, technical and informed acts of looking, especially with regard to architecture. In this essay, the focus in upon the first of those acts, wherein the phenomenal and spatial dimensions of viewing are examined. Images of architecture are used to argue that the medium not only was a manifestation of Maurice Merleau-Ponty’s phenomenology of perception, but also validated the philosophy. After an analysis of how stereoscopic photography and Merleau-Ponty’s philosophy intersect, seven stereographs of architectural and urban subjects are discussed as examples, with the spatial boundaries of architecture and cities argued as especially adept in highlighting connections between the medium and the philosophy. In particular, the notion of Fundierung relationships, the heart of Merleau-Ponty phenomenology, is shown to closely align with the stereoscopic viewing experience describing layers of dependency.

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4

Ludwig, Kai-Oliver, Heiko Neumann, and Bernd Neumann. "Local stereoscopic depth estimation." Image and Vision Computing 12, no. 1 (January 1994): 16–35. http://dx.doi.org/10.1016/0262-8856(94)90052-3.

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5

Wade, Nicholas J. "The Chimenti Controversy." Perception 32, no. 2 (February 2003): 185–200. http://dx.doi.org/10.1068/p3371.

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Jacopo Chimenti (c 1551–1640), an artist from Empoli, made two sketches of a young man holding a compass and a plumb line. When these were seen, mounted next to one another, by Alexander Crum Brown in 1859, he combined them by overconvergence and described the stereoscopic depth he saw. Brown's informal observation was conveyed to David Brewster, who suggested that the drawings were produced for a stereoscope, possibly made by Giovanni Battista della Porta. There followed a bitter debate about the supposed stereoscopic effects that could be seen when the pictures combined. Brewster's claims were finally dispelled when precise measurements were made of the drawings: some parts were stereoscopic and others were pseudoscopic. Brewster's attempts to wrest the invention of the stereoscope from Wheatstone were unsuccessful.

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6

Inoue, Tetsuri, Kageyu Noro, and Cho Am. "Depth Descrimination in Stereoscopic Images." Japanese journal of ergonomics 27, Supplement (1991): 184–85. http://dx.doi.org/10.5100/jje.27.supplement_184.

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7

Choi, Byeonghwa, Dongwook Choi, Jaeun Lee, Seungbae Lee, and Sungchul Kim. "Depth sensitivity of stereoscopic displays." Journal of Information Display 13, no. 1 (March 2012): 43–49. http://dx.doi.org/10.1080/15980316.2012.653486.

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8

Patterson, Robert, Steve Becker, G. Scott Boucek, and Ray Phinney. "Depth perception in stereoscopic displays." Journal of the Society for Information Display 2, no. 2 (1994): 105. http://dx.doi.org/10.1889/1.1984919.

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9

Jennings, J. A. M., and W. N. Charman. "Depth resolution in stereoscopic systems." Applied Optics 33, no. 22 (August 1, 1994): 5192. http://dx.doi.org/10.1364/ao.33.005192.

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10

Yan, Tao, Rynson W. H. Lau, Yun Xu, and Liusheng Huang. "Depth Mapping for Stereoscopic Videos." International Journal of Computer Vision 102, no. 1-3 (November 9, 2012): 293–307. http://dx.doi.org/10.1007/s11263-012-0593-9.

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11

Hartle, Brittney, and Laurie Wilcox. "Scaling stereoscopic depth through reaching." Journal of Vision 21, no. 9 (September 27, 2021): 1896. http://dx.doi.org/10.1167/jov.21.9.1896.

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12

Price, C. Aaron, Hee-Sun Lee, Julia D. Plummer, Mark SubbaRao, and Ryan Wyatt. "Position Paper On Use Of Stereoscopy To Support Science Learning: Ten Years Of Research." Journal of Astronomy & Earth Sciences Education (JAESE) 2, no. 1 (June 1, 2015): 17. http://dx.doi.org/10.19030/jaese.v2i1.9278.

