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Ensuring driving safety on agglomerate fog sections of mountain highways has been a persistent challenge for the Chinese transportation industry. To enhance driving safety in agglomerate fog environments by identifying key issues related to driving safety in such conditions. A summary of the influencing factors and research progress related to driving safety in agglomerate foggy environments was provided, both domestically and internationally. Firstly, the visual characteristics of drivers was examined and the causes of optical illusions caused by agglomerate fog was discussed. The “elephant trunk” curve was further analyzed that occured prior to the appearance of agglomerate fog. The relationship between human-vehicle roadway and traffic safety in an agglomerate fog environment was then clarified. Lastly, a summary of the current control measures implemented to ensure driving safety on group fog roadways was provided. The results show that the abrupt and significant reduction in visibility caused by agglomerate fog can lead to severe visual disruptions for drivers, resulting in illusions of distance and speed. In order to improve driving safety in agglomerate foggy environments, drivers are alerted through monitoring and warning systems. Additionally, a variety of inducement facilities are being developed to enhance visual entrainment. Future research is needed to study the visual demands of driving under the influence of complex factors from the perspective of reducing the impact of visual illusions. [ABSTRACT FROM AUTHOR]

ABSTRACTInverted depth perception in satellite images is a well-known phenomenon. It has been previously verified that the illusion is prevalent in Northern Hemisphere (NH) images, while it is observed in Southern Hemisphere (SH) images to a much smaller extent. However, the equatorial zone has not been examined despite its interesting geometric position in relation to the Sun and satellite orbits. We present a user study (n = 313) in which participants were asked to identify landforms on 16 satellite images from the equatorial region. Our main findings are: (a) surprisingly, on the equatorial line and roughly ±1° of it in either direction, the results are consistent with the NH images; (b) instead, the expected variation/ambiguity occurs with the images 2–5° south of the Equator. These outcomes imply that based on illumination alone, the ‘middle’ (i.e. the Equator) might be somewhat more south from the perspective of the studied illusion. The observed effect surpasses various individual and group differences such as biological sex, expertise and education levels. Landcover cues such as snow, vegetation etc. do not appear to moderate the observed effect either. Our observations contribute towards a better understanding of the causes and prevalence of the relief inversion illusion.

The purpose of this study is to make a contribution to the development of creative fashion culture through the expansion of creative fields in the fashion design area and also the combination of fashion and art techniques, by classifying the cases of Trompe Loeil expressed in modern fashion, and also analyzing its aesthetic characteristics. Conducting the qualitative research through the literature study and the analysis of design cases, The results are as follows: First, based on the preceding research, the types of Trompe Loeil expressed in modern fashion were shown as realistic expression of clothing, movement of daily objects, double images, and application of human body. Second, the aesthetic characteristics of Trompe Loeil based on its expression types were deconstruction, avant-garde, and amusements. The deconstruction was expressed in the expression type of Trompe Loeil such as freedom of materials using digital printing technique, change in the position of clothes, and movement of daily items using collage technique by collecting objets like daily items or waste. The avant-garde was expressed by switching/overlapping in and out of clothes, intentionally exposing some body parts like breast or torso, displacing body parts, and moving daily items. The amusements was shown by realistically expressing accessories or details of clothes using digital printing technique, or moving daily items such as book and fork.

Art and architecture, at their finest, serve as social expressions of beauty. Artistic language as a form of human communication in the visual arts is an anticipatory tool of societal changes daring to position art as a reflective mirror of the future. Art functions as an avant-garde communication to architecture, conveying the imagine of humanity in the social dimension. In their coexistence, art has the role of the social language tool while architecture acts as a shelter of cultural complexity. With these premises and considering the evolution of art in the last half of century, from Renaissance to present day, the perspective on the role of visual representation has changed from true representation and realism to interpreting symbols in the illusion of graphics. The authors explore the shifts from the humanism of Renaissance to the contemporary rebirth of humanism through science looking at the evolution of representational language of perspective of naturalism, realism, surrealism and the optical illusions in context of the art and science relationship. The study explores representation techniques such as Leonardo da Vinci's atmospheric perspective, Albrecht Dürer's painting in perspective, Johann Wolfgang von Goethe's Colour and Light Theory, René Magritte's surrealism, anamorphisms, Salvador Dali's melting landscapes, Maurits Cornelis Escher's graphical optical illusion. The investigation of these techniques contributes to understanding the role of perspective in representation and to reflecting on the importance of the scientific language in the visual arts. [ABSTRACT FROM AUTHOR]

