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Статті в журналах з теми "Stereoscopic"

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Автор: Grafiati

Опубліковано: 4 червня 2021

Оновлено: 5 березня 2023

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1

Santos, Daniel Souza dos, and Fábio Ferreira Dias. "Uso de Anaglifos como Alternativa para Práticas de Estereoscopia em Sensoriamento Remoto." Anuário do Instituto de Geociências 34, no. 2 (January 1, 2011): 105–11. http://dx.doi.org/10.11137/2011_2_105-111.

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Анотація:

Aerial Photogrammetry is one of the most used implements on remote sensing. One of the most common resorts for analysis in this area is the stereoscopy, which consists of visualization on 3 dimensions of the aerophoto through the use of a stereoscopic pair. There are three main stereoscopic visualization methods: trough anaglyphs, polarization and with a stereoscope. Despite the stereoscope still the most used method, the anaglyph may be an alternative for studies using stereoscopic techniques, with the advantage of using cheaper materials and having the possibility of application on Geographic Information Systems, allowing more cleared analysis with the tools of this kind of software, being very useful when applied on the education, turning the teaching process more dynamic.

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2

Adams, Gavin. "Duchamp's Erotic Stereoscopic Exercises." Anais do Museu Paulista: História e Cultura Material 23, no. 2 (December 2015): 165–85. http://dx.doi.org/10.1590/1982-02672015v23n0206.

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ABSTRACT: This article explores certain links between medicine and art, with regard to their use of stereoscopy. I highlight a work by the artist Marcel Duchamp (the ready-made Stéréoscopie a la Main) and stereoscopic cards used in ophthalmic medicine. Both instances involve the drawing of graphic marks over previously existing stereoscopic cards. This similarity between Stéréoscopie a la Main and stereoscopic cards is echoed in the form of "stereoscopic exercises." Stereoscopic exercises were prescribed by doctors to be performed with the stereoscope as early as 1864. Stereoscopic cards were widely diffused in the 19th century, often promoted as "stay-at-home travel." It was over such kinds of materials that both Marcel Duchamp and doctors of ophthalmic medicine drew their graphic marks. I explore Duchamp's Stéréoscopie a la Main as a hypothetical basis for stereoscopic exercises of different types, proposing that this rectified ready-made is the locus for erotic stereoscopic exercises.

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3

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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Анотація:

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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4

Wade, Nicholas J. "Ocular Equivocation: The Rivalry Between Wheatstone and Brewster." Vision 3, no. 2 (June 6, 2019): 26. http://dx.doi.org/10.3390/vision3020026.

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Ocular equivocation was the term given by Brewster in 1844 to binocular contour rivalry seen with Wheatstone’s stereoscope. The rivalries between Wheatstone and Brewster were personal as well as perceptual. In the 1830s, both Wheatstone and Brewster came to stereoscopic vision armed with their individual histories of research on vision. Brewster was an authority on physical optics and had devised the kaleidoscope; Wheatstone extended his research on audition to render acoustic patterns visible with his kaleidophone or phonic kaleidoscope. Both had written on subjective visual phenomena, a topic upon which they first clashed at the inaugural meeting of the British Association for the Advancement of Science in 1832 (the year Wheatstone made the first stereoscopes). Wheatstone published his account of the mirror stereoscope in 1838; Brewster’s initial reception of it was glowing but he later questioned Wheatstone’s priority. They both described investigations of binocular contour rivalry but their interpretations diverged. As was the case for stereoscopic vision, Wheatstone argued for central processing whereas Brewster’s analysis was peripheral and based on visible direction. Brewster’s lenticular stereoscope and binocular camera were described in 1849. They later clashed over Brewster’s claim that the Chimenti drawings were made for a 16th-century stereoscope. The rivalry between Wheatstone and Brewster is illustrated with anaglyphs that can be viewed with red/cyan glasses and in Universal Freeview format; they include rivalling ‘perceptual portraits’ as well as examples of the stimuli used to study ocular equivocation.