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Stereoscopys potential as a tool for science education has been largely eclipsed by its popularity as an entertainment platform and marketing gimmick. Dozens of empirical papers have been published in the last decade about the impact of stereoscopy on learning. As a result, a corpus of research now points to a coherent message about how, when, and where stereoscopy can be most effective in supporting science education. This position paper synthesizes that research with examples from three studies recently completed and published by the authors of this paper. Results of the synthesis point towards generally limited successful uses of stereoscopic media in science education with a pocket of potentially beneficial applications. Our position is that stereoscopy should be used only where its unique properties can accommodate specific requirements of understanding topics and tasks namely visualizations where the spatial sense of depth is germane to conveying core ideas and cognitive load is high. Stereoscopys impact on learning is also related to the spatial ability of the viewer. More research is needed on the effect of novelty, long-term learning and possible learning differences between the various methods of implementing stereoscopy.

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13

McMahon, Mark Thomas, and Michael Garrett. "Applications of Binocular Parallax Stereoscopic Displays for Tasks Involving Spatial Cognition in 3D Virtual Environments." International Journal of Gaming and Computer-Mediated Simulations 6, no. 4 (October 2014): 17–33. http://dx.doi.org/10.4018/ijgcms.2014100102.

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Stereoscopic display technologies have seen wide spread application in entertainment and gaming contexts through their ability to intensify the perception of depth. However, their potential for enhancing the development and application of spatial knowledge within a 3D space is not as certain. Existing research suggests that stereoscopic displays can contribute both positively and negatively to the process of spatial cognition within 3D virtual environments. In order to explore this issue, a study comparing experience with binocular parallax stereoscopic displays to standard monoscopic displays was undertaken using a 3D virtual environment that required users to complete tasks using spatial cues. Findings suggested that spatial experience with binocular parallax stereoscopic displays and standard monoscopic displays was comparable in terms of effectiveness, though the experience was subjective and many participants found that binocular parallax stereoscopy created a strong emotional response.

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14

KIM, Joohwan. "Depth Perception in Stereoscopic 3D Displays." Physics and High Technology 22, no. 7/8 (August 31, 2013): 14. http://dx.doi.org/10.3938/phit.22.032.

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15

Palmer, Stephen E., and Karen B. Schloss. "Stereoscopic depth and the occlusion illusion." Attention, Perception, & Psychophysics 71, no. 5 (July 2009): 1083–94. http://dx.doi.org/10.3758/app.71.5.1083.

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16

Tanabe, Seiji, and Ichiro Fujita. "The Neural Representation of Stereoscopic Depth." Brain & Neural Networks 11, no. 2 (2004): 64–73. http://dx.doi.org/10.3902/jnns.11.64.

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17

Fahle, M., S. Henke-Fahle, and J. Harris. "Definition of thresholds for stereoscopic depth." British Journal of Ophthalmology 78, no. 7 (July 1, 1994): 572–76. http://dx.doi.org/10.1136/bjo.78.7.572.

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18

Schloss, K. B., and S. E. Palmer. ""Stereoscopic depth and the occlusion illusion"." Journal of Vision 6, no. 6 (March 24, 2010): 652. http://dx.doi.org/10.1167/6.6.652.

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19

Chen, Zaiqing, Junsheng Shi, Yonghang Tai, and Lijun Yun. "Stereoscopic depth perception varies with hues." Optical Engineering 51, no. 9 (September 11, 2012): 097401–1. http://dx.doi.org/10.1117/1.oe.51.9.097401.

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20

Lankheet, M. J. M., and M. Palmen. "Stereoscopic Transparency and Segregation in Depth." Perception 25, no. 1_suppl (August 1996): 90. http://dx.doi.org/10.1068/v96p0219.

