Author: Aysegül Akgöz
Publisher:
ISBN:
Category :
Languages : en
Pages :
Book Description
"The tilt illusion defines the phenomenon in which a surround or inducer grating of a particular orientation impacts the perceived orientation of a central test grating. Typically, inducer-test orientation differences of 5-40 deg drive the test grating orientation to appear shifted in a direction away from that of the inducer orientation, i.e., show repulsion. The inducer typically causes the test grating orientation to appear shifted towards that of the inducer orientation in the region 60-90 deg, i.e. shows attraction. Both repulsion and attraction effects have been observed in contrast-modulated and luminance-modulated grating patterns. In this thesis, I demonstrate that a secondary, small-angle (0-10 deg) attraction effect is observed in contrast-modulated and orientation-modulated gratings, as well as with luminance-modulated gratings that are relatively low in spatial frequency low in contrast or contain added micropattern texture. The observed small-angle attraction, which in some instances exceeds in magnitude the repulsion and the aforementioned large-angle attraction effects, is dependent on the spatial phase relationship between the inducer and test, being maximal when the center and surround are in in-phase condition. Both small-angle attraction and repulsion effects are reduced when a gap is introduced between test and inducer. My findings suggest that small-angle attraction in the Tilt Illusion is likely a result of the blending or assimilation of the receptive fields of the neurons sensitive to the inducers and tests when those are similar in orientation"--
Small-angle Attraction in the Tilt Illusion
Author: Aysegül Akgöz
Publisher:
ISBN:
Category :
Languages : en
Pages :
Book Description
"The tilt illusion defines the phenomenon in which a surround or inducer grating of a particular orientation impacts the perceived orientation of a central test grating. Typically, inducer-test orientation differences of 5-40 deg drive the test grating orientation to appear shifted in a direction away from that of the inducer orientation, i.e., show repulsion. The inducer typically causes the test grating orientation to appear shifted towards that of the inducer orientation in the region 60-90 deg, i.e. shows attraction. Both repulsion and attraction effects have been observed in contrast-modulated and luminance-modulated grating patterns. In this thesis, I demonstrate that a secondary, small-angle (0-10 deg) attraction effect is observed in contrast-modulated and orientation-modulated gratings, as well as with luminance-modulated gratings that are relatively low in spatial frequency low in contrast or contain added micropattern texture. The observed small-angle attraction, which in some instances exceeds in magnitude the repulsion and the aforementioned large-angle attraction effects, is dependent on the spatial phase relationship between the inducer and test, being maximal when the center and surround are in in-phase condition. Both small-angle attraction and repulsion effects are reduced when a gap is introduced between test and inducer. My findings suggest that small-angle attraction in the Tilt Illusion is likely a result of the blending or assimilation of the receptive fields of the neurons sensitive to the inducers and tests when those are similar in orientation"--
Publisher:
ISBN:
Category :
Languages : en
Pages :
Book Description
"The tilt illusion defines the phenomenon in which a surround or inducer grating of a particular orientation impacts the perceived orientation of a central test grating. Typically, inducer-test orientation differences of 5-40 deg drive the test grating orientation to appear shifted in a direction away from that of the inducer orientation, i.e., show repulsion. The inducer typically causes the test grating orientation to appear shifted towards that of the inducer orientation in the region 60-90 deg, i.e. shows attraction. Both repulsion and attraction effects have been observed in contrast-modulated and luminance-modulated grating patterns. In this thesis, I demonstrate that a secondary, small-angle (0-10 deg) attraction effect is observed in contrast-modulated and orientation-modulated gratings, as well as with luminance-modulated gratings that are relatively low in spatial frequency low in contrast or contain added micropattern texture. The observed small-angle attraction, which in some instances exceeds in magnitude the repulsion and the aforementioned large-angle attraction effects, is dependent on the spatial phase relationship between the inducer and test, being maximal when the center and surround are in in-phase condition. Both small-angle attraction and repulsion effects are reduced when a gap is introduced between test and inducer. My findings suggest that small-angle attraction in the Tilt Illusion is likely a result of the blending or assimilation of the receptive fields of the neurons sensitive to the inducers and tests when those are similar in orientation"--
Cognitive Control and Reward Processing in Addiction
Author: Qi Li
Publisher: Frontiers Media SA
ISBN: 2889748936
Category : Medical
Languages : en
Pages : 117
Book Description
Publisher: Frontiers Media SA
ISBN: 2889748936
Category : Medical
Languages : en
Pages : 117
Book Description
A New Angle on the Tilt Illusions
Author: Chao Ping Iris Yan
Publisher:
ISBN:
Category : Optical illusions