Recent research has delved into the biological parallels between deep neural networks (DNNs) in vision and human perception through the study of visual illusions. However, the bulk of this research is currently constrained to the investigation of visual illusions within a single model focusing on a singular type of illusion. There exists a need for a more comprehensive explanation of visual illusions in DNNs, as well as an expansion in the variety of illusions studied. This study is pioneering in its application of representational dissimilarity matrices and feature activation visualization techniques for a detailed examination of how five classic visual illusions are processed by DNNs. Our findings uncover the potential of DNNs to mimic human visual illusions, particularly highlighting notable differences in how these networks process illusions pertaining to color, contrast, length, angle, and spatial positioning. Although there are instances of consistency between DNNs and human perception in certain illusions, the performance distribution and focal points of interest within the models diverge from those of human observers. This study significantly advances our comprehension of DNNs' capabilities in handling complex visual tasks and their potential to emulate the human biological visual system. It also underscores the existing gaps in our understanding and processing of intricate visual information. While DNNs have shown progress in simulating human vision, their grasp of the nuance and intricacy of complex visual data still requires substantial improvement. [ABSTRACT FROM AUTHOR]

Inverted depth perception in satellite images is a well-known phenomenon. It has been previously verified that the illusion is prevalent in Northern Hemisphere (NH) images, while it is observed in Southern Hemisphere (SH) images to a much smaller extent. However, the equatorial zone has not been examined despite its interesting geometric position in relation to the Sun and satellite orbits. We present a user study (n = 313) in which participants were asked to identify landforms on 16 satellite images from the equatorial region. Our main findings are: (a) surprisingly, on the equatorial line and roughly ±1° of it in either direction, the results are consistent with the NH images; (b) instead, the expected variation/ambiguity occurs with the images 2-5° south of the Equator. These outcomes imply that based on illumination alone, the 'middle' (i.e. the Equator) might be somewhat more south from the perspective of the studied illusion. The observed effect surpasses various individual and group differences such as biological sex, expertise and education levels. Landcover cues such as snow, vegetation etc. do not appear to moderate the observed effect either. Our observations contribute towards a better understanding of the causes and prevalence of the relief inversion illusion. [ABSTRACT FROM AUTHOR]

Ambiguous optical illusions have been a paradigmatic object of fascination, research and inspiration in arts, psychology and video games. However, accurate computational models of perception of ambiguous figures have been elusive. In this paper, we design and train a deep neural network model to simulate human perception of the Necker cube, an ambiguous drawing with several alternating possible interpretations. Defining the weights of the neural network connection using a quantum generator of truly random numbers, in agreement with the emerging concepts of quantum artificial intelligence and quantum cognition, we reveal that the actual perceptual state of the Necker cube is a qubit-like superposition of the two fundamental perceptual states predicted by classical theories. Our results finds applications in video games and virtual reality systems employed for training of astronauts and operators of unmanned aerial vehicles. They are also useful for researchers working in the fields of machine learning and vision, psychology of perception and quantum–mechanical models of human mind and decision making. [ABSTRACT FROM AUTHOR]