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We previously described the spatiotemporal requirements for binocular correlation in stereopsis using sinusoidal gratings-in-depth (Lankheet and Lennie, 1996 Vision Research36 527 – 538). The use of smooth sinusoidal surfaces emphasised the effects of spatial and temporal integration. Binocular correlation, however, depends not only on integration, but also on segregation at depth discontinuities. In the present experiments we therefore investigated segregation-in-depth, using random dot stereograms that depicted two transparent frontoparallel planes positioned symmetrically on either side of a binocular fixation point. Sensitivity for segregating the two planes was established by adding Gaussian distributed disparity noise to the disparities specifying the planes, and finding the noise amplitude that rendered transparency just detectable. The stimuli consisted of dynamic random-dot displays (dot lifetime 4 frames, at a frame rate of 67 Hz), generated in real time by a Macintosh computer, displayed on a television monitor, and viewed through a stereoscope. We used a method of constant stimuli and a 2AFC procedure. Two transparent planes were presented in one interval, and a single plane, with Gaussian distributed disparity values spanning the same range, was presented in the other. Segregation of stationary patterns was optimal for disparity differences of about ±9 min arc. Differences smaller than ±3 min arc and larger than about ±18 min arc could not be resolved. Motion contrast between the two patterns greatly facilitated segregation in depth. The facilitating effect increased with the difference in motion directions. The optimal speed varied with the difference in disparity.

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21

Rose, David, Mark F. Bradshaw, and Paul B. Hibbard. "Attention Affects the Stereoscopic Depth Aftereffect." Perception 32, no. 5 (May 2003): 635–40. http://dx.doi.org/10.1068/p3324.

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‘Preattentive’ vision is typically considered to include several low-level processes, including the perception of depth from binocular disparity and motion parallax. However, doubt was cast on this model when it was shown that a secondary attentional task can modulate the motion aftereffect (Chaudhuri, 1990 Nature344 60–62). Here we investigate whether attention can also affect the depth aftereffect (Blakemore and Julesz, 1971 Science171 286–288). Subjects adapted to stationary or moving random-dot patterns segmented into depth planes while attention was manipulated with a secondary task (character processing at parametrically varied rates). We found that the duration of the depth aftereffect can be affected by attentional manipulations, and both its duration and that of the motion aftereffect varied with the difficulty of the secondary task. The results are discussed in the context of dynamic feedback models of vision, and support the penetrability of low-level sensory processes by attentional mechanisms.

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22

Morgan, M. J., and E. Castet. "Stereoscopic depth perception at high velocities." Nature 378, no. 6555 (November 1995): 380–83. http://dx.doi.org/10.1038/378380a0.

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23

Morgan, MJ, and E. Castet. "Stereoscopic depth perception at high velocities." American Journal of Ophthalmology 121, no. 3 (March 1996): 343. http://dx.doi.org/10.1016/s0002-9394(14)70304-6.

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24

Lee, S., and L. B. Stelmach. "Stereoscopic depth perception at high velocities." Journal of Vision 1, no. 3 (March 14, 2010): 183. http://dx.doi.org/10.1167/1.3.183.

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25

Liu, Lei, Scott B. Stevenson, and Clifton M. Schor. "Quantitative stereoscopic depth without binocular correspondence." Nature 367, no. 6458 (January 1994): 66–69. http://dx.doi.org/10.1038/367066a0.

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26

Willigen, Robert F. van der, Barrie J. Frost, and Hermann Wagner. "Stereoscopic depth perception in the owl." NeuroReport 9, no. 6 (April 1998): 1233–37. http://dx.doi.org/10.1097/00001756-199804200-00050.

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27

Tam, Wa James, and Lew B. Stelmach. "Display duration and stereoscopic depth discrimination." Canadian Journal of Experimental Psychology/Revue canadienne de psychologie expérimentale 52, no. 1 (1998): 56–61. http://dx.doi.org/10.1037/h0087280.

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28

BISHOP, P. O. "Stereoscopic Depth Perception and Vertical Disparity." Vision Research 36, no. 13 (July 1996): 1969–72. http://dx.doi.org/10.1016/0042-6989(95)00243-x.

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29

Mu, Tai-Jiang, Ju-Hong Wang, Song-Pei Du, and Shi-Min Hu. "Stereoscopic image completion and depth recovery." Visual Computer 30, no. 6-8 (May 8, 2014): 833–43. http://dx.doi.org/10.1007/s00371-014-0961-2.

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30

Wang, Xuejin, Pengfei Li, and Feng Shao. "Depth Trajectory-Aware Stereoscopic Video Retargeting." IEEE Access 9 (2021): 30335–46. http://dx.doi.org/10.1109/access.2021.3059477.

