Chapter 7 - Illusions of Depth and of DistanceDepth and DistanceDon't look back. You're not going that way. - Barbara Johnson
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  1   2   Chapter 7 - Illusions of Depth and of Distance
H. A. Carr on Optical Illusions of Distance, Motion and Movement

Chapter 7 - Illusions of Depth and of Distance
Depth and Distance

Chapter 7 - Illusions of Depth and of DistanceDepth and Distance
A Random Illusion
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Besides the so-called geometrical optical illusions discussed in the preceding chapters, there is an interesting group in which the perception of the third dimension is in error. When any of the ordinary criteria of relief or of distance are apparently modified, optical illusions of this kind are possible. There are many optical illusions of this sort, such as the looming of objects in a fog; the apparent enlargement of the sun and moon near the horizon; the flattening of the "vault" of the sky; the intaglio seen as relief; the alteration of relief with lighting; and various changes in the landscape when regarded with the head inverted.

Although some of the criteria for the perception of depth or of distance have already been pointed out, especially in Chapter III, these will be mentioned again. Distance or depth is indicated by the distribution of light and shade, and an unusual object like an intaglio is likely to be mistaken for relief which is more common. An analysis of the lighting will usually reveal the real form of the object. (See Fig. 70, Fig 71, Fig. 72, Fig. 73, Fig 76 and Fig 77.) In this connection it is interesting to compare photographic negatives with their corresponding positive prints.

Distance is often estimated by the definition and color of objects seen through great depths of air (aerial perspective). These distant objects are "blurred" by the irregular refraction of the light-rays through non-homogeneous atmosphere. They are obscured to some degree by the veil of brightness due to the illuminated dust, smoke, etc., in the atmosphere. They are also tinted (apparently) by the superposition of a tinted atmosphere. Thus we have "azure depths of sky," "blue peaks," "dim distance," etc., represented in writings, paintings, and photographs. Incidentally, the sky above is blue for the same general reasons that the atmosphere, intervening between the observer and a distant horizon, is bluish. The ludicrous errors made in estimating distances in such regions as the Rockies is usually accounted for by the rare clearness and homogeneity of the atmosphere. However, is the latter a full explanation? To some extent we judge unknown size by estimated distance, and unknown distance by estimated size. When a person is viewing a great mountain peak for the first time, is he not likely to assume it to be comparable in size to the hills with which he has been familiar? Even by allowing considerable, is he not likely to greatly underestimate the size of the mountain and, as a direct consequence, to underestimate the distance proportionately? This incorrect judgment would naturally be facilitated by the absence of "dimness" and "blueness" due to the atmospheric haze.

Angular perspective, which apparently varies the forms of angles and produces the divergence of lines, contributes much information in regard to relative and absolute distances from the eye of the various objects or the parts of an object. For example, a rectangle may appear as a rhomboid. It is obvious that certain data pertaining to the objects viewed must be assumed, and if the assumptions are incorrect, optical illusions will result. These judgments also involve, as most judgments do, other data external to the objects viewed. Perhaps these incorrect judgments are delusions rather than optical illusions, because visual perception has been deluded by misinformation supplied by the intellect.

Size or linear perspective is a factor in the perception of depth or of distance. As has been stated, if we know the size experience determines the distance; and conversely, if we know the distance we may estimate the size. Obviously estimates are involved and these when incorrect lead to false perception or interpretation.

As an object approaches, the axes of the eyes converge more and more and the eye-lens must be thickened more and more to keep the object in focus. As stated in Chapter III, we have learned to interpret these accompanying sensations of muscular adjustment. This may be demonstrated by holding an object at an arm's length and then bringing it rapidly toward the eyes, keeping it in focus all the time. The sensations of convergence and accommodation are quite intense.

The two eyes look at a scene from two different points of view respectively and their images do not perfectly agree, as has been shown in Fig. 2 and Fig. 3. This binocular disparity is responsible to some degree for the perception of depth, as the stereoscope has demonstrated. If two spheres of the same size are suspended on invisible strings; one at six feet, the other at seven feet away, one eye sees the two balls in the same plane, but one appears larger than the other. With binocular vision the balls appear at different distances, but judgment appraises them as of approximately equal size. At that distance the focal adjustment is not much different for both balls, so that the muscular movement, due to focusing the eye, plays a small part in the estimation of the relative distance. Binocular disparity and convergence are the primary factory.