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5

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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Анотація:

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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6

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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7

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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Анотація:

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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8

Ling, Yun, Willem-Paul Brinkman, Harold T. Nefs, Chao Qu, and Ingrid Heynderickx. "Effects of Stereoscopic Viewing on Presence, Anxiety, and Cybersickness in a Virtual Reality Environment for Public Speaking." Presence: Teleoperators and Virtual Environments 21, no. 3 (August 2012): 254–67. http://dx.doi.org/10.1162/pres_a_00111.

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Анотація:

In this study, we addressed the effect of stereoscopy on presence, anxiety, and cybersickness in a virtual public speaking world, and investigated the relationships between these three variables. Our results question the practical relevance of applying stereoscopy in head-mounted displays (HMDs) for virtual reality exposure therapy (VRET) in a virtual public speaking world. In VRET, feelings of presence improve the efficacy (B. K. Wiederhold & M. D. Wiederhold, 2005). There are reports of a relatively large group of dropouts during VRET at low levels of presence in the virtual environment (Krijn, Emmelkamp, Olafsson, & Biemond, 2004). Therefore, generating an adequate level of presence is essential for the success of VRET. In this study, 86 participants were recruited and they were immersed in the virtual public speaking world twice: once with stereoscopic rendering and once without stereoscopic rendering. The results showed that spatial presence was significantly improved by adding stereoscopy, but no difference for reported involvement or realism was found. The heart rate measurements also showed no difference between stereoscopic and nonstereoscopic viewing. Participants reported similar anxiety feelings about their talk and similar level of cybersickness in both viewing modes. Even though spatial presence was significantly improved, the size of statistical effect was relatively small. Our results therefore suggest that stereoscopic rendering may not be of practical importance for VRET in public speaking settings.

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9

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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Анотація:

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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10

Feldmann, Rodney M. "Preparation of stereoscopic photographs." Paleontological Society Special Publications 4 (1989): 347–50. http://dx.doi.org/10.1017/s2475262200005335.

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Because many fossils are preserved in relatively high relief, that is they are not preserved on flat surfaces, it is often desirable to prepare a stereoscopic photographs which permit viewing the specimen as a three dimensional object. This could be easily accomplished by considering that stereoscopy is achieved simply by superimposing two images of an object upon one another, the images having been viewed from slightly different perspectives.

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11

Gašo, Martin, Martin Krajčovič, Ľuboslav Dulina, Patrik Grznár, and Juraj Vaculík. "Methodology of Creating and Sustainable Applying of Stereoscopic Recording in the Industrial Engineering Sector." Sustainability 11, no. 8 (April 12, 2019): 2194. http://dx.doi.org/10.3390/su11082194.

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This article introduces an innovative view on the issue of Stereoscopy’s application as a tool of advanced industrial engineering. Basic starting points of research have been the results of stereoscopy applications in other science areas and entertainment industries, e.g., movies. These bases provide information about basic principles of stereoscopic record creation. However, these bases’ pieces of information were to be adapted and applied in the field of industrial engineering. The core of the article describes the methodology for creating a stereoscopic recording in industrial engineering. The emphasis aimed to use stereoscopic in industrial engineering as a tool for optimization of the workplace, which makes them sustainable for a long time. The output of the article is a tool for industrial engineering which prevents job rotation caused by wear of body parts. Also as a result of optimization, we achieve a saving of capital. The article describes the proposed procedure for creating a stereoscopic record from the basic selection of suitable technical equipment to a detailed calculation of the camera system parameters setting. The final part of the article is devoted to the practical verification of the proposed stereoscopic record procedure and also the verification of the possibilities of its use in the field of industrial engineering. An area of ergonomics has been selected for the pilot verification. The verification confirmed the accuracy of the calculation, i.e., usability of the proposed stereoscopic record procedure. Identified also was a potential for its use as an innovative tool for advanced industrial engineering. The crux of the methodology presented is protected by the utility model number 7683.

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12

Balogh, Attila, Mark C. Preul, Mark Schornak, Michael Hickman, and Robert F. Spetzler. "Intraoperative stereoscopic QuickTime Virtual Reality." Journal of Neurosurgery 100, no. 4 (April 2004): 591–96. http://dx.doi.org/10.3171/jns.2004.100.4.0591.

