Many current neurophysiological, psychophysical, and psychological approaches to vision rest on the idea that when we see, the brain produces an internal representation of the world. The activation of this internal representation is assumed to give rise to the experience of seeing. The problem with this kind of approach is that it leaves unexplained how the existence of such a detailed internal representation might produce visual consciousness. An alternative proposal is made here. We propose that seeing is a way of acting. It is a particular way of exploring the environment. Activity in internal representations does not generate the experience of seeing. The outside world serves as its own, external, representation. The experience of seeing occurs when the organism masters what we call the governing laws of sensorimotor contingency. The advantage of this approach is that it provides a natural and principled way of accounting for visual consciousness, and for the differences in the perceived quality of sensory experience in the different sensory modalities. Several lines of empirical evidence are brought forward in support of the theory, in particular: evidence from experiments in sensorimotor adaptation, visual \"filling in,\" visual stability despite eye movements, change blindness, sensory substitution, and color perception.

A sensorimotor account of vision and visual consciousness-Authors' Response-Acting out our sensory experience

Virtual reality: applications and implications for tourism.

This paper presents a new reflectance model for rendering computer synthesized images. The model accounts for the relative brightness of different materials and light sources in the same scene. It describes the directional distribution of the reflected light and a color shift that occurs as the reflectance changes with incidence angle. The paper presents a method for obtaining the spectral energy distribution of the light reflected from an object made of a specific real material and discusses a procedure for accurately reproducing the color associated with the spectral energy distribution. The model is applied to the simulation of a metal and a plastic.

A reflectance model for computer graphics

We propose a fast, high quality tone mapping technique to display high contrast images on devices with limited dynamic range of luminance values. The method is based on logarithmic compression of luminance values, imitating the human response to light. A bias power function is introduced to adaptively vary logarithmic bases, resulting in good preservation of details and contrast. To improve contrast in dark areas, changes to the gamma correction procedure are proposed. Our adaptive logarithmic mapping technique is capable of producing perceptually tuned images with high dynamic content and works at interactive speed. We demonstrate a successful application of our tone mapping technique with a high dynamic range video player enabling to adjust optimal viewing conditions for any kind of display while taking into account user preference concerning brightness, contrast compression, and detail reproduction.

/pdf/adaptive-logarithmic-mapping-for-displaying-high-contrast-1bph2oxtis.pdf

Adaptive Logarithmic Mapping For Displaying High Contrast Scenes

We propose a technique for fusing a bracketed exposure sequence into a high quality image, without converting to High dynamic range (HDR) first. Skipping the physically based HDR assembly step simplifies the acquisition pipeline. This avoids camera response curve calibration and is computationally efficient. It also allows for including flash images in the sequence. Our technique blends multiple exposures, guided by simple quality measures like saturation and contrast. This is done in a multiresolution fashion to account for the brightness variation in the sequence. The resulting image quality is comparable to existing tone mapping operators.

Exposure Fusion: A Simple and Practical Alternative to High Dynamic Range Photography

The ultimate aim of realistic graphics is the creation of images that provoke the same responses that a viewer would have to a real scene. This STAR addresses two related key problem areas in this effort which are located at opposite ends of the rendering pipeline, namely the data structures used to describe light during the actual rendering process, and the issue of displaying such radiant intensities in a meaningful way. The interest in the first of these subproblems stems from the fact that it is common industry practice to use RGB colour values to describe light intensity and surface reflectancy. While viable in the context of methods that do not strive to achieve true realism, this approach has to be replaced by more physically accurate techniques if a prediction of nature is intended. The second subproblem is that while research into ways of rendering images provides us with better and faster methods, we do not necessarily see their full effect due to limitations of the display hardware. The low dynamic range of a standard computer monitor requires some form of mapping to produce images that are perceptually accurate. Tone reproduction operators attempt to replicate the effect of real-world luminance intensities. This STAR report will review the work to date on spectral rendering and tone reproduction techniques. It will include an investigation into the need for spectral imagery synthesis methods and accurate tone reproduction, and a discussion of major approaches to physically correct rendering and key tone mapping algorithms. The future of both spectral rendering and tone reproduction techniques will be considered, together with the implications of advances in display hardware.