Languages : en
Pages : 190
Book Description
Publisher:
ISBN:
Category : Optical illusions
Languages : en
Pages : 190
Book Description
Perception
Author:
Publisher:
ISBN:
Category : Perception
Languages : en
Pages : 608
Book Description
Publisher:
ISBN:
Category : Perception
Languages : en
Pages : 608
Book Description
Human Visual Orientation
Author: Ian P. Howard
Publisher: John Wiley & Sons
ISBN:
Category : Psychology
Languages : en
Pages : 718
Book Description
Publisher: John Wiley & Sons
ISBN:
Category : Psychology
Languages : en
Pages : 718
Book Description
Orientation Processing Mechanisms Revealed by the Tilt Illusion
Author: Stuart Trevor Smith
Publisher:
ISBN:
Category : Form perception
Languages : en
Pages : 182
Book Description
Publisher:
ISBN:
Category : Form perception
Languages : en
Pages : 182
Book Description
Neural Computation
Author:
Publisher:
ISBN:
Category : Neural computers
Languages : en
Pages : 780
Book Description
Publisher:
ISBN:
Category : Neural computers
Languages : en
Pages : 780
Book Description
Proceedings
Author:
Publisher:
ISBN:
Category : Biology
Languages : en
Pages : 704
Book Description
Publisher:
ISBN:
Category : Biology
Languages : en
Pages : 704
Book Description
Masterpieces of Modernist Cinema
Author: Ted Perry
Publisher: Indiana University Press
ISBN: 0253347718
Category : Cinematography
Languages : en
Pages : 707
Book Description
Noted film scholars analyze some of the most challenging films of the 20th century
Publisher: Indiana University Press
ISBN: 0253347718
Category : Cinematography
Languages : en
Pages : 707
Book Description
Noted film scholars analyze some of the most challenging films of the 20th century
Cinematography of Carl Theodor Dreyer
Author: Paul Matthew St. Pierre
Publisher: Rowman & Littlefield
ISBN: 1683931017
Category : Performing Arts
Languages : en
Pages : 311
Book Description
Legendary Danish filmmaker Carl Theodor Dreyer (3 February 1889-20 March 1968) was born in Copenhagen to a single mother, Josefine Bernhardine Nilsson, a Swede. His Danish father, Jens Christian Torp, a married farmer, employed Nilsson as a housekeeper. After spending his first two years in orphanages, Dreyer was adopted by Carl Theodor Dreyer, a typographer, and his wife, Inger Marie Dreyer. He was given his adoptive father’s name. At age 16, he renounced his adoptive parents and worked his way into the film industry as a journalist, title card writer, screenwriter, and director. Throughout his career he concealed his birth name and the details of his upbringing and his adult private life, which included a period in which he explored his homosexual orientation and endured a nervous breakdown. Despite his relatively small output of fourteen feature films and seven documentary short films, 1919-64, he is considered one of the greatest filmmakers in history because of the diversity of his subjects, themes, techniques, and styles, and the originality of the bold visual grammar he mastered. In Cinematography of Carl Theodor Dreyer: Performative Camerawork, Transgressing the Frame, I argue: 1) that Dreyer, an anonymous orphan, an unsourced subject, manufactured his individuality through filmmaking, self-identifying by shrouding himself in the skin of film, and 2) that, as a screenwriter-director who blocked entire feature films in his imagination in advance—sets, lighting, photography, shot breakdowns, editing—and imposed his vision on camera operators, lighting directors, actors, and crews in production, he saw filmmaking essentially as camerawork and he directed in the style of a performative cinematographer.
Publisher: Rowman & Littlefield
ISBN: 1683931017
Category : Performing Arts
Languages : en
Pages : 311
Book Description
Legendary Danish filmmaker Carl Theodor Dreyer (3 February 1889-20 March 1968) was born in Copenhagen to a single mother, Josefine Bernhardine Nilsson, a Swede. His Danish father, Jens Christian Torp, a married farmer, employed Nilsson as a housekeeper. After spending his first two years in orphanages, Dreyer was adopted by Carl Theodor Dreyer, a typographer, and his wife, Inger Marie Dreyer. He was given his adoptive father’s name. At age 16, he renounced his adoptive parents and worked his way into the film industry as a journalist, title card writer, screenwriter, and director. Throughout his career he concealed his birth name and the details of his upbringing and his adult private life, which included a period in which he explored his homosexual orientation and endured a nervous breakdown. Despite his relatively small output of fourteen feature films and seven documentary short films, 1919-64, he is considered one of the greatest filmmakers in history because of the diversity of his subjects, themes, techniques, and styles, and the originality of the bold visual grammar he mastered. In Cinematography of Carl Theodor Dreyer: Performative Camerawork, Transgressing the Frame, I argue: 1) that Dreyer, an anonymous orphan, an unsourced subject, manufactured his individuality through filmmaking, self-identifying by shrouding himself in the skin of film, and 2) that, as a screenwriter-director who blocked entire feature films in his imagination in advance—sets, lighting, photography, shot breakdowns, editing—and imposed his vision on camera operators, lighting directors, actors, and crews in production, he saw filmmaking essentially as camerawork and he directed in the style of a performative cinematographer.