Some have held that the perception of depth, that is, of a relative distance, arises from the process of unconsciously running the point of sight back and forth. However, this view, unmodified, appears untenable when it is considered that a scene illuminated by a lightning flash (of the order of magnitude of a thousandth of a second) is seen even in this brief moment to have depth. Objects are seen in relief, in actual relation as to distance and in normal perspective, even under the extremely brief illumination of an electric spark (of the order of magnitude of one twenty-thousandth of a second). This can also be demonstrated by viewing stereoscopic pictures with a stereoscope, the illumination being furnished by an electric spark. Under these circumstances relief and perspective are quite satisfactory. Surely in these brief intervals the point of sight cannot do much surveying of a scene.

Parallax aids in the perception of depth or distance. If the head be moved laterally the view or scene changes slightly. Objects or portions of objects previously hidden by others may now become visible. Objects at various distances appear to move nearer or further apart. We have come to interpret these apparent movements of objects in a scene in terms of relative distances; that is, the relative amount of parallactic displacement is a measure of the relative distances of the objects.

The relative distances or depth locations of different parts of an object can be perceived as fluctuating or even reversing. This is due to fluctuations in attention, and optical illusions of reversible perspective are of this class. It is quite impossible for one to fix his attention in perfect continuity upon any object. There are many involuntary eye-movements which cannot be overcome and under normal conditions certain details are likely to occupy the focus of attention alternately or successively. This applies equally well to the auditory sense and perhaps to the other senses. Emotional coloring has much to do with the fixation of attention; that which we admire, desire, love, hate, etc., is likely to dwell more in the focus of attention than that which stirs our emotions less.

A slight suggestion of forward and backward movements can be produced by successively intercepting the vision of one eye by an opaque card or other convenient object.It has been suggested that the optical illusion is due to the consequent variations in the tension of convergence. Third dimensional movements may be produced for binocular or monocular vision during eye-closure. They are also produced by opening the eyes as widely as possible, by pressure on the eye-balls, and by stressing the eyelids. However, these are not important and are merely mentioned in passing.

An increase in the brightness of an object is accompanied by an apparent movement toward the observer, and conversely a decrease in brightness produces an apparent movement in the opposite direction. These effects may be witnessed upon viewing the glowing end of a cigar which is being smoked by some one a few yards away in the darkness. Rapidly moving thin clouds may produce such an effect by varying the brightness of the moon. Some peculiar impressions of this nature may be felt while watching the flashing light of some light-houses or of other signaling stations. It has been suggested that we naturally appraise brighter objects as nearer than objects less bright. However, is it not interesting to attribute the apparent movement to irradiation? (See Chapter VIII.) A bright object appears larger than a dark object of the same size and at the same distance. When the same object varies in brightness it remains in consciousness the same object and therefore of constant size; however, the apparent increase in size as it becomes brighter must be accounted for in some manner and there is only one way open. It must be attributed a lesser distance than formerly and therefore the sudden increase in brightness mediates a consciousness of a movement forward, that is, toward the observer.

If two similar objects, such as the points of a compass, are viewed binocularly and their lateral distance apart is altered, the observer is conscious of a third dimensional movement. Inasmuch as the accommodation is unaltered but convergence must be varied as the lateral distance between the two, the explanation of the optical illusion must consider the latter. The pair of compass-points are very convenient for making a demonstration of this pronounced optical illusion. The relation of size and distance easily accounts for the optical illusion.

Obviously this type of optical illusion cannot be illustrated effectively by means of diagrams, so the reader must be content to watch for them himself. Some persons are able voluntarily to produce illusory movements in The third dimension, but such persons are rare. Many persons have experienced involuntary optical illusions of depth. Carr found, in a series of classes comprising 350 students, 58 persons who had experienced involuntary depth optical illusions at some time in their lives. Five of these also possessed complete voluntary control over the phenomenon. The circumstances attending optical illusions of depth are not the same for various cases, and the optical illusions vary widely in their features.

  1   2   Chapter 7 - Illusions of Depth and of Distance
H. A. Carr on Optical Illusions of Distance, Motion and Movement

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About This Book Preface Chap 1, Introduction Chap 2, The Eye Chap 3, Vision Chap 4, Geometrical Chap 5, Figures Chap 6, Angles Chap 7, Depth/Distance Chap 8 Brightness/Contrast Chap 9, Color Chap 10, Lighting Chap 11, Nature Chap 12, Painting/Decorating Chap 13, Architecture Chap 14, Magic Mirror Chap 15, Camouflage

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