Art and architecture, at their finest, serve as social expressions of beauty. Artistic language as a form of human communication in the visual arts is an anticipatory tool of societal changes daring to position art as a reflective mirror of the future. Art functions as an avant-garde communication to architecture, conveying the imagine of humanity in the social dimension. In their coexistence, art has the role of the social language tool while architecture acts as a shelter of cultural complexity. With these premises and considering the evolution of art in the last half of century, from Renaissance to present day, the perspective on the role of visual representation has changed from true representation and realism to interpreting symbols in the illusion of graphics. The authors explore the shifts from the humanism of Renaissance to the contemporary rebirth of humanism through science looking at the evolution of representational language of perspective of naturalism, realism, surrealism and the optical illusions in context of the art and science relationship. The study explores representation techniques such as Leonardo da Vinci’s atmospheric perspective, Albrecht Dürer’s painting in perspective, Johann Wolfgang von Goethe’s Colour and Light Theory, René Magritte’s surrealism, anamorphisms, Salvador Dali’s melting landscapes, Maurits Cornelis Escher’s graphical optical illusion. The investigation of these techniques contributes to understanding the role of perspective in representation and to reflecting on the importance of the scientific language in the visual arts.

The visual illusion is complementary to the art design techniques, which can be partially alienated according to this psychological characteristic of human beings and increase the interest in art design works. In this paper, after designing visual art images, the original local binary pattern is optimized to obtain an improved directional LBP algorithm to improve the accuracy and comprehensiveness of feature extraction. The K-means algorithm is used to cluster the colors extracted using the color space method into a color feature vector in the visual illusion art image. The empirical analysis is carried out from three aspects: feature vector similarity of visual illusion art images, image color clustering, and the application of visual illusion in the field of art design. The results show that: in the application example of clothing art design, the mean value of line spacing Z1=0.4cm is significantly larger than the line spacing Z2=0.8cm and smaller than the line spacing Z3=1.2cm in the line width Y1=0.4cm, which is larger than 1.25 and smaller than 0.09, respectively. Z3 is significantly larger than Z2, i.e., Z3>Z1>Z2. The mean value of Z2 (M=1.25) on the line width of 0.8cm is significantly greater than Z3 (M=0.8), indicating that lines with narrow width and wide spacing have the best slimming effect. The application of visual illusion in the field of art design can strengthen the effect of visual communication, enhance the interest of works, and improve the creativity and connotation of works.

Reflection and transparency are two valuable properties associated with the use of glass as an architectural material. While proponents of modernism favored transparency over reflection, whether in its physical or conceptual implications, to justify the designs of façades of Modernist buildings and in architectural criticism, contemporary architects are revisiting the neglected trait of 'reflection'. Taking advantage of the technological advances in glass and other materials that have taken reflection to new limits, they are able to design reflective façades, providing new implications and significance. This paper aims to fill the theoretical gap that arises from the different conceptual ideas of using reflective façades. It will also explore the implications intended by architects to be perceived by viewers, thereby facilitating the future use of these façades in a way that satisfies architects and attracts beholders. The research methodology employed thematic analysis of various experiences of the use of reflective façades in different buildings with diverse functions and locations. The vocabulary used by architects and their intended implications were analyzed, coded, and categorized under three main themes: 'Aesthetics of Disappearance', 'Games of Optical Illusions', and 'Mystery and Arousing Curiosity'. [ABSTRACT FROM AUTHOR]

Recent research has delved into the biological parallels between deep neural networks (DNNs) in vision and human perception through the study of visual illusions. However, the bulk of this research is currently constrained to the investigation of visual illusions within a single model focusing on a singular type of illusion. There exists a need for a more comprehensive explanation of visual illusions in DNNs, as well as an expansion in the variety of illusions studied. This study is pioneering in its application of representational dissimilarity matrices and feature activation visualization techniques for a detailed examination of how five classic visual illusions are processed by DNNs. Our findings uncover the potential of DNNs to mimic human visual illusions, particularly highlighting notable differences in how these networks process illusions pertaining to color, contrast, length, angle, and spatial positioning. Although there are instances of consistency between DNNs and human perception in certain illusions, the performance distribution and focal points of interest within the models diverge from those of human observers. This study significantly advances our comprehension of DNNs’ capabilities in handling complex visual tasks and their potential to emulate the human biological visual system. It also underscores the existing gaps in our understanding and processing of intricate visual information. While DNNs have shown progress in simulating human vision, their grasp of the nuance and intricacy of complex visual data still requires substantial improvement.

