The three-volume work Perceiving in Depth is a sequel to Binocular Vision and Stereopsis and to Seeing in Depth, both by Ian P. Howard and Brian J. Rogers. This work is much broader in scope than the previous books and includes mechanisms of depth perception by all senses, including aural, electrosensory organs, and the somatosensory system. Volume 1 reviews sensory coding, psychophysical and analytic procedures, and basic visual mechanisms. Volume 2 reviews stereoscopic vision. Volume 3 reviews all mechanisms of depth perception other than stereoscopic vision. The three volumes are extensively illustrated and referenced and provide the most detailed review of all aspects of perceiving the three-dimensional world.Volume 1 starts with a review of the history of visual science from the ancient Greeks to the early 20th century with special attention devoted to the discovery of the principles of perspective and stereoscopic vision. The first chapter also contains an account of early visual display systems, such as panoramas and peepshows, and the development of stereoscopes and stereophotography. A chapter on the psychophysical and analytic procedures used in investigations of depth perception is followed by a chapter on sensory coding and the geometry of visual space. An account of the structure and physiology of the primate visual system proceeds from the eye through the LGN to the visual cortex and higher visual centers. This is followed by a review of the evolution of visual systems and of the development of the mammalian visual system in the embryonic and post-natal periods, with an emphasis on experience-dependent neural plasticity. An account of the development of perceptual functions, especially depth perception, is followed by a review of the effects of early visual deprivation during the critical period of neural plasticity on amblyopia and other defects in depth perception. Volume 1 ends with accounts of the accommodation mechanism of the human eye and vergence eye movements.

The three-volume work Perceiving in Depth is a sequel to Binocular Vision and Stereopsis and to Seeing in Depth, both by Ian P. Howard and Brian J. Rogers. This work is much broader in scope than the previous books and includes mechanisms of depth perception by all senses, including aural, electrosensory organs, and the somatosensory system. Volume 1 reviews sensory coding, psychophysical and analytic procedures, and basic visual mechanisms. Volume 2 reviews stereoscopic vision. Volume 3 reviews all mechanisms of depth perception other than stereoscopic vision. The three volumes are extensively illustrated and referenced and provide the most detailed review of all aspects of perceiving the three-dimensional world. Volume 1 starts with a review of the history of visual science from the ancient Greeks to the early 20th century with special attention devoted to the discovery of the principles of perspective and stereoscopic vision. The first chapter also contains an account of early visual display systems, such as panoramas and peepshows, and the development of stereoscopes and stereophotography. A chapter on the psychophysical and analytic procedures used in investigations of depth perception is followed by a chapter on sensory coding and the geometry of visual space. An account of the structure and physiology of the primate visual system proceeds from the eye through the LGN to the visual cortex and higher visual centers. This is followed by a review of the evolution of visual systems and of the development of the mammalian visual system in the embryonic and post-natal periods, with an emphasis on experience-dependent neural plasticity. An account of the development of perceptual functions, especially depth perception, is followed by a review of the effects of early visual deprivation during the critical period of neural plasticity on amblyopia and other defects in depth perception. Volume 1 ends with accounts of the accommodation mechanism of the human eye and vergence eye movements.