Tone Reproduction and Physically Based Spectral Rendering

The idea of the seductive sex robot is the stuff of myth, legend and science fiction. From the ancient Greeks to twenty-first century movies, robots in human form have captured our imagination, our hopes and our fears. But beyond the fantasies there are real and fundamental questions about our relationship with technology as it moves into the realm of robotics. Artificial intelligence raises very real concerns. Sexual activity is central to our very existence; it shapes how we think, how we act and how we live. With advances in technology come machines that may one day think independently. What will happen to us when we form close relationships with these intelligent systems?

Chapter by chapter, this book builds on the science and the philosophy surrounding our most intimate relationship with technology. The scene is set with the history of the artificial sexual companion, then goes on to explore the "modern" robot and the twentieth century sci-fi that promised us our own robot slaves. An explanation of artificial intelligence and the urge to create sentient machines delves into our own psychology: how does desire affect our own behavior, and can we become attached to an inanimate object? Can robots make society a better place? And what can go wrong?

Sex robots are here, and here to stay--and more are coming. This book explores how the emerging and future development of sexual companion robots might affect us, and our society. It explores the social changes arising from emerging technologies, and our relationships with the machines that may someday care for us and about us.

Turned On: Science, Sex and Robots

Three dimensional computer reconstruction provides us with a means of visualising past environments, allowing us a glimpse of the past that might otherwise be difficult to appreciate. Many of the images generated for this purpose are photorealistic, but no attempt has been made to ensure they are physically and perceptually valid. We are attempting to rectify these inadequacies through the use of accurate lighting simulation. By determining the appropriate spectral data of the original light sources and using them to illuminate a scene, the viewer can perceive a site and its artefacts in close approximation to the original environment. The richly decorated and well-preserved frescoes of the House of the Vettii in Pompeii have been chosen as a subject for the implementation of this study. This paper describes how, by using photographic records, modelling packages and luminaire values from a spectroradiometer, a three dimensional model can be created and then rendered in a lighting visualisation system to provide us with images that go beyond photorealistic, accurately simulating light behaviour and allowing us a physically and perceptually valid view of the reconstructed site. A method for capturing real flame and incorporating it in a virtual scene is also discussed, with the intention of recreating the movement of a flame in an animated scene.

http://ivizlab.sfu.ca/arya/Papers/ACM/Computer%20Graphics,%20Virtual%20Reality%20and%20Visualisation/Realistic%20Visualization.pdf

Realistic visualisation of the Pompeii frescoes

Many applications require that an image will appear the same regardless of where or how it is displayed. However, the conditions in which an image is displayed can adversely affect its appearance. Computer monitor screens not only emit light, but can also reflect extraneous light present in the viewing environment. This can cause images displayed on a monitor to appear faded by reducing their perceived contrast. Current approaches to this problem involve measuring this ambient illumination with specialized hardware and then altering the display device or changing the viewing conditions. This is not only impractical, but also costly and time consuming. For a user who does not have the equipment, expertise, or budget to control these facets, a practical alternative is sought. This paper presents a method whereby the display device itself can be used to determine the effect of ambient light on perceived contrast, thus enabling the viewers themselves to perform visual calibration. This method is grounded in established psychophysical experimentation and we present both an extensive procedure and an equivalent rapid procedure. Our work is extended by providing a novel method of contrast correction so that the contrast of an image viewed in bright conditions can be corrected to appear the same as an image viewed in a darkened room. This is verified through formal validation. These methods are easy to apply in practical settings, while accurate enough to be useful.

Visual calibration and correction for ambient illumination

Realistic Visualisation of the Pompeii Frescoes

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