Placing space/time through photography’s old and new technologies

The discovery that an impressively strong 3-dimensional effect in a 2-dimensional photographic representation of natural outdoor scenes occurs when a single camera is directed around one point in the scene, thus drawing into relief the subject of attention and blurring the surrounding space, has important implications for understanding basic processes in 3-dimensional vision. For the development of new ways for generating 3D effects in motion and static representations of scenes we might well learn from photography’s old technologies, as well as digital technologies of the static print, which have yet to release the full impact of their potential in the representation of motion and space.

Shifting ground in some Australian photography

This is a report of a practice-as-research project. The chapter outlines McArdle's discoveries of means by which the pre-conscious processes of binocular vision and steropsis can be made visible in an effect which with one-eyed vision renders the scene 3-dimensional.

In the book's introduction editor Mehigan writes "[The] will to creation is only assayable once we estimate the role of the observer in the construction of space. McArdle's contribution, in engaging with the question of the animating presence of the observer focuses not just on what is caught in the lens of the photographer at the moment of depiction, but how the photographer's movement through space is the 'force field' that insinuates itself into the landscape and enters into a reciprocal relationship with it. The schematism of Euclidean geometry, for this reason, cannot account for the truth of the photographer's images; McArdle's metaphors are singularly non-Euclidean in their description of how objects are held together in the imaginative space of mental awareness."

Double horizons : shifting figure and ground in some Australian photography

A multi-wavelet based technique for calculating dense 2D disparity maps from stereo

A vision based approach for calculating accurate 3D models of the objects is presented. Generally industrial visual inspection systems capable of accurate 3D depth estimation rely on extra hardware tools like laser scanners or light pattern projectors. These tools improve the accuracy of depth estimation but also make the vision system costly and cumbersome. In the proposed algorithm, depth and dimensional accuracy of the produced 3D depth model depends on the existing reference model instead of the information from extra hardware tools. The proposed algorithm is a simple and cost effective software based approach to achieve accurate 3D depth estimation with minimal hardware involvement. The matching process uses the well-known coarse to fine strategy, involving the calculation of matching points at the coarsest level with consequent refinement up to the finest level. Vector coefficients of the wavelet transform-modulus are used as matching features, where wavelet transform-modulus maxima defines the shift invariant high-level features with phase pointing to the normal of the feature surface. The technique addresses the estimation of optimal corresponding points and the corresponding 2D disparity maps leading to the creation of accurate depth perception model.

Hyperstereopsis in helmet-mounted NVDs : slope perception

Modern helmet-mounted night vision devices, such as the Thales TopOwl helmet, project imagery from intensifiers mounted on the sides of the helmet onto the helmet faceplate. This produces a situation of hyperstereopsis in which binocular disparities are magnified. This has the potential to distort the perception of slope in depth (an important cue to landing), because the slope cue provided by binocular disparity conflicts with veridical cues to slope, such as texture gradients and motion parallax. In the experiments, eight observers viewed sparse and dense textured surfaces tilted in depth under three viewing conditions: normal stereo hyper-stereo (4 times magnification), and hypostereo (1 / 4 magnification). The surfaces were either stationary, or rotated slowly around a central vertical axis. Stimuli were projected at 6 metres to minimise conflict between accommodation and convergence, and stereo viewing was provided by a Z-screen and passive polarised glasses. Observers matched perceived visual slope using a small tilt table set by hand. We found that slope estimates were distorted by hyperstereopsis, but to a much lesser degree than predicted by disparity magnification. The distortion was almost completely eliminated when motion parallax was present.

Vision, ambiguity and perceptual possibility : why pictures matter in the critique of stereo-immersive VR

The acquisition of three-dimensional immersive space through advanced digitial imaging technology, suggests a profound shift from the relatively impoverished representational stratgies of two-dimensional pictorial imagery.  This entails an epistemological shift from pictorial representation, to the presentation of actual three-dimensional space through stereoscopic (3D) imagery.  Moreover, it suggests that visuality rather than 'virtuality' is the core issue in understanding the nature of the epistemological shift associated with stereo-immersive VR.