The three-volume work Perceiving in Depth is a sequel to Binocular Vision and Stereopsis and to Seeing in Depth, both by Ian P. Howard and Brian J. Rogers. This work is much broader in scope than the previous books and includes mechanisms of depth perception by all senses, including aural, electrosensory organs, and the somatosensory system. Volume 1 reviews sensory coding, psychophysical and analytic procedures, and basic visual mechanisms. Volume 2 reviews stereoscopic vision. Volume 3 reviews all mechanisms of depth perception other than stereoscopic vision. The three volumes are extensively illustrated and referenced and provide the most detailed review of all aspects of perceiving the three-dimensional world. Volume 3 addresses all depth-perception mechanisms other than stereopsis. The book starts with an account of monocular cues to depth, including accommodation, vergence eye movements, perspective, interposition, shading, and motion parallax. A chapter on constancies in depth perception, such as the ability to perceive the sizes and shapes of objects as they move or rotate in depth, is followed by a chapter on the ways in which depth cues interact. The next chapter reviews sources of information, such as changing disparity, image looming, and vergence eye movements, used in the perception of objects moving in depth. Various pathologies of depth perception, including visual neglect, stereoanomalies, and albanism are reviewed. Visual depth-perception mechanisms through the animal kingdom are described, starting with insects and progressing through crustaceans, fish, amphibians, reptiles, birds, and mammals. The chapter includes a discussion of how stereoscopic vision may have evolved. The next chapter describes how visual depth perception is used to guide reaching movements of the hand, avoiding obstacles, and walking to a distant object. The next three chapters review non-visual mechanisms of depth perception. Auditory mechanisms include auditory localization, echolocation in bats and marine mammals, and the lateral-line system of fish. Some fish emit electric discharges and then use electric sense organs to detect distortions of the electric field produced by nearby objects. Some beetles and snakes use heat-sensitive sense organs to detect sources of heat. The volume ends with a discussion of mechanisms used by animals to navigate to a distant site. Ants find their way back to the nest by using landmarks and by integrating their walking movements. Several animals navigate by the stars or by polarized sunlight. It seems that animals in several phyla navigate by detecting the Earths magnetic field.

This book celebrates binocular vision by presenting illustrations that require two eyes to see the effects of cooperation and competition between them. Pictures are flat but by printing them in different colours and viewing them through similarly coloured filters (included with the hardcover book) they are brought to life either in stereoscopic depth or in rivalry with one another. They are called anaglyphs and all those in the book display the ways in which the eyes interact. Thus, the reader is an integral element in the book and not all readers will see the same things. The history, science and art of binocular vision can be experienced in ways that are not usually available to us and with images made specifically for this book. The study of vision with two eyes was transformed by the invention of stereoscopes in the early 19th century. Anaglyphs are simple forms of stereoscopes that have three possible outcomes from viewing them – with each eye alone to see the monocular images, with both eyes to see them in stereoscopic depth or rivalry, or without the red/cyan glasses where they can have an appeal independent of the binocularity they encompass. Through the binocular pictures and the words that accompany them there will be an appreciation of just how remarkable the processes are that yield binocular singleness and depth. Moreover, the opportunities for expressing these processes are explored with many examples of truly binocular art.

Over the past decade, the integration of psychology and fine art has sparked growing academic interest among researchers of these disciplines. The author, both a psychologist and artist, offers up a unique merger and perspective of these fields. Through the production of fine art, which is directly informed by neuroscientific and optical processes, this volume aims to fill a gap in the literature and understanding of the creation and perception of the grid image created as a work of art. The grid image is employed (for reasons discussed in the text) to illustrate more general processes associated with the integration of vision, visual distortion, and painting. Existing at the intersection of perceptual neuroscience, psychology, fine art and art history, this volume concerns the act of painting and the process of looking. More specifically, the book examines vision and the effects of visual impairment and how these can be interpreted through painting within a theoretical framework of visual neuroscience.

This book presents up-to-date information on Brain-computer Interfaces (BCI). BCIs are systems that record brain signals, extract features and translate them into computer commands. For instance, in BCIs based on the steady-state visual evoked potentials (SSVEP-BCI), brain potentials evoked by visual stimuli are used for controlling computer-based devices. Inspired by the optical phenomenon of depth of field, this book introduces, describes, and evaluates a novel way of setting visual stimuli for SSVEP-BCI. It employs two stimuli that were placed at different distances from the subjects so that if one stimulus is focused on, the other one is non-focused. This assessment allows SSVEP-BCI users to modulate their brain signals by shifting their focus because focused and non-focused stimuli evoke different brain potentials. It allows people to send two brain commands with high accuracy rate by shifting their focus. Hence, computer interaction systems can be proposed for people with paralysis, such as patients with amyotrophic lateral sclerosis since focusing mechanism does not demand head, neck, or eyeball movements. The matter assessed in this book that includes offline and online experiments, is useful for researchers in human-machine interaction who are looking for relevant possibilities of improving the quality of life of people in paralysis situation.

EBOOK: Psychology: The Science of Mind and Behaviour, 4e