Volume 3 addresses depth-perception mechanisms other than stereopsis. It starts by reviewing monocular cues to depth, including accommodation, vergence, perspective, interposition, shading, and motion parallax. Constancies, such as the ability to perceive the sizes and shapes of objects as they move are reviewed. The ways in which different depth cues interact are discussed. One chapter reviews information used to perceive motion in depth. Pathologies of depth perception, including stereoanomalies and albanism are reviewed. Visual depth-perception mechanisms through the animal kingdom are reviewed together with a discussion of the evolution of stereoscopic vision. The next chapter describes how visual depth perception guides movements of the hand and body. The next three chapters review non-visual mechanisms of depth perception, including auditory localization, echolocation in bats and marine mammals, the lateral-line system of fish, electrolocation, and heat-sensitive sense organs. The volume ends with a discussion of mechanisms used by animals to navigate.

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 2 addresses stereoscopic vision in cats and primates, including humans. It begins with an account of the physiology of stereoscopic mechanisms. It then deals with binocular rivalry, binocular summation, binocular masking, and the interocular transfer of visual effects, such as the motion aftereffect and visual learning. The geometry of the region in binocular space that creates fused images (the horopter) is discussed in some detail. Objects outside the horopter produce images with binocular disparities that are used for stereoscopic vision. Two chapters provide accounts of mechanisms that bring the images into binocular register and of stimulus tokens that are used to detect binocular disparities. Another chapter discusses cyclopean effects, such as cyclopean illusions, cyclopean motion, and binocular direction that are seen only with binocular vision. Stereoacuity is the smallest depth interval that can be detected. Methods of measuring stereoacuity and factors that influence it are discussed. Two chapters deal with the various types of binocular disparity and the role of each type in stereoscopic vision. Another chapter deals with visual effects, such as figure perception, motion perception, and whiteness perception that are affected by the relative distances of stimuli. The spatiotemporal aspects of stereoscopic vision, including the Pulfrich stereomotion effect are reviewed. The volume ends with an account of techniques used to create stereoscopic displays and of the applications of stereoscopy.

Volume 2 addresses stereoscopic vision. It starts with the physiology of stereoscopic mechanisms. It then deals with binocular rivalry, binocular summation, and interocular transfer. A review of how images are brought into binocular register is followed by a review of stimulus tokens used to detect disparities. Cyclopean effects, such as cyclopean illusions, cyclopean motion, texture segregation, and binocular direction are reviewed. Factors that influence stereoacuity are discussed. Two chapters describe how stimuli in distinct depth planes produce contrast effects, and affect motion perception and whiteness perception. The Pulfrich stereomotion effect and perception of motion in depth are reviewed. The volume ends with a review of applications of stereoscopy.

The discipline of human factors and ergonomics (HF/E) is concerned with the design of products, process, services, and work systems to assure their productive, safe and satisfying use by people. Physical ergonomics involves the design of working environments to fit human physical abilities. By understanding the constraints and capabilities of the human body and mind, we can design products, services and environments that are effective, reliable, safe and comfortable for everyday use. This book focuses on the advances in the physical HF/E, which are a critical aspect in the design of any human-centered technological system. The ideas and practical solutions described in the book are the outcome of dedicated research by academics and practitioners aiming to advance theory and practice in this dynamic and all-encompassing discipline. A thorough understanding of the physical characteristics of a wide range of people is essential in the development of consumer products and systems. Human performance data serve as valuable information to designers and help ensure that the final products will fit the targeted population of end users. Mastering physical ergonomics and safety engineering concepts is fundamental to the creation of products and systems that people are able to use, avoidance of stresses, and minimization of the risk for accidents.

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.