A shift in visual epistemology from 'flat' pictorial representation to three-dimensional stereo-immersion suggests a gainful move toward a visuality imbued with spatial possibilities.  In quantitative terms, these visual-spatial gains may seem self-evident.  However, certain aspects peculiar to pictorial representation are missing from stereo-immersive imaging.  That is lost in stereo-immersive imaging, and how it can be measured?

This thesis proposes that the inherent ambiguity of two-dimensional representations of three-dimensional spatial structure in pictures, invokes a perceptual response in which pictorial spaces elicit 'perceptual possibility'.  The robust three-dimentional spatiality of stereo-immersvie VR foreclosures such possibility.  Through examining stereo-immersive VR in terms of its visuality, the thesis develops a new appraoch to understanding VR that solves some of the issues associated with the problematic concept of 'virtuality'.  In addition, the thesis finds that by placing stereo-immersive VR and pictures within the shared paradigm of 'the visual', an important dimension of pictures that has been overlooked in past analyses re-emerges : the thesis proposes the concept of 'artifactuality' to account for the way pictures are fundamentally, and in the first instance, aesthetic objects for visual perception.  It is in their manner of appearing as pictures, that they are perceived as pictures of something.  It is from this fundamental basis that their many levels of meaning and signification - their manifold 'realisms' - can arise.

This thesis therefore addresses two intersecting problems within the paradigm of the visual: it proposes 1) that analyses of 'the virtual' be grounded in the 'artifactuality' of pictorial perception, and 2) that the spatiality of stereo-immersive VR be reinvigorated by purposefully 'under-contraining' its key percept - the robust, 'solid' stereoscopic structuring of visual space.  This approach opens up the discourse of stereo-immersive VR to new visual paradigms.  The thesis proposes that these be modelled not on the impossibility of 'the virtual', but on the possibilities of visual ambiguity drawn from the analysis of pictorial perception.

The perception of racism in ambiguous scenarios

Recent theorising on the nature of racism suggests that over the last few decades it has come to be expressed in more subtle and ambiguous ways because while many Whites proclaim egalitarian values, their cognitions and behaviour are influenced by prejudices that are buried deep in their psyche. This leads to the possibility that those who perpetrate and those who experience racism may have different interpretations of events that involve racism. Essed (1991) has suggested that because they are exposed to racism systematically, those who experience racism are in a good position to detect it if they have both knowledge of normal behaviour for particular situations, and a general knowledge of racism. Using Essed's model of the assessment of racist events, the descriptions of six videotaped ambiguously racist scenarios given by 40 Caucasian students and 40 Asian students were analysed to determine whether situational or general knowledge of racism was evident. Contrary to expectations, the Asian students, who belong to a group targeted with racism in Australia, were less likely to see racism in the scenarios. Finding the scenarios to be acceptable indicated a lack of situational knowledge and, hence, an inability to use general knowledge of racism if it exists. The role of cultural values in the application of situational knowledge is discussed, and further empirical investigations of Essed's model are proposed.

Psychological correlates of perception of sexual intent in women

In a sample of 183 men and 186 women, the authors assessed (a) the relative contributions of gender and level of nonverbal social cues to the perception of a female actor's sexual intent during a videotaped social interaction with a man and (b) the association between those variables and personality traits implicated in faulty sexual-information processing. The authors assessed those variables while the participants viewed 1 of 3 film segments depicting a female-male interaction. The authors experimentally manipulated eye contact, touch, physical proximity, and female clothing. At all levels of those nonverbal cues, the men perceived more sexual intent in the female actor than did the women. The perception of the female actor's sexual intent increased as the nonverbal cues in the film segments were magnified: Both actors displayed more eye contact, touch, and physical proximity, and the female actor wore more revealing clothing. Relative to the women, the men demonstrated greater sexual preoccupation and reduced sociosexual effectiveness, variables associated with inferring greater sexual intent in the female actor.