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31

McClain, James E. "Hue and Disparity Interactions in Advanced Stereoscopic Aircraft Displays." Proceedings of the Human Factors Society Annual Meeting 33, no. 20 (October 1989): 1422–26. http://dx.doi.org/10.1177/154193128903302013.

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With the increased complexity of aircraft systems and their environment, 3-D stereoscopic system/control displays will offer great advantage over conventional two-dimensional (2-D) displays by presenting information more consistent with the pilot's 3-D perceptual experience and stereotypes. For such displays the interaction of Chromostereopsis (perceived depth created by hues) and stereopsis (depth effect created by disparity between the left and right visual fields of the observer) is important. The purpose of this research is to evaluate the interaction of chromostereopsis and artificially stimulated stereopsis on a stereoscopic CRT by determining the level of accuracy with which subjects can properly interpret the relative depth differences of adjacent symbols containing one of a combination of six levels of hue and seven stereoscopic disparities. This research demonstrated that hue, disparity, and the interaction of hue and disparity significantly influenced one's perception of depth on a stereoscopic monitor and that caution should be exercised by the stereoscopic 3-D display format designer when choosing hues to represent images located in close proximity on a stereoscopic display.

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32

Akers, John W., Elizabeth T. Davis, and Robert A. King. "Stereoscopic Depth Perception in Simulated Displays: What Helps and What Hurts?" Proceedings of the Human Factors and Ergonomics Society Annual Meeting 40, no. 23 (October 1996): 1193–96. http://dx.doi.org/10.1177/154193129604002310.

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We tested the effect of direction of retinal disparity and stimulus orientation on stereoscopic depth perception to answer three questions. First, are some directions of disparity more efficient than others in providing stereoscopic depth information? Second, does the orientation of an object affect perceived stereoscopic depth? Third, are there any interactions between these parameters? Subjects were tested using a psychophysical, method of constant stimuli procedure with a modified Wheatstone stereoscopic display. Disparity threshold measurements show a significant effect of direction of retinal disparity. Contrary to expectations however, no significant effect of orientation was found if vertical retinal disparities were excluded from the analyses. Stereoacuity thresholds were measurable with obliquely-oriented stimuli and vertical disparity, however, suggesting that vertical disparities can provide useful information. The implications of these results for the graphics, calibration, and design of stereoscopic displays (e.g., HMDs) are discussed.

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33

Xia, Tian, Shriji N. Patel, Ben C. Szirth, Anton M. Kolomeyer, and Albert S. Khouri. "Software-Assisted Depth Analysis of Optic Nerve Stereoscopic Images in Telemedicine." International Journal of Telemedicine and Applications 2016 (2016): 1–5. http://dx.doi.org/10.1155/2016/7603507.

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Background. Software guided optic nerve assessment can assist in process automation and reduce interobserver disagreement. We tested depth analysis software (DAS) in assessing optic nerve cup-to-disc ratio (VCD) from stereoscopic optic nerve images (SONI) of normal eyes.Methods. In a prospective study, simultaneous SONI from normal subjects were collected during telemedicine screenings using a Kowa 3Wx nonmydriatic simultaneous stereoscopic retinal camera (Tokyo, Japan). VCD was determined from SONI pairs and proprietary pixel DAS (Kowa Inc., Tokyo, Japan) after disc and cup contour line placement. A nonstereoscopic VCD was determined using the right channel of a stereo pair. Mean, standard deviation,t-test, and the intraclass correlation coefficient (ICCC) were calculated.Results. 32 patients had mean age of40±14years. Mean VCD on SONI was0.36±0.09, with DAS0.38±0.08, and with nonstereoscopic0.29±0.12. The difference between stereoscopic and DAS assisted was not significant (p=0.45). ICCC showed agreement between stereoscopic and software VCD assessment. Mean VCD difference was significant between nonstereoscopic and stereoscopic (p<0.05) and nonstereoscopic and DAS (p<0.005) recordings.Conclusions. DAS successfully assessed SONI and showed a high degree of correlation to physician-determined stereoscopic VCD.