Regarding the question concerning the benefit from what we study and what is the reason for , with the belief that much of what is taught is only for credit hour consumption, which is the problem of the research, an experiment was conducted on about 65 students in the lectures of Design principles 1 , representing about half of the first year students of the Faculty of Applied Arts, Beni-Suef University for the year 2021/2022, seeking to prove that it is possible to provoke the innovation skills of these students , when using some of what was taught to implement a real, tangible product, which is the goal of the research. Two optical illusion models were selected to be printed on a sweatshirt to be worn at the evaluation . The concept of Transfer printing, kinds of printing films and the used machine and how to deal with was defined at the college lab. The students were not so enthusiastic at first, they changed their mind after seeing the production samples of the sweatshirt with beautiful ,elegant designs, which encouraged them to innovate many design derivatives from the original shapes , they began to compete who could reach the more beautiful ,distinctive design, one of them used the white color to print the inverse of the original shape on a black-colored sweatshirt, the other printed a matching hijab with what she is going to wear during the evaluation … etc.

It is widely known among photographers that photographing a room with a wide-angle lens exaggerates the size of the room; nevertheless, such images are commonly found on hotel-reservation web sites. The present paper points out that the size exaggeration is a kind of optical illusion caused by an inappropriate viewpoint from which the image is seen, and presents a method we developed for removing the illusion and thus recovering the true appearance of the room. This method requires only a single image together with the lens center at which the image is taken. From this information, we can generate images that would be obtained if we stand at the same point as the camera and pan around the original scene, changing the view direction. The validity of the method is shown by examples. Possible applications to size-exaggerated images posted on web sites are also discussed. [ABSTRACT FROM AUTHOR]

A floating signage which means optical images are floating in the air is one of the useful ways to attract people's attention. Since 2019, our research group proposed unidirectional observable aerial signage display using thin film layers or dye-dopedoptical prisms to avoid mirrored imaging problem which means observers end up watching wrong messages or images from back side. In this paper, the authors describe the aero signage using quasi-spatial floating image and how to generate floating images using optical illusion and to control light paths. [ABSTRACT FROM AUTHOR]

Ambiguous optical illusions have been a paradigmatic object of fascination, research and inspiration in arts, psychology and video games. However, accurate computational models of perception of ambiguous figures have been elusive. In this paper, we design and train a deep neural network model to simulate human perception of the Necker cube, an ambiguous drawing with several alternating possible interpretations. Defining the weights of the neural network connection using a quantum generator of truly random numbers, in agreement with the emerging concepts of quantum artificial intelligence and quantum cognition, we reveal that the actual perceptual state of the Necker cube is a qubit-like superposition of the two fundamental perceptual states predicted by classical theories. Our results finds applications in video games and virtual reality systems employed for training of astronauts and operators of unmanned aerial vehicles. They are also useful for researchers working in the fields of machine learning and vision, psychology of perception and quantum–mechanical models of human mind and decision making.

Reflection and transparency are two valuable properties associated with the use of glass as an architectural material. While proponents of modernism favored transparency over reflection, whether in its physical or conceptual implications, to justify the designs of façades of Modernist buildings and in architectural criticism, contemporary architects are revisiting the neglected trait of ‘reflection’. Taking advantage of the technological advances in glass and other materials that have taken reflection to new limits, they are able to design reflective façades, providing new implications and significance. This paper aims to fill the theoretical gap that arises from the different conceptual ideas of using reflective façades. It will also explore the implications intended by architects to be perceived by viewers, thereby facilitating the future use of these façades in a way that satisfies architects and attracts beholders. The research methodology employed thematic analysis of various experiences of the use of reflective façades in different buildings with diverse functions and locations. The vocabulary used by architects and their intended implications were analyzed, coded, and categorized under three main themes: ‘Aesthetics of Disappearance’, ‘Games of Optical Illusions’, and ‘Mystery and Arousing Curiosity’.