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Object. The aim of this study was to acquire intraoperative images during neurosurgical procedures for later reconstruction into a stereoscopic image system (QuickTime Virtual Reality [QTVR]) that would improve visualization of complex neurosurgical procedures. Methods. A robotic microscope and digital cameras were used to acquire left and right image pairs during cranial surgery; a grid system facilitated image acquisition with the microscope. The surgeon determined a field of interest and a target or pivot point for image acquisition. Images were processed with commercially available software and hardware. Two-dimensional (2D) or interlaced left and right 2D images were reconstructed into a standard or stereoscopic QTVR format. Standard QTVR images were produced if stereoscopy was not needed. Intraoperative image sequences of regions of interest were captured in six patients. Relatively wide and deep dissections afford an opportunity for excellent QTVR production. Narrow or restricted surgical corridors can be reconstructed into the stereoscopic QTVR mode by using a keyhole mode of image acquisition. The stereoscopic effect is unimpressive with shallow or cortical surface dissections, which can be reconstructed into standard QTVR images. Conclusions. The QTVR system depicts multiple views of the same anatomy from different angles. By tilting, panning, or rotating the reconstructed images, the user can view a virtual three-dimensional tour of a neurosurgical dissection, with images acquired intraoperatively. The stereoscopic QTVR format provides depth to the montage. The system recreates the dissection environment almost completely and provides a superior anatomical frame of reference compared with the images captured by still or video photography in the operating room.

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13

Lee, ChaBum, and Xiangyu Guo. "Spatially resolved stereoscopic surface profiling by using a feature-selective segmentation and merging technique." Surface Topography: Metrology and Properties 10, no. 1 (March 1, 2022): 014002. http://dx.doi.org/10.1088/2051-672x/ac5998.

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Abstract We present a feature-selective segmentation and merging technique to achieve spatially resolved surface profiles of the parts by 3D stereoscopy and strobo-stereoscopy. A pair of vision cameras capture images of the parts at different angles, and 3D stereoscopic images can be reconstructed. Conventional filtering processes of the 3D images involve data loss and lower the spatial resolution of the image. In this study, the 3D reconstructed image was spatially resolved by automatically recognizing and segmenting the features on the raw images, locally and adaptively applying super-resolution algorithm to the segmented images based on the classified features, and then merging those filtered segments. Here, the features are transformed into masks that selectively separate the features and background images for segmentation. The experimental results were compared with those of conventional filtering methods by using Gaussian filters and bandpass filters in terms of spatial frequency and profile accuracy. As a result, the selective feature segmentation technique was capable of spatially resolved 3D stereoscopic imaging while preserving imaging features.

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14

Ferdig, Richard, James Blank, Annette Kratcoski, and Robert Clements. "Using stereoscopy to teach complex biological concepts." Advances in Physiology Education 39, no. 3 (September 2015): 205–8. http://dx.doi.org/10.1152/advan.00034.2014.

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Used effectively, stereoscopic three-dimensional (3D) technologies can engage students with complex disciplinary content as they are presented with informative representations of abstract concepts. In addition, preliminary evidence suggests that stereoscopy may enhance learning and retention in some educational settings. Biological concepts particularly benefit from this type of presentation since complex spatially oriented structures frequently define function within these systems. Viewing biological phenomena in 3D as they are in real life allows the user to relate these spatial relationships and easily grasp concepts making the key connection between structure and function. In addition, viewing these concepts interactively in 3D and in a manner that leads to increased engagement for young prospective scientists can further increase the impact. We conducted two studies evaluating the use of this technology as an instructional tool to teach high school students complex biological concepts. The first study tested the use of stereoscopic materials for teaching brain function and human anatomy to four classes. The second study evaluated stereoscopic images to support the learning of cell structure and DNA in four different high school classes. Most important, students who used stereoscopic 3D had significantly higher test scores than those who did not. In addition, students reported enjoying 3D presentations, and it was among their top choices for learning about these complex concepts. In summary, our evidence adds further support for the benefits of 3D images to students' learning of science concepts.