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34

Kirkels, Laurens A. M. H., Reinder Dorman, and Richard J. A. van Wezel. "Perceptual Coupling Based on Depth and Motion Cues in Stereovision-Impaired Subjects." Perception 49, no. 10 (September 9, 2020): 1101–14. http://dx.doi.org/10.1177/0301006620952058.

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When an object is partially occluded, the different parts of the object have to be perceptually coupled. Cues that can be used for perceptual coupling are, for instance, depth ordering and visual motion information. In subjects with impaired stereovision, the brain is less able to use stereoscopic depth cues, making them more reliant on other cues. Therefore, our hypothesis is that stereovision-impaired subjects have stronger motion coupling than stereoscopic subjects. We compared perceptual coupling in 8 stereoscopic and 10 stereovision-impaired subjects, using random moving dot patterns that defined an ambiguous rotating cylinder and a coaxially presented nonambiguous half cylinder. Our results show that, whereas stereoscopic subjects exhibit significant coupling in the far plane, stereovision-impaired subjects show no coupling and under our conditions also no stronger motion coupling than stereoscopic subjects.

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35

Nawrot, Mark, and Randolph Blake. "Visual Alchemy: Stereoscopic Adaptation Produces Kinetic Depth from Random Noise." Perception 22, no. 6 (June 1993): 635–42. http://dx.doi.org/10.1068/p220635.

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Observers perceive incoherent motion and no hint of depth when viewing stochastic motion, in which stimulus elements move in all possible directions. As earlier work has shown, depth can be specified by introducing a brief interocular delay between the presentation of corresponding animation frames of this ‘noise’ to the left and right eyes. A study is reported in which observers were adapted to a stereoscopic display consisting of coherent planes of motion at different depths. This stereoscopic adaptation caused incoherent depthless motion to take on the qualities of structure and depth, and it could nullify the depth induced by interocular delay. The findings are interpreted within the context of a neural model consisting of units selectively responsive to different directions of motion at different planes of depth.

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36

Palmisano, Stephen. "Consistent Stereoscopic Information Increases the Perceived Speed of Vection in Depth." Perception 31, no. 4 (April 2002): 463–80. http://dx.doi.org/10.1068/p3321.

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Previous research found that adding stereoscopic information to radially expanding optic flow decreased vection onsets and increased vection durations (Palmisano, 1996 Perception & Psychophysics58 1168–1176). In the current experiments, stereoscopic cues were also found to increase perceptions of vection speed and self-displacement during vection in depth—but only when these cues were consistent with monocularly available information about self-motion. Stereoscopic information did not appear to be improving vection by increasing the perceived maximum extent of displays or by making displays appear more three-dimensional. Rather, it appeared that consistent patterns of stereoscopic optic flow provided extra, purely binocular information about vection speed, which resulted in faster/more compelling illusions of self-motion in depth.

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37

Tittle, James S., Michael W. Rouse, and Myron L. Braunstein. "Relationship of Static Stereoscopic Depth Perception to Performance with Dynamic Stereoscopic Displays." Proceedings of the Human Factors Society Annual Meeting 32, no. 19 (October 1988): 1439–42. http://dx.doi.org/10.1177/154193128803201928.

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Although most tasks performed by human observers that require accurate stereoscopic depth perception, such as working with tools, operating machinery, and controlling vehicles, involve dynamically changing disparities, classification of observers as having normal or deficient stereoscopic vision is currently based on performance with static stereoscopic displays. The present study compares the performance of subjects classified as deficient in static stereoscopic vision to a control group with normal stereoscopic vision in two experiments-one in which the disparities were constant during motion and one in which the disparities changed continuously. In the first experiment, subjects judged orientation in depth of a dihedral angle, with the apex pointed toward or away from them. The angle translated horizontally, leaving the disparities constant. When disparity and motion parallax were placed in conflict, subjects in the normal group almost always responded in accordance with disparity, whereas subjects in the deficient group responded in accordance with disparity at chance levels. In the second experiment, subjects were asked to judge the direction of rotation of a computer-generated cylinder. When dynamic occlusion and dynamic disparity indicated conflicting directions, performance of subjects in the normal and deficient groups did not differ significantly. When only dynamic disparity information was provided, most subjects classified as stereo deficient were able to judge the direction of rotation accurately. These results indicate that measures of stereoscopic vision that do not include changing disparities may not provide a complete evaluation of the ability of a human observer to perceive depth on the basis of disparity.

