Depth of interocular suppression associated with continuous flash suppression, flash suppression, and binocular rivalry

When conflicting images are presented to the corresponding regions of the two eyes, only one image may be consciously perceived. In binocular rivalry (BR), two images alternate in phenomenal visibility; even a salient image is eventually suppressed by an image of low saliency. Recently, N. Tsuchiya and C. Koch (2005) reported a technique called continuous flash suppression (CFS), extending the suppression duration more than 10-fold. Here, we investigated the depth of this prolonged form of interocular suppression as well as conventional BR and flash suppression (FS) using a probe detection task. Compared to monocular viewing condition, CFS elevated detection thresholds more than 20-fold, whereas BR did so by 3-fold. In subsequent experiments, we dissected CFS into several components. By manipulating the number and timing of flashes with respect to the probe, we found that the stronger suppression in CFS is not due to summation between BR and FS but is caused by the summation of the suppression due to multiple flashes. Our results support the view that CFS is not a stronger version of BR but is due to the accumulated suppressive effects of multiple flashes

A Neural Network Architecture for Figure-ground Separation of Connected Scenic Figures

A neural network model, called an FBF network, is proposed for automatic parallel separation of multiple image figures from each other and their backgrounds in noisy grayscale or multi-colored images. The figures can then be processed in parallel by an array of self-organizing Adaptive Resonance Theory (ART) neural networks for automatic target recognition. An FBF network can automatically separate the disconnected but interleaved spirals that Minsky and Papert introduced in their book Perceptrons. The network's design also clarifies why humans cannot rapidly separate interleaved spirals, yet can rapidly detect conjunctions of disparity and color, or of disparity and motion, that distinguish target figures from surrounding distractors. Figure-ground separation is accomplished by iterating operations of a Feature Contour System (FCS) and a Boundary Contour System (BCS) in the order FCS-BCS-FCS, hence the term FBF, that have been derived from an analysis of biological vision. The FCS operations include the use of nonlinear shunting networks to compensate for variable illumination and nonlinear diffusion networks to control filling-in. A key new feature of an FBF network is the use of filling-in for figure-ground separation. The BCS operations include oriented filters joined to competitive and cooperative interactions designed to detect, regularize, and complete boundaries in up to 50 percent noise, while suppressing the noise. A modified CORT-X filter is described which uses both on-cells and off-cells to generate a boundary segmentation from a noisy image.Air Force Office of Scientific Research (90-0175); Army Research Office (DAAL-03-88-K0088); Defense Advanced Research Projects Agency (90-0083); Hughes Research Laboratories (S1-804481-D, S1-903136); American Society for Engineering Educatio

Sensorimotor contingency modulates breakthrough of virtual 3D objects during a breaking continuous flash suppression paradigm

To investigate how embodied sensorimotor interactions shape subjective visual experience, we developed a novel combination of Virtual Reality (VR) and Augmented Reality (AR) within an adapted breaking continuous flash suppression (bCFS) paradigm. In a first experiment, participants manipulated novel virtual 3D objects, viewed through a head-mounted display, using three interlocking cogs. This setup allowed us to manipulate the sensorimotor contingencies governing interactions with virtual objects, while characterising the effects on subjective visual experience by measuring breakthrough times from bCFS. We contrasted the effects of the congruency (veridical versus reversed sensorimotor coupling) and contingency (live versus replayed interactions) using a motion discrimination task. The results showed that the contingency but not congruency of sensorimotor coupling affected breakthrough times, with live interactions displaying faster breakthrough times. In a second experiment, we investigated how the contingency of sensorimotor interactions affected object category discrimination within a more naturalistic setting, using a motion tracker that allowed object interactions with increased degrees of freedom. We again found that breakthrough times were faster for live compared to replayed interactions (contingency effect). Together, these data demonstrate that bCFS breakthrough times for unfamiliar 3D virtual objects are modulated by the contingency of the dynamic causal coupling between actions and their visual consequences, in line with theories of perception that emphasise the influence of sensorimotor contingencies on visual experience. The combination of VR/AR and motion tracking technologies with bCFS provides a novel methodology extending the use of binocular suppression paradigms into more dynamic and realistic sensorimotor environments