Optical illusion refers to the phenomenon in which the scene observed by the human eye is not completely consistent with the objectively presented scene. Optical illusions in stomatology, as well as their clinical application, are demonstrated in this paper in terms of shade, shape and aesthetic design. Shade is not only affected by the optical illusions with which it is associated, such as color metamerism, color constancy and the Chevreul illusion, but also influenced by the surroundings. It is suggested that the surrounding lighting during veneering should be the same as that during color matching in the clinic. As indicated by the Poggendorf illusion and the Leaning Tower illusion, the practice should be conducted and checked from multiple perspectives to compensate for the limitation of human eyes, such as intraoral scanning. Other digital technologies, including digital facial scanning and cephalometric measurement, could be used to reduce the subjective influence of observation. In terms of esthetic design, the interaction of the part and the whole, suggested by Ebbinghaus illusion, should be considered: an individual harmony smile should be designed considering the characteristics of the personality and the features of the face, lips, teeth and gingiva of the patient. Furthermore, personal information, such as gender and age, should be taken into consideration in beautification presentation. Further research should be focused on the influence of optical illusions in stomatology in more details. More communication among doctors, technicians and patients is needed. Clinicians should be aware of the impact of optical illusions to reduce subjective bias in clinical standardized operations and further take advantage of optical illusions to create beautification presentations of dental restorations and smiles.

• 3D crosswalks use optical illusions to provoke the perception of a three-dimensional crosswalk from a car driver perspective. • While several 3D crosswalks have been painted worldwide, their impact on perceived road safety has not been investigated. • We investigated perceived safety of car drivers and pedestrians around a 3D crosswalk in Myanmar in a questionnaire survey. • Surveyed road users compare the 3D crosswalk favorably to traditional crosswalks. • Many road users talk to friends and family about the crosswalk, underlining its potential as a road safety marketing tool. Facilitating safe pedestrian road crossings is a major prerequisite for safe urban environments. In multiple cities around the world, 3D crosswalks have been painted, which provoke an optical illusion, of e.g., a crosswalk floating above the road, in car drivers who approach the crosswalk. However, to date, no detailed study of road users' safety related perceptions on 3D crosswalks has been conducted. Hence, we investigated car drivers' and pedestrians' perceptions of a 3D crosswalk, and how they rate its safety in comparison to traditional (non-3D illusion) crosswalks. In an on-site questionnaire survey, we interviewed 201 pedestrians and 102 car drivers in the direct vicinity of a newly painted 3D crosswalk located in Yangon, Myanmar. Our results show that only 53.9 % of the car drivers report to have consciously perceived the 3D effect of the crosswalk. Nonetheless, both, pedestrians and car drivers rate the 3D crosswalk as safer for road crossing than a traditional crosswalk. A high share of pedestrians (43.3 %) report taking a detour to use the 3D crosswalk for road crossing. Approximately one third (31.3 %) of pedestrians and 48.0 % of car drivers interviewed have talked to their friends about the 3D crosswalk, indicating a high potential for using 3D crosswalks as a marketing tool for road safety actors to generate attention for pedestrian safety. Unrelated to our main research question, we found that pedestrians prefer to cross in groups, as it increases the perceived likelihood of cars yielding to them. Overall, the data points to significant increases in the perceived safety of drivers as well pedestrians around the 3D crosswalk. Future studies need to investigate how these perceptions translate to actual safety related behavior. [ABSTRACT FROM AUTHOR]

Making inferences in communication is a highly context-dependent endeavor. Previous research found cultural variations for context-sensitivity as well as for communication comprehension. However, the relative impact of culture and context-sensitivity on communication comprehension has not been investigated so far. The current study aimed at investigating this interplay and tested 4- and 6-year-old children from Germany (n = 132) and China (n = 129). Context-sensitivity was measured with an adapted version of the Ebbinghaus illusion. In this task, children have to discriminate the size of two target circles that only appear to be of similar size due to context circles surrounding the target circles. As expected, performance scores indicated higher degrees of context-sensitivity in Chinese compared to German children and that 6-year-olds were more context-sensitive than 4-year-olds. Further, in an object-choice communication-comprehension task, children watched videos with puppets performing every-day activities (e.g., pet care) and had to choose between two options (e.g., dog or rabbit). A puppet expressed what she wanted either directly ("I want the rabbit") or indirectly ("I have a carrot"). The children had to choose one option to give to the puppet. In both cultures, 6-year-olds outperformed 4-year-olds and children understood direct communication better than indirect communication. Culture was found to affect children's processing speed of direct communication. Moreover, culture influenced children's context-sensitivity while context-sensitivity influenced children's accuracy in the indirect (but not the direct) communication task. These findings demonstrate that taking context into account is especially important when we are confronted with indirect communication. [ABSTRACT FROM AUTHOR]

