Study of stereopsis using a depth sensation detection platform equipped with computer vision technology (DALE3D) / Estudio de estereopsis mediante una plataforma de detección de sensaciones de profundidad equipada con tecnología de visión por ordenador (DALE3D)

Background and objectives: The invention described herein is a prototype based on computer vision technology that measures depth perception and is intended for the early examination of stereopsis. Materials and methods: The prototype (software and hardware) is a depth perception measurement system that consists on: (a) a screen showing stereoscopic models with a guide point that the subject must point to; (b) a camera capturing the distance between the screen and the subject's finger; and (c) a unit for recording, processing and storing the captured measurements. For test validation, the reproducibility and reliability of the platform were calculated by comparing results with standard stereoscopic tests. A demographic study of depth perception by subgroup analysis is shown. Subjective comparison of the different tests was carried out by means of a satisfaction survey. Results: We included 94 subjects, 25 children and 69 adults, with a mean age of 34.2 ± 18.9 years; 36.2 % were men and 63.8 % were women. The DALE3D platform obtained good repeatability with an interclass correlation coefficient (ICC) between 0.94 and 0.87, and coefficient of variation (CV) between 0.1 and 0.26. Threshold determining optimal and suboptimal results was calculated for Randot and DALE3D test. Spearman's correlation coefficient, between thresholds was not statistically significant (p value > 0.05). The test was considered more visually appealing and easier to use by the participants (90 % maximum score). Conclusions: The DALE3D platform is a potentially useful tool for measuring depth perception with optimal reproducibility rates. Its innovative design makes it a more intuitive tool for children than current stereoscopic tests. Nevertheless, further studies will be needed to assess whether the depth perception measured by the DALE3D platform is a sufficiently reliable parameter to assess stereopsis.(AU)

Study of stereopsis using a depth sensation detection platform equipped with computer vision technology (DALE3D).

BACKGROUND AND OBJECTIVES: The invention described herein is a prototype based on computer vision technology that measures depth perception and is intended for the early examination of stereopsis. MATERIALS AND METHODS: The prototype (software and hardware) is a depth perception measurement system that consists on: (a) a screen showing stereoscopic models with a guide point that the subject must point to; (b) a camera capturing the distance between the screen and the subject's finger; and (c) a unit for recording, processing and storing the captured measurements. For test validation, the reproducibility and reliability of the platform were calculated by comparing results with standard stereoscopic tests. A demographic study of depth perception by subgroup analysis is shown. Subjective comparison of the different tests was carried out by means of a satisfaction survey. RESULTS: We included 94 subjects, 25 children and 69 adults, with a mean age of 34.2 ± 18.9 years; 36.2 % were men and 63.8 % were women. The DALE3D platform obtained good repeatability with an interclass correlation coefficient (ICC) between 0.94 and 0.87, and coefficient of variation (CV) between 0.1 and 0.26. Threshold determining optimal and suboptimal results was calculated for Randot and DALE3D test. Spearman's correlation coefficient, between thresholds was not statistically significant (p value > 0.05). The test was considered more visually appealing and easier to use by the participants (90 % maximum score). CONCLUSIONS: The DALE3D platform is a potentially useful tool for measuring depth perception with optimal reproducibility rates. Its innovative design makes it a more intuitive tool for children than current stereoscopic tests. Nevertheless, further studies will be needed to assess whether the depth perception measured by the DALE3D platform is a sufficiently reliable parameter to assess stereopsis.

Reversing the eyes and reverse perspectives: Pseudoscopic amplification of reverspectives.

Stereoscopic photographs of works in reverse perspective do not reveal their three-dimensional structure whereas pseudoscopic photographs enhance the apparent depth effects.

Binocular portraiture.

Pictorial portraits are viewed with two eyes despite the fact that they are mostly monocular: they have been produced from a single viewpoint (either by painters or photographers). The differences between the images on each eye are a consequence of the separation between them rather than differences in two pictorial images. Viewing with two eyes detracts from the monocular cues to depth within the singular portrait because of information for the flatness of the pictorial surface. Binocular portraits, on the other hand, incorporate differences between two pictorial images producing perceptual effects that cannot be seen by a single eye alone. The differences can consist of small disparities that yield stereoscopic depth or large ones that produce binocular rivalry. Binocular portraits require viewing with a stereoscope, many varieties of which exist. Those shown here are anaglyphs which can be observed through red/cyan filters. They are not conventional stereoscopic portraits where the sitter is imaged from two slightly different locations. Rather, the binocular processes of cooperation (stereoscopic depth perception) and competition (binocular rivalry) are manipulated in the binocular portraits. The subjects shown in the anaglyphic portraits have been involved in the science and art of binocular vision.

On the Art of Binocular Rivalry.