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15

Unver, Ertu. "Stereoscopic voices." Radar 1, no. 1 (March 2010): 34–35. http://dx.doi.org/10.5920/radar.2010.1134.

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16

Gareev, Zufar. "Stereoscopic Slavs." Index on Censorship 22, no. 10 (November 1993): 16–19. http://dx.doi.org/10.1080/03064229308535617.

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17

Caziot, B., M. Valsecchi, K. Gegenfurtner, and B. Backus. "Stereoscopic Latency." Journal of Vision 12, no. 9 (August 10, 2012): 448. http://dx.doi.org/10.1167/12.9.448.

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18

Kumllbl, O. "STEREOSCOPIC SUPERIMPOSITION." Photogrammetric Record 13, no. 74 (August 26, 2006): 195–215. http://dx.doi.org/10.1111/j.1477-9730.1989.tb00670.x.

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19

Wyvill, Geoff, and Paul Sharp. "Stereoscopic images." Visual Computer 6, no. 5 (September 1990): 300–303. http://dx.doi.org/10.1007/bf01900753.

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20

Connolly, Christine. "Stereoscopic imaging." Sensor Review 26, no. 4 (October 2006): 266–71. http://dx.doi.org/10.1108/02602280610691962.

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21

Ross, Miriam. "Stereoscopic visuality." Convergence: The International Journal of Research into New Media Technologies 19, no. 4 (July 22, 2013): 406–14. http://dx.doi.org/10.1177/1354856513494178.

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22

Julesz, Bela. "Stereoscopic vision." Vision Research 26, no. 9 (January 1986): 1601–12. http://dx.doi.org/10.1016/0042-6989(86)90178-1.

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23

Šejbl, Jan. "Čína ve třech rozměrech. Nejstarší fotografie z Číny ve sbírce stereoskopů Náprstkova muzea v Praze." Muzeum Muzejní a vlastivedná práce 60, no. 1 (2022): 14–27. http://dx.doi.org/10.37520/mmvp.2022.003.

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The study deals with the representation of photographs from China in the Náprstek Museum’s stereoscope collection. A brief summary of the historical development of the Náprstek Museum’s photographic collections and the phenomenon of stereoscopic photography in the 19th century is followed by the results of a survey itself. The images were categorised by an authorship and analysed both technically and thematically. It turned out that the stereoscope collection contains the oldest photographs of China, which can be dated to the turn of the 1850’s and 1860’s.

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24

Biegon, Glenn. "Stereoscopic Synergy: Twin-Relief Sculpture and Painting." Leonardo 38, no. 2 (April 2005): 93–100. http://dx.doi.org/10.1162/0024094053722354.

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Two accelerated-relief sculp-tures depicting the same scene from slightly different viewpoints can serve as sculpted stereo-scopic half-images—or “twin-reliefs.” Unlike traditional relief sculpture, which compresses sculptural space, twin-reliefs expand it, creating lifelike illusionistic depths. Viewed binocularly in a large Wheat-stone stereoscope, the twin-relief's virtual world appears colorful, atmospheric and life-size— even infinitely deep. Furthermore, unlike flat-picture stereoscopy, which allows just one undistorted, perspectively robust view, twin-reliefs provide infinitely many such views because, being sculptural, they “adapt” to the observer's movement. Twin-reliefs syner-gistically combine essential physical attributes previously separated between the domains of painting, sculpture and traditional flat-picture stereoscopy.

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25

Vasiljevic, Ivana, Dinu Dragan, Ratko Obradovic, and Veljko Petrović. "Analysis of Compression Techniques for Stereoscopic Images." SPIIRAS Proceedings 6, no. 61 (November 26, 2018): 197–220. http://dx.doi.org/10.15622/sp.61.8.

