Computer Recognition of Three-Dimensional Objects in a Visual Scene

Methods are presented (1) to partition or decompose a visual scene into the bodies forming it; (2) to position these bodies in three-dimensional space, by combining two scenes that make a stereoscopic pair; (3) to find the regions or zones of a visual scene that belong to its background; (4) to carry out the isolation of objects in (1) when the input has inaccuracies. Running computer programs implement the methods, and many examples illustrate their behavior. The input is a two-dimensional line-drawing of the scene, assumed to contain three-dimensional bodies possessing flat faces (polyhedra); some of them may be partially occluded. Suggestions are made for extending the work to curved objects. Some comparisons are made with human visual perception. The main conclusion is that it is possible to separate a picture or scene into the constituent objects exclusively on the basis of monocular geometric properties (on the basis of pure form); in fact, successful methods are shown.

Translation Invariance in Object Recognition, and Its Relation to Other Visual Transformations

Human object recognition is generally considered to tolerate changes of the stimulus position in the visual field. A number of recent studies, however, have cast doubt on the completeness of translation invariance. In a new series of experiments we tried to investigate whether positional specificity of short-term memory is a general property of visual perception. We tested same/different discrimination of computer graphics models that were displayed at the same or at different locations of the visual field, and found complete translation invariance, regardless of the similarity of the animals and irrespective of direction and size of the displacement (Exp. 1 and 2). Decisions were strongly biased towards same decisions if stimuli appeared at a constant location, while after translation subjects displayed a tendency towards different decisions. Even if the spatial order of animal limbs was randomized ("scrambled animals"), no deteriorating effect of shifts in the field of view could be detected (Exp. 3). However, if the influence of single features was reduced (Exp. 4 and 5) small but significant effects of translation could be obtained. Under conditions that do not reveal an influence of translation, rotation in depth strongly interferes with recognition (Exp. 6). Changes of stimulus size did not reduce performance (Exp. 7). Tolerance to these object transformations seems to rely on different brain mechanisms, with translation and scale invariance being achieved in principle, while rotation invariance is not.

Curved Inertia Frames: Visual Attention and Perceptual Organization Using Convexity and Symmetry

In this paper we present an approach to perceptual organization and attention based on Curved Inertia Frames (C.I.F.), a novel definition of "curved axis of inertia'' tolerant to noisy and spurious data. The definition is useful because it can find frames that correspond to large, smooth, convex, symmetric and central parts. It is novel because it is global and can detect curved axes. We discuss briefly the relation to human perception, the recognition of non-rigid objects, shape description, and extensions to finding "features", inside/outside relations, and long- smooth ridges in arbitrary surfaces.

Pattern Motion Perception: Feature Tracking or Integration of Component Motions?

A key question regarding primate visual motion perception is whether the motion of 2D patterns is recovered by tracking distinctive localizable features [Lorenceau and Gorea, 1989; Rubin and Hochstein, 1992] or by integrating ambiguous local motion estimates [Adelson and Movshon, 1982; Wilson and Kim, 1992]. For a two-grating plaid pattern, this translates to either tracking the grating intersections or to appropriately combining the motion estimates for each grating. Since both component and feature information are simultaneously available in any plaid pattern made of contrast defined gratings, it is unclear how to determine which of the two schemes is actually used to recover the plaid"s motion. To address this problem, we have designed a plaid pattern made with subjective, rather than contrast defined, gratings. The distinguishing characteristic of such a plaid pattern is that it contains no contrast defined intersections that may be tracked. We find that notwithstanding the absence of such features, observers can accurately recover the pattern velocity. Additionally we show that the hypothesis of tracking "illusory features" to estimate pattern motion does not stand up to experimental test. These results present direct evidence in support of the idea that calls for the integration of component motions over the one that mandates tracking localized features to recover 2D pattern motion. The localized features, we suggest, are used primarily as providers of grouping information - which component motion signals to integrate and which not to.