Light makes our surroundings visible to us. Vision plays a substantial role in how we access our environment and make sense of it. Yet, the understanding of light vision suffers from the discrepancy between physical and perceptual facts. This contribution questions the rationale of how knowledge and truth are generated. Language may often not be adequate to activate and guide all of our senses whereas artworks, especially light art, may evoke thoughts and demonstrate experiences (of perceptual processes) that open up reflective attitudes on reality’s subjectiveness. In this essay, the original physical artwork can only be displayed as a representation. Printing light as images is in itself an experiment in knowledge production, a subjective experience. The imagery maps the light and colour effect of the artwork and invites the viewer to trace the installation’s experience as well as to try out the after-image effect and optical illusion, examining knowledge along the way.

The geometric principle of a new 3D optical illusion, which we refer to as the 'rising object illusion,' is presented. In this illusion, a horizontally lying columnar object rises vertically in a mirror, although the mirror stands vertically, and consequently the horizontal directions in the real world remain horizontal in the mirror. Actually, the illusion object is a picture of the original columnar object expanded by 1.41 (square root of two) in the direction of the axis and placed horizontally. This visual effect occurs only when the axis of the object is directed toward the viewer, and the viewer sees the object with a 45 ∘ -downward orientation. [ABSTRACT FROM AUTHOR]

This paper studies the well-known mathematical model's analytical wave solutions (modified Benjamin–Bona–Mahony (BBM) equation), which demonstrates the propagation of long waves in the nonlinear dispersive media in a visual illusion. Six recent analytical and semi-analytical schemes (extended simplest equation (ESE) method, modified Kudryashov (MKud) method, sech–tanh expansion method, Adomian decomposition (ADD) method, El Kalla (EK) expansion method, variational iteration (VI) method) are applied to the considered model for constructing abundant analytical and semi-analytical novel solutions. This variety of solutions aims to investigate the analytical techniques' accuracy by calculating the absolute error between analytical and semi-analytical solutions that shows the matching between them. The analytical results are sketched through two-dimensional (2D), three-dimensional (3D), contour plot, spherical plot and polar plot. The stability characterization of the analytical solutions is investigated through the Hamiltonian system's features. The originality and novelty of this paper are discussed, along with previously published papers. [ABSTRACT FROM AUTHOR]

Sensation (the reflection of past experience in the mind) is the reflection of the brain on the individual attributes of objective things that directly act on the sense organs. Feeling is the most elementary cognitive process and the simplest psychological phenomenon. Vision is a kind of sense, and sense is produced by objective things acting on the sense organs. But at present, it is rare to analyze interior design exhibition from the perspective of visual psychology, an emerging science, as an interdisciplinary attempt, only in interior design research. Therefore, the study of sensory process should start from its external stimuli, in order to first understand how it acts on the sensory organs to produce sensory phenomena. This paper mainly studies the visual performance of psychological factors in interior design under the background of artificial intelligence. This paper proposes a K-means clustering algorithm and a localization algorithm fused with visual and inertial navigation. The distance thresholds corresponding to the SIFT feature descriptors of threshold T1, 128D, 96D, 64D, and 32D are 170, 160, 150, and 90, respectively. This verifies that the candidate image with the highest number of matching points is considered the best matching image. [ABSTRACT FROM AUTHOR]