Binocular rivalry has a longer descriptive history than stereoscopic depth perception both of which were transformed by Wheatstone's invention of the stereoscope. Thereafter, artistic interest in binocular vision has been largely confined to stereopsis. A brief survey of research on binocular contour rivalry is followed by anaglyphic examples of its expression as art. Rivalling patterns can be photographs, graphics, and combinations of them. In addition, illustrations of binocular lustre and interactions between rivalry and stereopsis are presented, as are rivalling portraits of some pioneers of the science and art of binocular vision. The question of why a dynamic process like binocular rivalry has been neglected in visual art is addressed.

Helmholtz at 200.

Hermann von Helmholtz was born 200 years ago, but his influence on vision research is enduring. His legacy in vision is celebrated visually with anaglyphs that combine portraits of him with illustrations from his publications. Emphasis is directed principally to his Treatise on Physiological Optics. Among the optical instruments Helmholtz invented were the ophthalmoscope, ophthalmometer, and telestereoscope. Mention is made of his investigations into accommodation, colour vision, eye movements, stereoscopic vision, binocular rivalry, and lustre. Helmholtz also presented his analyses of vision and art in several of his Popular Lectures.

On Stereoscopic Art.

Pictorial art is typically viewed with two eyes, but it is not binocular in the sense that it requires two eyes to appreciate the art. Two-dimensional representational art works allude to depth that they do not contain, and a variety of stratagems is enlisted to convey the impression that surfaces on the picture plane are at different distances from the viewer. With the invention of the stereoscope by Wheatstone in the 1830s, it was possible to produce two pictures with defined horizontal disparities between them to create a novel impression of depth. Stereoscopy and photography were made public at about the same time and their marriage was soon cemented; most stereoscopic art is now photographic. Wheatstone sought to examine stereoscopic depth without monocular pictorial cues. He was unable to do this, but it was achieved a century later by Julesz with random-dot stereograms The early history of non-photographic stereoscopic art is described as well as reference to some contemporary works. Novel stereograms employing a wider variety of carrier patterns than random dots are presented as anaglyphs; they show modulations of pictorial surface depths as well as inclusions within a binocular picture.

Treatment and compliance with virtual reality and anaglyph-based training programs for convergence insufficiency.

BACKGROUND: Convergence insufficiency may be treated by visual exercises designed to increase convergence while maintaining single, clear, binocular vision. However, compliance with treatment is problematic, as patients often cease treatment when symptoms start to improve and before treatment is complete. The purpose of the present study was to assess the feasibility of using gamification of vision training to: (a) treat convergence insufficiency; and (b) improve compliance to treatment in comparison to a conventional treatment over a six-week treatment period. METHODS: Two interventions, anaglyphs and a virtual reality game of Snakes, were evaluated for their effectiveness in treating adults with convergence insufficiency. The prescribed training regimen was 20 minutes, three times per week for six weeks. Vision was assessed before and after the treatment period. Participants also filled in the Core Elements of the Gaming Experience Questionnaire to gauge impact of game design on compliance. RESULTS: Eighteen participants (mean age 20.8 ± 1.8 years) met the inclusion criteria for convergence insufficiency and nine participants were randomly assigned to each intervention. Repeated measures analysis of variance showed a significant effect of visit for near point of convergence (F1,16 = 38.32, p < 0.0001), near positive fusional reserves break (F1,16 = 21.94, p < 0.0001) and recovery (F1,16 = 26.87, p < 0.0001), but not of intervention type. Total time played was significantly longer for the virtual reality Snake Game than the anaglyph intervention (p < 0.0001), which translated to mean compliance of 82 per cent and 51 per cent respectively. CONCLUSION: Gamification of vision training in a virtual reality environment is feasible and associated with increased compliance, hence may be a useful strategy to treat convergence insufficiency.

Visual asymmetries for relative depth judgments in a three-dimensional space.

Our ability to process information about an object's location in depth varies along the horizontal and vertical axes. These variations reflect functional specialisation of the cerebral hemispheres as well as the ventral/dorsal visual streams for processing stimuli located in near and far space. Prior research has demonstrated visual field superiorities for processing near space in the lower and right hemispaces and for far space in the upper and left hemispaces. No research, however, has directly tested whether the functional specialisation of the visual fields actually makes objects look closer when presented in the lower or right visual fields. To measure biases in the perception of depth, we employed anaglyph stimuli where participants made closer/further judgments about the relative location of two spheres in a three-dimensional virtual space. We observed clear processing differences in this task where participants perceived the right and lower spheres to be closer and the left and upper spheres to be further away. Furthermore, no relationship between the horizontal and vertical dimensions was observed suggesting separate cognitive/neural mechanisms. Not only does this methodology clearly demonstrate differences in perceived depth across the visual field, it also opens up many possibilities for studying functional asymmetries in three-dimensional space.