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Virtual Reality (VR) and Augmented Reality (AR) Head-Mounted Displays (HMDs) have been emerging in the last years and they are gaining an increased popularity in many industries. HMDs are generally used in entertainment, social interaction, education, but their use for work is also increasing in domains such as medicine, modeling and simulation. Despite the recent release of many types of HMDs, two major problems are hindering their widespread adoption in the mainstream market: the extremely high costs and the user experience issues [1]. The illusion of a 3D display in HMDs is achieved with a technique called stereoscopy. Applications of stereoscopic imagining are such that data transfer rates and—in mobile applications—storage quickly become a bottleneck. Therefore, efficient image compression techniques are required. Standard image compression techniques are not suitable for stereoscopic images due to the discrete differences that occur between the compressed and uncompressed images. The issue is that the loss in lossy image compression may blur the minute differences between the left-eye and right-eye images that are crucial in establishing the illusion of 3D perception. However, in order to achieve more efficient coding, there are various coding techniques that can be adapted to stereoscopic images. Stereo image compression techniques that can be found in the literature utilize discrete Wavelet transformation and the morphological compression algorithm applied to the transform coefficients. This paper provides an overview and comparison of available techniques for the compression of stereoscopic images, as there is still no technique that is accepted as best for all criteria. We want to test the techniques with users who would actually be potential users of HMDs and therefore would be exposed to these techniques. Also, we focused our research on low-priced, consumer grade HMDs which should be available for larger population.

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26

Retno Wulandari, Lely. "A COMPREHENSIVE APPROACH INTO STEREOSCOPIC VISION." MNJ (Malang Neurology Journal) 8, no. 1 (January 1, 2022): 53–57. http://dx.doi.org/10.21776/ub.mnj.2022.008.01.11.

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Анотація:

Stereopsis (or stereoscopic) vision is the ability to see depth of perception, which is created by the difference in angle of view between both eyes. The first process is known as simultaneous perception. Objects will fall on each corresponding retina and there will be a process of fusion of the two images into one. Then, the brain initiates three-dimensional perception in visual cortex, creating stereoscopic vision. Stereoscopic vision will rapidly develop, especially at the age of 6-8 months of life. Stereoscopic is important in daily activities. There are many stereoacuity tests to evaluate stereoscopic vision. Stereoscopic examinations are based on the principle of haploscope, anaglyph, or polaroid vectograph. There are qualitative and quantitative examination methods to assess stereoscopic vision. Qualitative examinations such as Horizontal Lang Two Pencil test and Synoptophore. Quantitative examination including Contour stereopsis test and Clinical random dot stereopsis test. The inability of the eye to see stereoscopic can be called stereoblindness. This can be affected by amblyopia, decreased visual acuity, or the presence of ocular misalignment. Inability to achieve stereoscopic vision will impact an individual to perform some daily life activities, and lead to an increase in difficulty interacting in the world.

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Wiegelmann, T., B. Inhester, and L. Feng. "Solar stereoscopy – where are we and what developments do we require to progress?" Annales Geophysicae 27, no. 7 (July 23, 2009): 2925–36. http://dx.doi.org/10.5194/angeo-27-2925-2009.

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Abstract. Observations from the two STEREO-spacecraft give us for the first time the possibility to use stereoscopic methods to reconstruct the 3-D solar corona. Classical stereoscopy works best for solid objects with clear edges. Consequently an application of classical stereoscopic methods to the faint structures visible in the optically thin coronal plasma is by no means straight forward and several problems have to be treated adequately: 1) First there is the problem of identifying one-dimensional structures – e.g. active region coronal loops or polar plumes- from the two individual EUV-images observed with STEREO/EUVI. 2) As a next step one has the association problem to find corresponding structures in both images. This becomes more difficult as the angle between STEREO-A and B increases. 3) Within the reconstruction problem stereoscopic methods are used to compute the 3-D-geometry of the identified structures. Without any prior assumptions, e.g., regarding the footpoints of coronal loops, the reconstruction problem has not one unique solution. 4) One has to estimate the reconstruction error or accuracy of the reconstructed 3-D-structure, which depends on the accuracy of the identified structures in 2-D, the separation angle between the spacecraft, but also on the location, e.g., for east-west directed coronal loops the reconstruction error is highest close to the loop top. 5) Eventually we are not only interested in the 3-D-geometry of loops or plumes, but also in physical parameters like density, temperature, plasma flow, magnetic field strength etc. Helpful for treating some of these problems are coronal magnetic field models extrapolated from photospheric measurements, because observed EUV-loops outline the magnetic field. This feature has been used for a new method dubbed "magnetic stereoscopy". As examples we show recent application to active region loops.