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38

Yang, Yu, Yi Chun Zhang, and Jian Zeng Li. "3DTV Video Acquisition and Processing for Visual Discomfort Alleviation." Advanced Materials Research 532-533 (June 2012): 1214–18. http://dx.doi.org/10.4028/www.scientific.net/amr.532-533.1214.

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While 3DTV technology achieved great development in recent years, 3DTV program production can’t be wildly employed because 3D production is more complex than traditional 2D production. Stereoscopic camera parameters need to be well controlled, because the perceived depth range of stereoscopic display is limited by human factors and stereoscopic image should be kept within this limitation, so that the viewer can experience 3D video without any uncomfortable feeling. Recent stereoscopic image acquisition methods provide precise control to map depth range from scene to screen, but they don’t suit some shooting cases. In this paper, we present two new stereoscopic image creation methods, which are more practical than traditional ones. Additionally, our production methods are presented in two cases: (1) camera separation is unfixed; (2) camera separation is fixed. In the end, experiments are presented and the results show our methods can control the perceived depth very well.

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39

Brooks, Kevin R. "Depth Perception and the History of Three-Dimensional Art: Who Produced the First Stereoscopic Images?" i-Perception 8, no. 1 (January 2017): 204166951668011. http://dx.doi.org/10.1177/2041669516680114.

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The history of the expression of three-dimensional structure in art can be traced from the use of occlusion in Palaeolithic cave paintings, through the use of shadow in classical art, to the development of perspective during the Renaissance. However, the history of the use of stereoscopic techniques is controversial. Although the first undisputed stereoscopic images were presented by Wheatstone in 1838, it has been claimed that two sketches by Jacopo Chimenti da Empoli (c. 1600) can be to be fused to yield an impression of stereoscopic depth, while others suggest that Leonardo da Vinci’s Mona Lisa is the world’s first stereogram. Here, we report the first quantitative study of perceived depth in these works, in addition to more recent works by Salvador Dalí. To control for the contribution of monocular depth cues, ratings of the magnitude and coherence of depth were recorded for both stereoscopic and pseudoscopic presentations, with a genuine contribution of stereoscopic cues revealed by a difference between these scores. Although effects were clear for Wheatstone and Dalí’s images, no such effects could be found for works produced earlier. As such, we have no evidence to reject the conventional view that the first producer of stereoscopic imagery was Sir Charles Wheatstone.

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40

Backus, Benjamin T., David J. Fleet, Andrew J. Parker, and David J. Heeger. "Human Cortical Activity Correlates With Stereoscopic Depth Perception." Journal of Neurophysiology 86, no. 4 (October 1, 2001): 2054–68. http://dx.doi.org/10.1152/jn.2001.86.4.2054.

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Stereoscopic depth perception is based on binocular disparities. Although neurons in primary visual cortex (V1) are selective for binocular disparity, their responses do not explicitly code perceived depth. The stereoscopic pathway must therefore include additional processing beyond V1. We used functional magnetic resonance imaging (fMRI) to examine stereo processing in V1 and other areas of visual cortex. We created stereoscopic stimuli that portrayed two planes of dots in depth, placed symmetrically about the plane of fixation, or else asymmetrically with both planes either nearer or farther than fixation. The interplane disparity was varied parametrically to determine the stereoacuity threshold (the smallest detectable disparity) and the upper depth limit (largest detectable disparity). fMRI was then used to quantify cortical activity across the entire range of detectable interplane disparities. Measured cortical activity covaried with psychophysical measures of stereoscopic depth perception. Activity increased as the interplane disparity increased above the stereoacuity threshold and dropped as interplane disparity approached the upper depth limit. From the fMRI data and an assumption that V1 encodes absolute retinal disparity, we predicted that the mean response of V1 neurons should be a bimodal function of disparity. A post hoc analysis of electrophysiological recordings of single neurons in macaques revealed that, although the average firing rate was a bimodal function of disparity (as predicted), the precise shape of the function cannot fully explain the fMRI data. Although there was widespread activity within the extrastriate cortex (consistent with electrophysiological recordings of single neurons), area V3A showed remarkable sensitivity to stereoscopic stimuli, suggesting that neurons in V3A may play a special role in the stereo pathway.

