Papathomas Thomas V, Baker Nicholas, Yeshua Arielle S, Zhuang Xiaohua, Ng Andrew
Laboratory of Vision Research, Center for Cognitive Science, Rutgers University-New Brunswick, Piscataway, NJ 08854, USA; Department of Biomedical Engineering, Rutgers University-New Brunswick, Piscataway, NJ 08854, USA; email:
Iperception. 2012;3(3):182-7. doi: 10.1068/i0478sas. Epub 2012 Mar 26.
The artist Patrick Hughes has ingeniously painted rows of stacked Brillo boxes in Forced into Reverse Perspective. The geometry is in reverse perspective, predicting only one type of illusory motion for each planar surface for moving viewers. He "broke" these surfaces into objects by painting the boxes in three types of perspective (planar, forced, and reverse). Our experiments confirmed that he succeeded in eliciting different types of illusory motion, including "differential motion" between boxes for most viewers. In some sense, this illustrates the superiority of secondary (painted) over primary (physical) cues.
艺术家帕特里克·休斯在《强迫反向透视》中巧妙地绘制了一排排堆叠的百利乐盒子。其几何形状采用反向透视,对于移动的观者而言,每个平面仅预示一种虚幻运动类型。他通过三种透视方式(平面、强迫和反向)绘制盒子,将这些表面“分解”成物体。我们的实验证实,他成功引发了不同类型的虚幻运动,包括对大多数观者而言盒子之间的“差异运动”。从某种意义上说,这说明了次要(绘画)线索相对于主要(物理)线索的优越性。