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28

Patterson, Robert, and Wayne L. Martin. "Human Stereopsis." Human Factors: The Journal of the Human Factors and Ergonomics Society 34, no. 6 (December 1992): 669–92. http://dx.doi.org/10.1177/001872089203400603.

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This paper reviews much of the basic literature on stereopsis for the purpose of providing information about the ability of humans to utilize stereoscopic information under operational conditions. This review is organized around five functional topics that may be important for the design of many stereoscopic display systems: geometry of stereoscopic depth perception, visual persistence, perceptual interaction among stereoscopic stimuli, neurophysiology of stereopsis, and theoretical considerations. The paper concludes with the presentation of several basic ideas related to the design of stereoscopic displays.

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29

Wu, Dong Yan, Jian Dong Cao, and Yi Jin. "A Testing Method for the Luminance Difference of Stereoscopic Television." Applied Mechanics and Materials 380-384 (August 2013): 955–58. http://dx.doi.org/10.4028/www.scientific.net/amm.380-384.955.

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The luminance difference is one of the important factors of stereoscopic television. In this paper, according to the characteristics of stereoscopic television glasses, we use white window signal and black field signal to measure luminance difference of 3D TV. We adopt the left and right eye channel individually tested brightness. We chose the center point of stereoscopic television as measuring point. And then, we select a few of stereoscopic television as testing model. The proposed method may be helpful for the quality evaluation of stereoscopic television.

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30

Lü, Chao Hui, Jia Ying Pan, Chen Zhang, and Hui Ren. "Design and Implementation of a Stereoscopic Video Player for a Time-Division Display." Applied Mechanics and Materials 577 (July 2014): 1008–11. http://dx.doi.org/10.4028/www.scientific.net/amm.577.1008.

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Three-dimensional video technology is becoming more and more popular, because it can provide a better natural depth perception. In this paper, a stereoscopic video player for a time-division display is designed and implemented, and people can use 3D Shutter Glasses to watch stereoscopic video by the player. It mainly focuses on the process of designing a Direct3D application, and the special handling of NVIDIA 3D Vision system for stereoscopic video. Upon examination, the stereoscopic video player can provide stereoscopic perception and good immersive experience.

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31

Zikovitz, D. C., M. Jenkin, and L. R. Harris. "Comparison of stereoscopic and non-stereoscopic optic flow displays." Journal of Vision 1, no. 3 (March 15, 2010): 317. http://dx.doi.org/10.1167/1.3.317.

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32

Jia, Chen Yu, Ze Hua Gao, Xun Bo Yu, Xin Zhu Sang, and Tian Qi Zhao. "Auto-Stereoscopic 3D Video Conversation System Based on an Improved Eye Tracking Method." Applied Mechanics and Materials 513-517 (February 2014): 3907–10. http://dx.doi.org/10.4028/www.scientific.net/amm.513-517.3907.

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An auto-stereoscopic 3D video conversation system is demonstrated with an improved eye-tracking method based on a lenticular sheet and two cameras. The two cameras are used to get stereoscopic picture pairs and addressed the viewers position by an Improved Eye Tracking Method. The computer combines the stereoscopic picture pairs with different masks graphic processing unit. Low crosstalk correct stereoscopic video pairs for the end-to-end commutation are achieved.

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33

Gu, Ke, Guangtao Zhai, Xiaokang Yang, and Wenjun Zhang. "No-Reference Stereoscopic IQA Approach: From Nonlinear Effect to Parallax Compensation." Journal of Electrical and Computer Engineering 2012 (2012): 1–12. http://dx.doi.org/10.1155/2012/436031.

