Sheep and goats:manipulating visual perception through colour relationships

Sheep and Goats hides visual messages in plain sight. It is a print diptych which investigates the idea that artwork can be intentionally created to be experienced differently dependent on one’s visual abilities. Each silk-screened/ink-jet print is 84 cm x 112 cm. It is accompanied by a smart device fitted with augmented reality colour vision deficiency simulation and recolouring software. The collaboration of artist David Lyons with computer scientist David Flatla resulted in prints which communicate unique details exclusively to those colour blindness, while simultaneously containing imagery that those with typical colour vision experience. This was done through the use and understanding of colour theory, artistic principles and computer science applications. All the artwork is revealed to both audiences through the use of tablets whose software allows the translation of the imagery between the two audiences. The tablets with CVD simulation and recolouring software allow those with typical colour sight to view what those with colour blindness see, and those with colour blindness to gain an appreciation of what individuals with typical sight see.To indicate engagement of audiences of varied colour vision abilities, Triple Blind reference the circles of the Ishihara Colour Blind Test. The dualistic words ‘heaven’ and ‘HELL’ are used to suggest conflicting perceptions as are the clear varnish over-printed lyrics from the song “Sheep go to Heaven’ by the rock band Cake. This paper documents the development of the work, its theoretical underpinnings and artistic and social and philosophical implications

Eye for an eye:an exploration of visual abilities and perception

A selection of print works, motion graphics and interactive smart devices created by artist David Lyons and computer scientist David Flatla, exploring visual abilities and perception

Gaze-contingent manipulation of color perception

Using real time eye tracking, gaze-contingent displays can modify their content to represent depth (e.g., through additional depth cues) or to increase rendering performance (e.g., by omitting peripheral detail). However, there has been no research to date exploring how gaze-contingent displays can be leveraged for manipulating perceived color. To address this, we conducted two experiments (color matching and sorting) that manipulated peripheral background and object colors to influence the user's color perception. Findings from our color matching experiment suggest that we can use gaze-contingent simultaneous contrast to affect color appearance and that existing color appearance models might not fully predict perceived colors with gaze-contingent presentation. Through our color sorting experiment we demonstrate how gaze-contingent adjustments can be used to enhance color discrimination. Gaze-contingent color holds the promise of expanding the perceived color gamut of existing display technology and enabling people to discriminate color with greater precision.Postprin

Beyond Accessibility:Lifting Perceptual Limitations for Everyone

We propose that accessibility research can lay the foundation for technology that can be used to augment the perception of everyone. To show how this can be achieved, we present three case studies of our research in which we demonstrate our approaches for impaired colour vision, situational visual impairments and situational hearing impairment.Comment: 5 pages, 4 figure

3d technologies for measurement of painting surface deformations a case study

Ancient painted wooden panels are an important part of our cultural heritage. Wood as a support has always been very popular and painted panels are currently present, in a large number, in many churches and museums. However, depending on conservation conditions, their shape may modify in time and if not properly controlled may lead to some sever damage to the artworks. The paper describes the results of a study on the measurement of paintings surface deformation carried out using two different commercial devices both making use of structured light. The main goal was to highlight and measure the reliability of the such 3D measuring techniques to evaluate deviations from planarity due to the curving and warping of the wood in order to document spatial deformation suffered by the painting and monitoring its conservation status