The effect of the observer vantage point on perceived distortions in linear perspective images

Attention, Perception, and Psychophysics

Volumn 71, Issue 1, 2009, Pages 183-193

  Todorović, Dejan ^a  

^a UNIVERSITY OF BELGRADE   (Serbia)

Author keywords

[No Author keywords available]

Indexed keywords

ART; ARTICLE; ATTENTION; DEPTH PERCEPTION; HUMAN; ORIENTATION; PATTERN RECOGNITION; PERCEPTION DISORDER; THEORETICAL MODEL; VISUAL ILLUSION;

ART; ATTENTION; DEPTH PERCEPTION; HUMANS; MODELS, THEORETICAL; OPTICAL ILLUSIONS; ORIENTATION; PATTERN RECOGNITION, VISUAL; PERCEPTUAL DISTORTION;

EID: 64749116312     PISSN: 19433921     EISSN: None     Source Type: Journal    
DOI: 10.3758/APP.71.1.183     Document Type: Article

References (40)

1. Ames, A., Jr. (1925). The illusion of depth from single pictures. Journal of the Optical Society of America, 10, 137-148.
2. Cutting, J. E. (1988). Affine distortions of pictorial space: Some predictions for Goldstein (1987) that La Gournerie (1859) might have made. Journal of Experimental Psychology: Human Perception & Performance, 14, 305-311.
3. Cutting, J. E. (1993). On the efficacy of cinema, or what the visual system did not evolve to do. In S. R. Ellis (Ed.), Pictorial communication in virtual and real environments (2nd ed., pp. 486-495). London: Taylor & Francis.
4. de la Gournerie, J. (1859). Traité de perspective linéaire. Paris: Dalmont et Dunod.
5. Deregowski, J. B., & Parker, D. M. (1992). Three-space inference from two-space simulation. Perception & Psychophysics, 51, 397-403.
6. de Vries, J. V. (1970). Perspective. New York: Dover. (Original work published in 1604)
7. Dubery, F., & Willats, J. (1983). Perspective and other drawing systems. London: Herbert.
8. Field, J. V. (1986). Piero della Francesca's treatment of edge distortion. Journal of the Warburg & Courtauld Institutes, 49, 66-90.
9. Field, J. V. (1997). The invention of infinity: Mathematics and art in the Renaissance. Oxford: Oxford University Press.
10. Goldstein, E. B. (1979). Rotation of objects in pictures viewed at an angle: Evidence for different properties of two types of pictorial space. Journal of Experimental Psychology: Human Perception & Performance, 5, 78-87.
11. Goldstein, E. B. (2001). Pictorial perception and art. In E. B. Goldstein (Ed.), Blackwell handbook of perception (pp. 344-378). Oxford: Blackwell.
12. Goodman, N. (1976). Languages of art: An approach to a theory of symbols. Indianapolis: Hackett.
13. Green, R. (1983). Determining the preferred viewpoint in linear perspective. Leonardo, 16, 97-102.
14. Haber, R. N. (1980). Perceiving space from pictures: A theoretical analysis. In M. A. Hagen (Ed.), What then are pictures? The psychology of representational art (pp. 3-31). New York: Academic Press.
15. Halloran, T. O. (1993). The frame turns also: Factors in differential rotation in pictures. Perception & Psychophysics, 54, 496-508.
16. Halloran, T. O. (2006). Finding a picture's station point: Reconstructing virtual space when the usual way will not work. Behavior Research Methods, 38, 107-116.
17. Juricevic, I., & Kennedy, J. M. (2006). Looking at perspective pictures from too far, too close, and just right. Journal of Experimental Psychology: General, 135, 448-461.
18. Kemp, M. (1990). The science of art: Optical themes in Western art from Brunelleschi to Seurat. New Haven, CT: Yale University Press.
19. Kubovy, M. (1986). The psychology of perspective and Renaissance art. Cambridge: Cambridge University Press.
20. Kubovy, M. (1998). Psychology of perspective. In M. Kelly (Ed.), Encyclopedia of aesthetics (Vol. 3, pp. 481-485). New York: Oxford University Press.
21. Nicholls, A. L., & Kennedy, J. M. (1993). Angular subtense effects on perception of polar and parallel projections of cubes. Perception & Psychophysics, 54, 763-772.
22. Olmer, P. (1949). Perspective artistique (Vols. 1 and 2). Paris: Plon. (Original work published 1943)
23. Perkins, D. N. (1973). Compensating for distortion in viewing pictures obliquely. Perception & Psychophysics, 14, 13-18.
24. Pirenne, M. H. (1970). Optics, painting and photography. Cambridge: Cambridge University Press.
25. Richter, J. P. (1970). The notebooks of Leonardo da Vinci. New York: Dover.
26. Rogers, S. (1995). Perceiving pictorial space. In W. Epstein & S. Rogers (Eds.), Perception of space and motion: Handbook of perception and cognition (2nd ed., pp. 119-163). San Diego: Academic Press.
27. Saunders, J. A., & Backus, B. T. (2006). The accuracy and reliability of perceived depth from linear perspective as a function of image size. Journal of Vision, 6, 933-954.
28. Schlosberg, H. (1941). Stereoscopic depth from single pictures. American Journal of Psychology, 54, 601-605.
29. Sedgwick, H. A. (1980). The geometry of spatial layout in pictorial representation. In M. A. Hagen (Ed.), The perception of pictures: Vol. I. Alberti's window: The projective model of pictorial information (pp. 34-90). New York: Academic Press.
30. Sedgwick, H. A. (1993). The effects of viewpoint on the virtual space of pictures. In S. R. Ellis (Ed.), Pictorial communication in virtual and real environments (2nd ed., pp. 460-479). London: Taylor & Francis.
31. Shepard, R. N. (1981). Psychophysical complementarity. In M. Kubovy & J. R. Pomerantz (Eds.), Perceptual organization (pp. 279-341). Hillsdale, NJ: Erlbaum.
32. Shepard, R. N. (1992). Mind sights. New York: Freeman.
33. Ten Doesschate, G. (1964). Perspective: Fundamentals, controversials, history. Amsterdam: Nieuwkoop B. de Graaf.
34. Todorović, D. (2005). Geometric and perceptual effects of the location of the observer vantage point for linear-perspective images. Perception, 34, 521-544.
35. Todorović, D. (2008). Is pictorial perception robust? The effect of the observer vantage point on the perceived depth structure of linear perspective images. Perception, 37, 106-125.
36. Veltman, K. H. (1986). Studies on Leonardo da Vinci: I. Linear perspective and the visual dimensions of science and art. Munich: Deutscher Kunstverlag.
37. Vishwanath, D., Girshick, A. R., & Banks, M. S. (2005). Why pictures look right when viewed from the wrong place. Nature Neuroscience, 8, 1401-1410.
38. Wallach, H. (1976). The apparent rotation of pictorial scenes. In M. Henle (Ed.), Vision and artifact (pp. 65-69). New York: Springer.
39. Wittkower, R., & Carter, B. A. R. (1953). The perspective of Piero della Francesca's "Flagellation." Journal of the Warburg & Courtauld Institutes, 16, 292-302.
40. Yang, T., & Kubovy, M. (1999). Weakening the robustness of perspective: Evidence for a modified theory of compensation in picture perception. Perception & Psychophysics, 61, 456-467.