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The last decade has seen a booming of the applications of stereoscopic images/videos and the corresponding technologies, such as 3D modeling, reconstruction, and disparity estimation. However, only a very limited number of stereoscopic image quality assessment metrics was proposed through the years. In this paper, we propose a new no-reference stereoscopic image quality assessment algorithm based on the nonlinear additive model, ocular dominance model, and saliency based parallax compensation. Our studies using the Toyama database result in three valuable findings. First, quality of the stereoscopic image has a nonlinear relationship with a direct summation of two monoscopic image qualities. Second, it is a rational assumption that the right-eye response has the higher impact on the stereoscopic image quality, which is based on a sampling survey in the ocular dominance research. Third, the saliency based parallax compensation, resulted from different stereoscopic image contents, is considerably valid to improve the prediction performance of image quality metrics. Experimental results confirm that our proposed stereoscopic image quality assessment paradigm has superior prediction accuracy as compared to state-of-the-art competitors.

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34

Qin, Rui Rui, Wen Cai Xu, and Shi Yong Luo. "Analysis of the Columnar Lens Grating Used for Auto-Stereoscopic Three Dimensional Printing with Different Sizes." Applied Mechanics and Materials 200 (October 2012): 757–60. http://dx.doi.org/10.4028/www.scientific.net/amm.200.757.

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Columnar lens grating is the most frequently-used grating in modern auto-stereoscopic three dimensional (3D) printing. It has a very important impact on the auto-stereoscopic 3D presswork. Micro-analysis about columnar lens grating of auto-stereoscopic 3d presswork with different sizes is given in this work. The formula is obtained in which micro-parameters of the columnar lens grating come into contact. A practical analysis about the columnar lens grating used for auto-stereoscopic 3D presswork with same visual effect but different sizes is given with the aid of a scanning electron microscope (SEM). Moreover, the reason for different sizes of columnar lens grating used for auto-stereoscopic 3D presswork is presented, and the formula is proved practical by practical analysis. Various microcosmic parameters of columnar lens grating will be suitable for different sizes of the auto-stereoscopic 3D presswork.

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35

Taipina, Daniel, and Jorge C. S. Cardoso. "Spectare: Re-Designing a Stereoscope for a Cultural Heritage XR Experience." Electronics 11, no. 4 (February 17, 2022): 620. http://dx.doi.org/10.3390/electronics11040620.

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Stereoscopic photography was one of the main forms of visual communication in the second half of the 19th century. The experience of viewing stereoscopic photographs using stereoscopes is described as evoking memories of the past, feelings of presence in the depicted scenes, but also fun and magical experiences. The fact that using these devices generates these impactful experiences is relevant for Cultural Heritage (CH) where we want visitors to have memorable experiences. Since classic stereoscopes are similar to contemporary smartphone-based Virtual Reality (VR) viewers, we questioned how the original viewing experience could be re-imagined to take advantage of current technologies. We have designed a new smartphone-based VR device—Spectare—targeted towards experiencing CH content (2D or 360° photos or videos, soundscapes, or other immersive content), while still maintaining a user experience close to the original. In this paper, we describe the design process and operation of the Spectare device. We also report on an usability evaluation with 20 participants and on the field testing where we applied the device to the visualization of CH content resulting from a digital reconstruction of the monastery of Santa Cruz in Coimbra, Portugal. The evaluations uncovered issues with the smartphone support piece of the device, but generally its usage was classified with a high usability score. Participants also classified the device as innovative, creative, impressive, fun.

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36

Moseley, Michael E., David L. White, Shih-chang Wang, Mats Wikström, Glenn Gobbel, and Klaus Roth. "Stereoscopic MR Imaging." Journal of Computer Assisted Tomography 13, no. 1 (January 1989): 167–73. http://dx.doi.org/10.1097/00004728-198901000-00044.

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37

Király, Zsolt. "Stereoscopic vision system." Optical Engineering 45, no. 4 (April 1, 2006): 043006. http://dx.doi.org/10.1117/1.2189856.