Visual perception of action categories and the "bowl-throw" decision in cricket.

Cricket umpires, cricket bowlers, and physical education students (who were knowledgeable about the rules of cricket), were shown 72 videotaped point-light displays of cricket deliveries with varying extents of elbow flexion such that they ranged from highly “bowl-like” to highly “throw-like”. The observers made a bowl-throw decision about each display, and the umpires and bowlers reported their confidence on a 5-point scale. The percentage of displays reported as a “bowl” was 59, 40, and 44 for the umpires, bowlers, and students respectively. Umpires made significantly more bowl decisions than both the bowlers and students, but there was no difference between the latter groups. Umpires were significantly more confident than the bowlers in both their bowl and throw decisions. Thus, in an experimental setting, with no apparent costs or benefits associated with their decision-makin, umpires “called” a bowler significantly less frequently for throwing than other knowledgeable observers. The procedures devised for this experiment demonstrate that psychophysical methods can be applied to the problem of discrete action-category nominations in sport (e.g., bowl or throw, walk or run).

Visual perception of movement kinematics and the acquisition of "action prototypes"

Recognizing a class of movements as belonging to a "nominal" action category, such as walking, running, or throwing, is a fundamental human ability. Three experiments were undertaken to test the hypothesis that common ("prototypical") features of moving displays could be learned by observation. Participants viewed moving stick-figure displays resembling forearm flexion movements in the saggital plane. Four displays (presentation displays) were first presented in which one or more movement dimensions were combined with 2 respective cues: direction (up, down), speed (fast, slow), and extent (long, short). Eight test displays were then shown, and the observer indicated whether each test display was like or unlike those previously seen. The results showed that without corrective feedback, a single cue (e.g., up or down) could be correctly recognized, on average, with the proportion correct between .66 and .87. When two cues were manipulated (e.g., up and slow), recognition accuracy remained high, ranging between .72 and .89. Three-cue displays were also easily identified. These results provide the first empirical demonstration of action-prototype learning for categories of human action and show how apparently complex kinematic patterns can be categorized in terms of common features or cues. It was also shown that probability of correct recognition of kinematic properties was reduced when the set of 4 presentation displays were more variable with respect to their shared kinematic property, such as speed or amplitude. Finally, while not conclusive, the results (from 2 of the 3 experiments) did suggest that similarity (or "likeness") with respect to a common kinematic property (or properties) is more easily recognized than dissimilarity.

The roles of static depth information and object-image relative motion in perception of heading

In a series of 6 experiments, two hypotheses were tested: that nominal heading perception is determined by the relative motion of images of objects positioned at different depths (R. F. Wang & J. E. Cutting 1999) and that static depth information contributes to this determination. By manipulating static depth information while holding retinal-image motion constant during  simulated self-movement, the authors found that static depth information played a role in determining perceived heading. Some support was also found for the involvement of R. F. Wang and J. E. Cutting’s (1999) categories of object-image relative motion in determining perceived heading. However, results suggested an unexpected functional dominance of information about heading relative to apparently near objects.

The role of local grouping and global orientation contrast in perception of orientation-modulated textures

We explored the contribution to perception of orientation-modulated textures of visual processes selective either for orientation contrast or orientation grouping. To distinguish between these two processes we manipulated the axis of local grouping of texture elements independently of the direction of global orientation modulation. The general question posed was whether visibility of texture structure (measured as threshold for discriminating spatial-frequency of texture structure) is dependent on the magnitude of orientation contrast, strength and direction of local grouping, or some combination of the two. We demonstrated that the factor of primary importance is the amplitude of global orientation contrast rather than the presence of local grouping content. Using orientation-interleaved textures (containing two superimposed textures modulated around orthogonal orientations), we further showed that orientation single-opponent processes are a more likely candidate for detecting orientation contrast than double-opponent processes.