Surface Perception from Local Analysis of Texture and Contour

The visual analysis of surface shape from texture and surface contour is treated within a computational framework. The aim of this study is to determine valid constraints that are sufficient to allow surface orientation and distance (up to a multiplicative constant) to be computed from the image of surface texture and of surface contours.

Computer System for Visual Recognition Using Active Knowledge

A system for visual recognition is described, with implications for the general problem of representation of knowledge to assist control. The immediate objective is a computer system that will recognize objects in a visual scene, specifically hammers. The computer receives an array of light intensities from a device like a television camera. It is to locate and identify the hammer if one is present. The computer must produce from the numerical "sensory data" a symbolic description that constitutes its perception of the scene. Of primary concern is the control of the recognition process. Control decisions should be guided by the partial results obtained on the scene. If a hammer handle is observed this should suggest that the handle is part of a hammer and advise where to look for the hammer head. The particular knowledge that a handle has been found combines with general knowledge about hammers to influence the recognition process. This use of knowledge to direct control is denoted here by the term "active knowledge". A descriptive formalism is presented for visual knowledge which identifies the relationships relevant to the active use of the knowledge. A control structure is provided which can apply knowledge organized in this fashion actively to the processing of a given scene.

Reciprocal Interactions Between Motion and Form Perception

The processes underlying the perceptual analysis of visual form are believed to have minimal interaction with those subserving the perception of visual motion (Livingstone and Hubel, 1987; Victor and Conte, 1990). Recent reports of functionally and anatomically segregated parallel streams in the primate visual cortex seem to support this hypothesis (Ungerlieder and Mishkin, 1982; VanEssen and Maunsell, 1983; Shipp and Zeki, 1985; Zeki and Shipp, 1988; De Yoe et al., 1994). Here we present perceptual evidence that is at odds with this view and instead suggests strong symmetric interactions between the form and motion processes. In one direction, we show that the introduction of specific static figural elements, say 'F', in a simple motion sequence biases an observer to perceive a particular motion field, say 'M'. In the reverse direction, the imposition of the same motion field 'M' on the original sequence leads the observer to perceive illusory static figural elements 'F'. A specific implication of these findings concerns the possible existence of (what we call) motion end-stopped units in the primate visual system. Such units might constitute part of a mechanism for signalling subjective occluding contours based on motion-field discontinuities.

Role of Low-level Mechanisms in Brightness Perception

Brightness judgments are a key part of the primate brain's visual analysis of the environment. There is general consensus that the perceived brightness of an image region is based not only on its actual luminance, but also on the photometric structure of its neighborhood. However, it is unclear precisely how a region's context influences its perceived brightness. Recent research has suggested that brightness estimation may be based on a sophisticated analysis of scene layout in terms of transparency, illumination and shadows. This work has called into question the role of low-level mechanisms, such as lateral inhibition, as explanations for brightness phenomena. Here we describe experiments with displays for which low-level and high-level analyses make qualitatively different predictions, and with which we can quantitatively assess the trade-offs between low-level and high-level factors. We find that brightness percepts in these displays are governed by low-level stimulus properties, even when these percepts are inconsistent with higher-level interpretations of scene layout. These results point to the important role of low-level mechanisms in determining brightness percepts.

The Perception of Subjective Surfaces

It is proposed that subjective contours are an artifact of the perception of natural three-dimensional surfaces. A recent theory of surface interpolation implies that "subjective surfaces" are constructed in the visual system by interpolation between three-dimensional values arising from interpretation of a variety of surface cues. We show that subjective surfaces can take any form, including singly and doubly curved surfaces, as well as the commonly discussed fronto-parallel planes. In addition, it is necessary in the context of computational vision to make explicit the discontinuities, both in depth and in surface orientation, in the surfaces constructed by interpolation. It is proposed that subjective surfaces and subjective contours are demonstrated. The role played by figure completion and enhanced brightness contrast in the determination of subjective surfaces is discussed. All considerations of surface perception apply equally to subjective surfaces.