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38

Sun, Changming, Richard Beare, Kevin Cheong, Brian J. Jung, and Maverick Kim. "Stereoscopic flatbed scanner." Journal of Electronic Imaging 18, no. 1 (2009): 013002. http://dx.doi.org/10.1117/1.3059582.

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39

Lee, Seungkyu. "Computational stereoscopic zoom." Optical Engineering 51, no. 3 (April 3, 2012): 037008. http://dx.doi.org/10.1117/1.oe.51.3.037008.

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40

Ferre, Manuel, Rafael Aracil, and Miguel Sanchez-Uran. "Stereoscopic human interfaces." IEEE Robotics & Automation Magazine 15, no. 4 (December 2008): 50–57. http://dx.doi.org/10.1109/mra.2008.929929.

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41

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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42

Kroll, Mattias, Lennart Muhlfeld, and Dietmar Block. "Stereoscopic Digital Holography." IEEE Transactions on Plasma Science 38, no. 4 (April 2010): 897–900. http://dx.doi.org/10.1109/tps.2009.2032548.

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43

Li, Xujie, Hanli Zhao, Hui Huang, Lei Xiao, Zhongyi Hu, and Jingkai Shao. "Stereoscopic image recoloring." Journal of Electronic Imaging 25, no. 5 (October 18, 2016): 053031. http://dx.doi.org/10.1117/1.jei.25.5.053031.

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44

Haralambidou, Penelope. "The stereoscopic veil." Architectural Research Quarterly 11, no. 1 (March 2007): 36–52. http://dx.doi.org/10.1017/s1359135507000486.

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At the back of a dimly lit room at the north-east wing of the Philadelphia Museum of Art the visitor may, or may not, discover an old, weathered Spanish door. Approaching this unlikely sight, a concealed view behind the door becomes noticeable as a result of light emanating from two peepholes. The act of looking through them transforms the unsuspected viewer into a voyeur and reveals a brightly lit three-dimensional diorama: a recumbent, faceless, female nude, holding a gas lamp and bathed in light is submerged in twigs in an open landscape where a waterfall silently glitters [1a, 1b]. The explicit pornographic pose of the splayed legs and the exposed pudenda is dazzling. On careful inspection, this startling view is only possible through another intersecting surface; between the viewer and the nude stands a brick wall on which an irregular rupture has been opened – as if by a violent collision – making the scene even more unsettling. Defying traditional definitions of painting or sculpture Marcel Duchamp's enigmatic final work is a carefully constructed assemblage of elements, with an equally enigmatic title: Etant Donnés: 1°la chute d'eau, 2°le gaz d'éclairage… (Given: 1st the Waterfall, 2nd the Illuminating Gas…), 1946–1966.

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45

Anderson, Barton L. "Stereoscopic Surface Perception." Neuron 24, no. 4 (December 1999): 919–28. http://dx.doi.org/10.1016/s0896-6273(00)81039-9.

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46

Adelson, Stephen J., and Larry F. Hodges. "Stereoscopic ray-tracing." Visual Computer 10, no. 3 (March 1993): 127–44. http://dx.doi.org/10.1007/bf01900903.

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47

Malik, Jitendra, Barton L. Anderson, and Chad E. Charowhas. "Stereoscopic occlusion junctions." Nature Neuroscience 2, no. 9 (September 1999): 840–43. http://dx.doi.org/10.1038/12214.

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48

Siragusano, Daniele. "Stereoscopic Volume Perception." SMPTE Motion Imaging Journal 121, no. 4 (May 2012): 44–53. http://dx.doi.org/10.5594/j18174.

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49

Gurevitch, Leon. "The stereoscopic attraction." Convergence: The International Journal of Research into New Media Technologies 19, no. 4 (July 22, 2013): 396–405. http://dx.doi.org/10.1177/1354856513494175.

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50

Yang, Chuan-Kai, and Chien-Yu Hou. "Stereoscopic image stippling." Signal, Image and Video Processing 12, no. 2 (July 25, 2017): 215–22. http://dx.doi.org/10.1007/s11760-017-1148-x.

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