A revelatory account of the brain's capacity for change When neuroscientist Susan Barry was fifty years old, she experienced the sense of immersion in a three dimensional world for the first time. Skyscrapers on street corners appeared to loom out toward her like the bows of giant ships. Tree branches projected upward and outward, enclosing and commanding palpable volumes of space. Leaves created intricate mosaics in 3D. Barry had been cross-eyed and stereoblind since early infancy. After half a century of perceiving her surroundings as flat and compressed, on that day she saw the city of Manhattan in stereo depth for first time in her life. As a neuroscientist, she understood just how extraordinary this transformation was, not only for herself but for the scientific understanding of the human brain. Scientists have long believed that the brain is malleable only during a "critical period" in early childhood. According to this theory, Barry's brain had organized itself when she was a baby to avoid double vision - and there was no way to rewire it as an adult. But Barry found an optometrist who prescribed a little-known program of vision therapy; after intensive training, Barry was ultimately able to accomplish what other scientists and even she herself had once considered impossible. Dubbed "Stereo Sue" by renowned neurologist Oliver Sacks, Susan Barry tells her own remarkable journey and celebrates the joyous pleasure of our senses.

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.

There has been growing acceptance of the insight that the methods so far used in the testing of visual functions have been inadequate when it comes to specific problems and should, therefore, be supplemented with more specialised methods for dynamic testing. As long as two decades ago, large-scale mass screening produced evidence to the effect that visual acuity, so far exclusively determined by means of still samples, was not identical with visual acuity in the ocular pursuit of moving targets (dynamic visual acuity). In other words, vision testing can, at present, provide little informa tion on an individual's capability of identification, appreciation, and judge ment of mobile objects. Spatial, three-dimensional perception of moving targets, hereafter re ferred to as dynamic stereoacuity, is the particular subject on which findings are reported in this article. Findings of that kind are of considerable relevance to everyday life, since many of the phenomena that have to be three-dimensionally perceived in private life and in occupational practice, are in movement. So far, dynamic stereoacuity has never been systematical ly studied and is still a blank space on the maps of ophthalmology and physiology. This is equally true for dynamic stereoscopy in binocular vision as well as for perception on the basis of movement parallax, a phenomenon of differentiated contour displacement within a given field of vision which is also available to the monocular individual under conditions of head or body or object movement within the visual space.

Humans rely on their sense of sight to move in their surroundings. Of the five senses, it is probably the one most used and relied upon by people, day-to-day, moment-to-moment, especially in our modern multiscreen world. In this enlightening resource, readers discover how the eye works, how images are focused on the retina, and how nerves relay signals and impulses to the brain for processing. They get not only in-depth explanations of the parts of the eye and how they function, but also detailed images of the eye's anatomical structures. In addition, common eye problems and disorders, such as myopia, hyperopia, astigmatism, colorblindness, glaucoma, macular degeneration, cataracts, and blindness, are examined.

32 high-res stereo-pairs for “crossed-eyes-viewing“ from the architecture of Berlin S3D Photography by Josef Plank & Siegfried Büker Introduction: „Not without reason, we have the ability to see stereo 3D (S3D). She made us better hunters, made us recognize predators earlier and escape from them. Why should not we use this heritage of hunter-gatherer times today at work, in leisure and entertainment, in short, wherever we visually experience the world?“ James Cameron, Director of “AVATAR” The playback possibilities of stereoscopic recordings (S3D-Content) have improved significantly due to developments in eBook software and display technologies in the 20th of the 21st century. With the standard ePub 3 and KF8 (Kindle Format 8) or also called azw3-Format, illustrated books can be published as electronic books in high quality. This is the first published application of a stereoscopic illustrated book, following research of the author. This version of "The architecture of Berlin in a stereoscopic view" is the version for "crossed-eyes-view". This viewing technique is explained below, along with other viewing techniques. The present version was designed in double page layout in DIN A4. On opening the double page, a DIN A3 image in landscape format is displayed, with the image for the right eye on the left side and the image for the left eye on the right side. The resolution of the images is adapted to the height of UHD displays with 2160p and the images are embedded as lossless .png files. This results in cinema quality in picture height of modern 4k digital cinema projectors. Due to the "book format" and the "crossed-eyes-viewing" the width is less than 4k, that is to say 2 x 1527 pixels = 3054 pixels. As color space, sRGB has been chosen so that the colors are reproduced more or less correctly even in consumer displays. The dynamic (contrast) should be more than 10 f-stops ≙ 2 to the 10th or more than 1:1000), if the display used, can meet this relatively simple requirement. These parameters leave the classic printed illustrated book behind. The quoted values call for a publication as an eBook.

Vision and the Visual System offers students, teachers, and researchers a rigorous, yet accessible account of how the brain analyzes the visual scene. Schiller and Tehovnik describe key aspects of visual perception while explaining the relationship between eye movements and the neural structures in the brain, which play a central role in how we process visual information. The book discusses various brain areas involved in processing information, focusing on the evolutionary origins and mechanics behind the several parallel pathways that compose the visual system. Later chapters explain how the nervous system processes the perception of color, motion, depth, and patterns. A variety of illusions are on display in Chapter 14, where the authors provide detailed explanations that deconstruct how the visual system operates to create them. The volume concludes with a discussion of recent attempts to build visual prosthetic devices for blind individuals, of which there are more than 40 million in the world. Vision and the Visual System is based on Professor Schiller's more than 40 years of experience teaching vision courses at MIT, and is tailored especially for college undergraduates and graduate students interested in visual perception and the operations of the visual system. The Dynamic Displays posted here for this book are short video clips that would enhance the reader to understand certain areas of vision. They are particular to the chapter they belong within (9 video clips for Chapter 11, 1 video clip for Chapter 12, and 2 video clips for Chapter 14). http://web.mit.edu/bcs/schillerlab/book.html

Zusammenfassung: This book offers a comprehensive and unbiased introduction to 3D Computer Vision, ranging from its foundations and essential principles to advanced methodologies and technologies. Divided into 11 chapters, it covers the main workflow of 3D computer vision as follows: camera imaging and calibration models; various modes and means of 3D image acquisition; binocular, trinocular and multi-ocular stereo vision matching techniques; monocular single-image and multi-image scene restoration methods; point cloud data processing and modeling; simultaneous location and mapping; generalized image and scene matching; and understanding spatial-temporal behavior. Each topic is addressed in a uniform manner: the dedicated chapter first covers the essential concepts and basic principles before presenting a selection of typical, specific methods and practical techniques. In turn, it introduces readers to the most important recent developments, especially in the last three years. This approach allows them to quickly familiarize themselves with the subject, implement the techniques discussed, and design or improve their own methods for specific applications. The book can be used as a textbook for graduate courses in computer science, computer engineering, electrical engineering, data science, and related subjects. It also offers a valuable reference guide for researchers and practitioners alike