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Results for “DEPTH PERCEPTION”

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At least 253 records · Page 14Linked to original sources
PubMed1968

Monocular compared to binocular depth perception in human infants.

Human infants were made temporarily monocular with an eye patch. They performed like bginocular infants on the visual cliff at visual depths of 25 centimeters or more. At a visual depth of 12.7 centimeters infants younger than 9 months of age revealed a monocular weakness by turning toward the uncovered eye.

Age Factors↗
PubMed1998

Stereoscopic depth perception in the owl.

It is unclear whether the neural algorithm that underlies stereoscopic vision in birds incorporates both low level (camouflage breaking) and high level (depth ordering) comparisons of information available to each of the eyes. Both visual functions were successfully tested by examining transitive inference performance in two barn owls trained to discriminate static Julesz random dot stereograms, thus demonstrating a capacity to detect relative depth using fine retinal disparity as the sole cue for discrimination. Our behavioral tests provide strong evidence that the barn owl possesses global stereopsis comparable to that found in the macaque monkey--the owl's best stereoacuity was 2 min of arc.

Algorithms↗
PubMed2004

Interaction of color and geometric cues in depth perception: when does "red" mean "near"?

Luminance and color are strong and self-sufficient cues to pictorial depth in visual scenes and images. The present study investigates the conditions under which luminance or color either strengthens or overrides geometric depth cues. We investigated how luminance contrast associated with the color red and color contrast interact with relative height in the visual field, partial occlusion, and interposition to determine the probability that a given figure presented in a pair is perceived as "nearer" than the other. Latencies of "near" responses were analyzed to test for effects of attentional selection. Figures in a pair were supported by luminance contrast (Experiment 1) or isoluminant color contrast (Experiment 2) and combined with one of the three geometric cues. The results of Experiment 1 show that the luminance contrast of a color (here red), when it does not interact with other colors, produces the same effects as achromatic luminance contrasts. The probability of "near" increases with the luminance contrast of the color stimulus, the latencies for "near" responses decrease with increasing luminance contrast. Partial occlusion is found to be a strong enough pictorial cue to support a weaker red luminance contrast. Interposition cues lose out against cues of spatial position and partial occlusion. The results of Experiment 2, with isoluminant displays of varying color contrast, reveal that red color contrast on a light background supported by any of the three geometric cues wins over green or white supported by any of the three geometric cues. On a dark background, red color contrast supported by the interposition cue loses out against green or white color contrast supported by partial occlusion. These findings reveal that color is not an independent depth cue, but is strongly influenced by luminance contrast and stimulus geometry. Systematically shorter response latencies for stronger "near" percepts demonstrate that selective visual attention reliably detects the most likely depth cue combination in a given configuration.

Color Perception↗
PubMed1975

Depth perception in the rat (Rattus Norvegicus): prepotency of three-dimensional over two-dimensional surfaces.

The descent behavior to two- and three-dimensional surfaces in a depth situation was measured and compared for 45-50 days-old hooded rats. When depth differences between surfaces were controlled, significantly more descents were made to three-dimensional than to the two-dimensional surface. The results suggest that a three-dimensional surface--more representative of an animal's natural terrain--provides a more informative environment for motion parallax than does a two-dimensional one.

Animals↗
PubMed1983

Depth perception and subjective contours.

A distinction can be made between subjective lines and edges, and subjective lines of the Kennedy-type which suppress (are epistatic to) illusory depth defined by differences of shade.

Cues↗