Papathomas Thomas V
Department of Biomedical Engineering, Rutgers University, Piscataway, NJ 08854, USA.
Perception. 2002;31(5):521-30. doi: 10.1068/p3223.
The English artist Patrick Hughes has created an extraordinary class of painted artpieces, most commonly referred to as 'reverspectives'. They consist of truncated pyramids and prisms with their smaller faces closer to the viewer, in such a way as to allow a realistic scene to be painted on them. The works of art contain rich perspective and other painted cues that conspire to elicit an illusory depth percept that is the reverse of the physical depth arrangement. This reverse depth is obtained under a wide range of viewing conditions, and competes with the veridical depth percept in a classical bistable paradigm that was found to exhibit a high degree of hysteresis. Under the illusory depth percept, reverspectives appear to move vividly as the viewer moves in front of them. This paper reports two experiments that were designed to assess the effectiveness of the painted cues in eliciting the illusory depth percept by using three different measures for the strength of the illusion. As expected, the illusion was favored by monocular viewing and large viewing distances. The results from these two experiments are in close agreement with each other, and they indicate that the painted cues are powerful in influencing the ultimate percept.
英国艺术家帕特里克·休斯创作了一类非凡的绘画艺术品，通常被称为“反向透视画”。它们由截头金字塔和棱柱组成，较小的面靠近观者，以便在上面绘制逼真的场景。这些艺术品包含丰富的透视和其他绘画线索，共同营造出一种虚幻的深度感知，与实际的深度排列相反。这种反向深度在广泛的观看条件下都能获得，并在经典的双稳态范式中与真实的深度感知相互竞争，该范式被发现具有高度的滞后现象。在虚幻的深度感知下，当观者在反向透视画前移动时，它们似乎会生动地移动。本文报告了两项实验，旨在通过使用三种不同的错觉强度测量方法来评估绘画线索引发虚幻深度感知的有效性。正如预期的那样，单眼观看和较大的观看距离有利于产生错觉。这两项实验的结果相互吻合，表明绘画线索在影响最终感知方面非常强大。