This work surveyed how the Mach band effect was mentioned in the dental literature and provided a qualitative assessment of diagnostic relevance and interfaces covered. PubMed, Scopus, and Google Scholar were queried in mid-Jan 2022. The search string was ("mach band effect" OR "mach effect") AND (dental OR oral OR tooth OR teeth OR maxillofacial OR orofacial). All publications returned by the searches were screened. Exclusion criteria included irrelevance (e.g., dealing with "Mach effect" that was non-radiographic or non-dental) and not written in English. Reference lists of returned publications were manually searched to identify potentially missed papers. For each included publication, the following parameters were recorded: any presentation of radiographic images showing a Mach band effect, direct investigation of the effect, relevance to which structural interfaces, diagnostic relevance, and in which parts of the publication Mach band effect was mentioned. Seventy-seven publications were included and analyzed. The majority of the publications mentioned the Mach band effect in the Discussion section about its diagnostic relevance to caries detection at the enamel-dentinal junction and the interface between restorative material and tooth structure. Eight of them presented radiographic images showing a Mach band effect. Three of them investigated the Mach band effect. Dental publications seldom covered the Mach band effect. When they covered it, most of them only mentioned it in the Discussion section without actually investigating it. [ABSTRACT FROM AUTHOR]

Copyright of BRAC: Barcelona, Research, Art, Creation is the property of BRAC: Barcelona, Research, Art, Creation and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Resolution for displays are increasing from 4K-UHD to 8K-Full UHD. We conducted a subjective image quality evaluation to compare the image quality between 4 and 8 K by using diverse image stimuli. As a result, we identified perceptual and cognitive characteristics that can be demonstrated in image quality above 8 K. Cognitive and synesthetic factors as well as perceptual factors, and color expression were improved in 8 K image quality. The research findings suggested that both perceptual and cognitive factors are reinforced in 8 K. This tendency was even more reinforced when the main object was placed within the image. Also, the contrast and vividness felt higher at 8 K, of which the vividness influenced the cognitive evaluation of the 8 K image quality. When compared with 4 K, the image quality above 8 K was accompanied by optical illusion, which in turn improved the understanding of the main object. These results suggest that cognitive evaluations for a comprehensive understanding of images may be strengthened at a very high resolution of 8 K or higher beyond the ‘presence’ of 4 K resolution.

Architects and designers communicate their ideas within a range of representational methods. No single instance of these methods, either in the form of orthographic projections or perspectival representation, can address all questions regarding the design, but as a whole, they demonstrate a comprehensive range of information about the building or object they intend to represent. This explicates an inevitable degree of deficiency in representation, regardless of its type. In addition, perspective-based optical illusions manipulate our spatial perception by deliberately misrepresenting the reality. In this regard, they are not new concepts to architectural representation. As a consequence, Optically Illusive Architecture (OIA) is proposed, not as a solution to fill the gap between the representing and represented spaces, but as a design paradigm whose concept derives from and accounts for this gap. By OIA we aim to cast light to an undeniable role of viewpoints in designing architectural spaces. The idea is to establish a methodology in a way that the deficiency of current representational techniques—manifested as specific thread of optical illusions—flourishes into thoughtful results embodied as actual architectural spaces. Within our design paradigm, we define a framework to be able to effectively analyze its precedents, generate new space, and evaluate their efficiencies. Moreover, the framework raises a hierarchical set of questions to differentiate OIA from a visual gimmick. Furthermore, we study two OIA-driven environments, by conducting empirical studies using Virtual Reality (VR). These studies bear essential information, in terms of design performance, and the public's ability to engage and interact with an OIA space, prior to the actual fabrication of the structures. [ABSTRACT FROM AUTHOR]

According to logical psychologism that was popular in the nineteenth century, logic was regarded as a natural ability of human psychology. Consequently, the logical competence as a realization of logic knowledge was treated as one of the innate features of human thinking. Nevertheless, within cognitive science it was experimentally proved that our thinking is not free from cognitive biases and to the same extent our reasoning is not free from logical fallacies. Hence, we are forced to consciously clear the thinking of possible distortions to follow logical norms and to realize the logical competence thereby. In the paper, it is shown that some cognitive biases are observed even at the level of cellular reactions to the environment and then at the level of animal behavior. Therefore not logic, but cognitive biases are a natural (biological) mechanism of human thinking. So, the problem of defining the logical competence arises. In this paper, there are some arguments that the logical competence has once appeared as an especial social practice and it has then been developed for a long time before the first treatises on logic. [ABSTRACT FROM AUTHOR]