*Nominated for the 2016 PEN/E.O. Wilson Literary Science Writing Award* *An NBC News Notable Science Book of 2015* *Named one of Publishers Weekly's Best Books of 2015* *A Book of the Month for Brain HQ/Posit Science* *Selected by Forbes as a Must Read Brain Book of 2015* *On Life Changes Network’s list of the Top 10 Books That Could Change Your Life of 2015* In the tradition of Oliver Sacks, a tour of the latest neuroscience of schizophrenia, autism, Alzheimer’s disease, ecstatic epilepsy, Cotard’s syndrome, out-of-body experiences, and other disorders—revealing the awesome power of the human sense of self from a master of science journalism. Anil Ananthaswamy’s extensive in-depth interviews venture into the lives of individuals who offer perspectives that will change how you think about who you are. These individuals all lost some part of what we think of as our self, but they then offer remarkable, sometimes heart-wrenching insights into what remains. One man cut off his own leg. Another became one with the universe. We are learning about the self at a level of detail that Descartes (“I think therefore I am”) could never have imagined. Recent research into Alzheimer’s illuminates how memory creates your narrative self by using the same part of your brain for your past as for your future. But wait, those afflicted with Cotard’s syndrome think they are already dead; in a way, they believe that “I think therefore I am not.” Who—or what—can say that? Neuroscience has identified specific regions of the brain that, when they misfire, can cause the self to move back and forth between the body and a doppelgänger, or to leave the body entirely. So where in the brain, or mind, or body, is the self actually located? As Ananthaswamy elegantly reports, neuroscientists themselves now see that the elusive sense of self is both everywhere and nowhere in the human brain.

What Is Volumetric Display A volumetric display device is a graphic display device that forms a visual representation of an object in three physical dimensions, as opposed to the planar image of traditional screens that simulate depth through a number of different visual effects. One definition offered by pioneers in the field is that volumetric displays create 3D imagery via the emission, scattering, or relaying of illumination from well-defined regions in (x,y,z) space. How You Will Benefit (I) Insights, and validations about the following topics: Chapter 1: Volumetric display Chapter 2: Photolithography Chapter 3: Holography Chapter 4: Stereoscopy Chapter 5: Voxel Chapter 6: Tomography Chapter 7: Display device Chapter 8: Scientific visualization Chapter 9: Optical coherence tomography Chapter 10: Volume rendering Chapter 11: Light field Chapter 12: Stereo display Chapter 13: Autostereoscopy Chapter 14: HoloVID Chapter 15: Holographic display Chapter 16: Structured-light 3D scanner Chapter 17: Spinning mirror system Chapter 18: Multiscopy Chapter 19: Microscanner Chapter 20: MotionParallax3D Chapter 21: Scanning Fiber Endoscope (SFE) (II) Answering the public top questions about volumetric display. (III) Real world examples for the usage of volumetric display in many fields. (IV) 17 appendices to explain, briefly, 266 emerging technologies in each industry to have 360-degree full understanding of volumetric display' technologies. Who This Book Is For Professionals, undergraduate and graduate students, enthusiasts, hobbyists, and those who want to go beyond basic knowledge or information for any kind of volumetric display.

The four LNCS volume set 9175-9178 constitutes the refereed proceedings of the 9th International Conference on Learning and Collaboration Technologies, UAHCI 2015, held as part of the 17th International Conference on Human-Computer Interaction, HCII 2015, in Los Angeles, CA, USA in August 2015, jointly with 15 other thematically similar conferences. The total of 1462 papers and 246 posters presented at the HCII 2015 conferences were carefully reviewed and selected from 4843 submissions. These papers of the four volume set address the following major topics: LNCS 9175, Universal Access in Human-Computer Interaction: Access to today's technologies (Part I), addressing the following major topics: LNCS 9175: Design and evaluation methods and tools for universal access, universal access to the web, universal access to mobile interaction, universal access to information, communication and media. LNCS 9176: Gesture-based interaction, touch-based and haptic Interaction, visual and multisensory experience, sign language technologies and smart and assistive environments LNCS 9177: Universal Access to Education, universal access to health applications and services, games for learning and therapy, and cognitive disabilities and cognitive support and LNCS 9178: Universal access to culture, orientation, navigation and driving, accessible security and voting, universal access to the built environment and ergonomics and universal access.

Perspectives in Computing: Human and Machine Vision II compiles papers presented at the second Workshop on Human and Machine Vision held in Montreal, Canada on August 1-3, 1984. This book discusses the perception of transparency in man and machine, human image understanding, and connectionist models and parallelism in high level vision. The theory of the perceived spatial layout of scenes, generative systems of analyzers, and codon constraints on closed 2D shapes are also elaborated. This text likewise covers the environment- and viewer-centered perception of surface orientation, autonomous scene description with range imagery, and pre-attentive processing in vision. This publication is recommended for students and researchers interested in both fields of visual perception and computer vision.