Papathomas Thomas V
Laboratory of Vision Research, RuCCS, Department of Biomedical Engineering, Rutgers University, Piscataway, NJ 08854, USA.
Spat Vis. 2007;21(1-2):79-95. doi: 10.1163/156856807782753958.
Certain art forms, such as Patrick Hughes's 'reverspectives', Dick Termes's 'Termespheres', intaglios, and hollow masks, appear to move vividly as viewers move in front of them, even though they are stationary. This illusory motion is accompanied by a perceived reversal of depth, where physical convex and concave surfaces are falsely seen as concave and convex, respectively. A geometric explanation is presented that considers this illusory motion as a result of the perceived depth reversal. The main argument is that the visual system constructs a three-dimensional representation of the surfaces, and that this representation is one of the sources that contribute to the illusory motion, together with vestibular signals of self-motion and signals of eye movements. This explanation is extended to stereograms that are also known to appear to move as viewers move in front of them. A quantitative model can be developed around this geometric explanation to examine the extent to which the visual system tolerates large distortions in size and shape and still maintains the illusion.
某些艺术形式，如帕特里克·休斯的“反转透视画”、迪克·特尔姆斯的“特尔姆斯球体画”、凹雕和空心面具，尽管它们是静止的，但当观众在其面前移动时，它们似乎会生动地移动。这种虚幻的运动伴随着深度感知的反转，即物理上的凸面和凹面分别被错误地视为凹面和凸面。本文提出了一种几何学解释，将这种虚幻的运动视为深度感知反转的结果。主要观点是，视觉系统构建了表面的三维表征，并且这种表征是导致虚幻运动的来源之一，与自我运动的前庭信号和眼球运动信号一起。这种解释被扩展到立体图，立体图在观众在其面前移动时也会出现移动的现象。围绕这种几何学解释可以开发一个定量模型，以研究视觉系统在多大程度上能够容忍大小和形状的巨大扭曲并仍然维持这种错觉。