Perancangan Video Informasi Griya Glass

Stained glass is stained glass, made into a window of pieces on glass arranged to be images or patterns. Griya glass is one of the stained glass producers located in Bandung. Griya glass is having some troubles on production as there is no consistency in documentation of stained glass products, sticking phone number as their watermark and logo on photos puts the their reputation at risk, lack of detail on the product design style and the documentation quality of the products and the making process. Griya glass has social medias such as instagram and facebook, but the information about their products posted on same page as owner's personal life posts. Fluctuation of content consistency social media design sustain consumer’s confuse. In conclusion, update and post Griya Glass content, informations and products on social medias is necessary to decrease some of their problems. An information video is a fresh approach to inform everything happen and made by Griya Glass to their consumers. A video-based platform of information is mean spreading information about something important, to the audience, that intend to try to convince people about the products and Griya Glass itself so well.Kaca patri merupakan kaca berwarna, dibuat menjadi jendela dari potongan-potongan kaca yang disusun untuk membentuk gambar atau pola. Griya Glass merupakan salah satu produsen yang terletak di Bandung. Griya Glass memiliki masalah dipublikasi produk. Seperti tidak adanya konsistensi perihal dokumentasi produk kaca patri, menempelkan watermark nomor telepon dan logo pada foto menjadikan riskan penipuan yang menyebabkan  tidak  baiknya nama Griya Glass. Kurangnya informasi detail dari gaya desain produk. Dokumentasi kegiatan dari kualitas produk dibandingkan pada produk yang lain dan proses pengerjaan. Griya Glass sudah memiliki media sosial seperti Instagram dan Facebok, tetapi informasi tentang produk Griya Glass yang disuguhkan dicampuri dengan urusan pribadi pemilik. Tidak adanya konsistensi dalam konten dan desain media sosial membuat bingung konsumen. Maka dapat disimpulkan bahwa perlu adanya pembaruan dokumentasi dan konten melalui media sosial untuk memperbaiki sebagian besar masalah yang ada pada media sosial Griya Glass. Pembaruan konten dan hasil dokumentasi untuk media sosial Griya Glass dengan cara melakukan pendekatan melalui penyebaran video informasi sebagai bentuk penyampaian pesan pada khalayak sasaran yang dituju. Sarana informasi berbasis video merupakan sarana menyebarkan informasi tentang sesuatu hal yang penting bagi penerima yang bertujuan untuk berusaha meyakinkan khalayak agar mengetahui dengan baik tentang informasi produk maupun perusahaan yang akan disampaikan

Computational mechanisms for colour and lightness constancy

Attributes of colour images have been found which allow colour and lightness constancy to be computed without prior knowledge of the illumination, even in complex scenes with three -dimensional objects and multiple light sources of different colours. The ratio of surface reflectance colour can be immediately determined between any two image points, however distant. It is possible to determine the number of spectrally independent light sources, and to isolate the effect of each. Reflectance edges across which the illumination remains constant can be correctly identified.In a scene illuminated by multiple distant point sources of distinguishalbe colours, the spatial angle between the sources and their brightness ratios can be computed from the image alone. If there are three or more sources then reflectance constancy is immediately possible without use of additional knowledge.The results are an extension of Edwin Land's Retinex algorithm. They account for previously unexplained data such as Gilchrist's veiling luminances and his single- colour rooms.The validity of the algorithms has been demonstrated by implementing them in a series of computer programs. The computational methods do not follow the edge or region finding paradigms of previous vision mechanisms. Although the new reflectance constancy cues occur in all normal scenes, it is likely that human vision makes use of only some of them.In a colour image all the pixels of a single surface colour lie in a single structure in flux space. The dimension of the structure equals the number of illumination colours. The reflectance ratio between two regions is determined by the transformation between their structures. Parallel tracing of edge pairs in their respective structures identifies an edge of constant illumination, and gives the lightness ratio of each such edge. Enhanced noise reduction techniques for colour pictures follow from the natural constraints on the flux structures

Materiality of Time

Introduced by William Fowler, BFI National Archive and Natalie Brett Pro-Vice Chancellor London College of Communication with a screening of Raban's About Now MMX (2010), 28 minutes. William Raban reflects on his filmmaking over the last four and a half decades paying particular attention to About Now MMX (2010) which is almost certainly the last of his works to be shot on film. Acknowledged for his contributions to expanded cinema, his films about London and the River Thames, Raban discusses his practice since he was a painting student at Saint Martin’s School of Art (1967-1971)

The role of temporal frequency in continuous flash suppression: A case for a unified framework

In continuous flash suppression (CFS), a rapidly changing Mondrian sequence is presented to one eye in order to suppress a static target presented to the other eye. Targets generally remain suppressed for several seconds at a time, contributing to the widespread use of CFS in studies of unconscious visual processes. Nevertheless, the mechanisms underlying CFS suppression remain unclear, complicating its use and the comprehension of results obtained with the technique. As a starting point, this thesis examined the role of temporal frequency in CFS suppression using carefully controlled stimuli generated by Fourier Transform techniques. A low-level stimulus attribute, the choice of temporal frequency allowed us to evaluate the contributions of early visual processes and test the general assumption that fast update rates drive CFS effectiveness. Three psychophysical studies are described in this thesis, starting with the temporal frequency tuning of CFS (Chapter 2), the relationship between the Mondrian pattern and temporal frequency content (Chapter 3), and finally the role of temporal frequency selectivity in CFS (Chapter 4). Contrary to conventional wisdom, the results showed that the suppression of static targets is largely driven by high spatial frequencies and low temporal frequencies. Faster masker rates, on the other hand, worked best with transient targets. Indicative of early, feature selective processes, these findings are reminiscent of binocular rivalry suppression, demonstrating the possible use of a unified framework

Color Homography Color Correction

Homographies -- a mathematical formalism for relating image points across different camera viewpoints -- are at the foundations of geometric methods in computer vision and are used in geometric camera calibration, image registration, and stereo vision and other tasks. In this paper, we show the surprising result that colors across a change in viewing condition (changing light color, shading and camera) are also related by a homography. We propose a new color correction method based on color homography. Experiments demonstrate that solving the color homography problem leads to more accurate calibration