Copyright of Artnodes is the property of Universitat Oberta de Catalunya and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

This article points out how a driver might misperceive the curvature of a road curve if the curve is combined with a slope change that the driver does not recognize. We investigated the relationship between the apparent curvature of a road and the change of the slope, and clarified the difference between the perceived curvature and the actual curvature when the driver mistakenly believes that the slope is constant. Curves are typical road structures on which traffic accidents occur frequently, and the main cause of these accidents is regarded as excessive speed due to driver carelessness. The results of this study suggest one possible reason why drivers travel too fast on curves. Other aspects of the optical illusion that cause misperception of the curvature are also touched upon. [ABSTRACT FROM AUTHOR]

We studied the mechanism causing the fluttering-heart illusion in which the motion of an inner figure appears unsynchronized compared with that of the outer figure surrounding it although the motion of both figures is objectively synchronized in reality. Experiment 1 examined the effect of edges' luminance contrasts. The illusion was measured under conditions where the luminance contrasts of the outer and inner figures' edges were varied. The results indicated that the illusion occurred when the outer figure's edge had a high luminance contrast and the inner figure's edge had a low luminance contrast and that the illusion was reversed when the outer figure's edge had a low luminance contrast and the inner figure's edge had a high luminance contrast. Experiment 2 examined the effect of the first- and second-order edges. The illusion was measured under conditions where the first- and second-order edges coexisted or only the first-order edges existed. The results indicated that the illusion occurred when the outer figure had the first-order edge and the inner figure had the second-order edge, and that the illusion was reversed when the outer figure had the second-order edge and the inner figure had the first-order edge. These findings supported the hypothesis that the different latencies of edge detection cause the fluttering-heart illusion. [ABSTRACT FROM AUTHOR]

Linet Sanchez creates miniature buildings and rooms she then documents through photography. These fictitious spaces are photographed to appear realistic and monumental in scale. Before knowing this, though, viewers can project their memories and lived experiences onto these constructed environments, influenced by Sanchez's use of materials, lighting, and perspective. However, the illusion is not perfect, and the longer one engages with the art, hints emerge about its artifice. The way viewers interact with these photos emulates how information and memories can be misconstrued and re-presented as real. [ABSTRACT FROM AUTHOR]

Resolution for displays are increasing from 4K-UHD to 8K-Full UHD. We conducted a subjective image quality evaluation to compare the image quality between 4 and 8 K by using diverse image stimuli. As a result, we identified perceptual and cognitive characteristics that can be demonstrated in image quality above 8 K. Cognitive and synesthetic factors as well as perceptual factors, and color expression were improved in 8 K image quality. The research findings suggested that both perceptual and cognitive factors are reinforced in 8 K. This tendency was even more reinforced when the main object was placed within the image. Also, the contrast and vividness felt higher at 8 K, of which the vividness influenced the cognitive evaluation of the 8 K image quality. When compared with 4 K, the image quality above 8 K was accompanied by optical illusion, which in turn improved the understanding of the main object. These results suggest that cognitive evaluations for a comprehensive understanding of images may be strengthened at a very high resolution of 8 K or higher beyond the 'presence' of 4 K resolution. [ABSTRACT FROM AUTHOR]

In its current, popular manifestation, Virtual Reality (VR) represents the culmination of more than two centuries of screen practice aimed at creating greater immersion. VR's optical illusions produce an expanded multisensory immersive experience that enhances the viewer's interior position within new space. This article questions where embodiment and disembodiment lie in VR's multisensory optical illusion and whether there is a difference produced by the digital environment versus the photographic, live-action environment? It takes into account our present moment in the history of VR during which the fantasy of total bodily engagement and transference into the "machine" has not yet occurred. In doing so, this article considers the way VR uses synesthetic modes rather than direct sensory stimuli to engage more of the senses. [ABSTRACT FROM AUTHOR]