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41

Eickelberg, Stefan, and Jianshuang Xu. "Active Depth Cuts Without Distortion of Stereoscopic Depth Reduce Annoyance." SMPTE Motion Imaging Journal 127, no. 2 (March 2018): 57–67. http://dx.doi.org/10.5594/jmi.2017.2743838.

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Bridge, Holly. "Effects of cortical damage on binocular depth perception." Philosophical Transactions of the Royal Society B: Biological Sciences 371, no. 1697 (June 19, 2016): 20150254. http://dx.doi.org/10.1098/rstb.2015.0254.

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Stereoscopic depth perception requires considerable neural computation, including the initial correspondence of the two retinal images, comparison across the local regions of the visual field and integration with other cues to depth. The most common cause for loss of stereoscopic vision is amblyopia, in which one eye has failed to form an adequate input to the visual cortex, usually due to strabismus (deviating eye) or anisometropia. However, the significant cortical processing required to produce the percept of depth means that, even when the retinal input is intact from both eyes, brain damage or dysfunction can interfere with stereoscopic vision. In this review, I examine the evidence for impairment of binocular vision and depth perception that can result from insults to the brain, including both discrete damage, temporal lobectomy and more systemic diseases such as posterior cortical atrophy. This article is part of the themed issue ‘Vision in our three-dimensional world’.

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Allison, Robert S., and Laurie M. Wilcox. "Stereoscopic depth constancy from a different direction." Vision Research 178 (January 2021): 70–78. http://dx.doi.org/10.1016/j.visres.2020.10.003.

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Takeichi, Hiroshige. "The effects of stereoscopic depth on completion." Perception & Psychophysics 61, no. 1 (January 1999): 144–50. http://dx.doi.org/10.3758/bf03211955.

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Patel, Saumil S., Michael T. Ukwade, Scott B. Stevenson, Harold E. Bedell, Vanitha Sampath, and Haluk Ogmen. "Stereoscopic depth perception from oblique phase disparities." Vision Research 43, no. 24 (November 2003): 2479–92. http://dx.doi.org/10.1016/s0042-6989(03)00464-4.

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Buckthought, Athena, and Lew B. Stelmach. "Stereoscopic depth discrimination with contrast windowed stimuli." Vision Research 46, no. 19 (October 2006): 3090–97. http://dx.doi.org/10.1016/j.visres.2006.04.016.

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Wang, Jiheng, Shiqi Wang, Kede Ma, and Zhou Wang. "Perceptual Depth Quality in Distorted Stereoscopic Images." IEEE Transactions on Image Processing 26, no. 3 (March 2017): 1202–15. http://dx.doi.org/10.1109/tip.2016.2642791.

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Welchman, Andrew, and Nuno Goncalves. "'What not' encoding facilitates stereoscopic depth judgments." Journal of Vision 17, no. 10 (August 31, 2017): 1061. http://dx.doi.org/10.1167/17.10.1061.

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Chopin, A., D. C. Knill, D. M. Levi, and D. Bavelier. "Stereoscopic depth from absolute and relative disparities." Journal of Vision 14, no. 10 (August 22, 2014): 969. http://dx.doi.org/10.1167/14.10.969.

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Lebreton, Pierre, Alexander Raake, Marcus Barkowsky, and Patrick Le Callet. "Evaluating Depth Perception of 3D Stereoscopic Videos." IEEE Journal of Selected Topics in Signal Processing 6, no. 6 (October 2012): 710–20. http://dx.doi.org/10.1109/jstsp.2012.2213236.

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