Light projection is a powerful technique that can be used to edit the appearance of objects in the real world. Based on pixel-wise modification of light transport, previous techniques have successfully modified static surface properties such as surface color, dynamic range, gloss, and shading. Here, we propose an alternative light projection technique that adds a variety of illusory yet realistic distortions to a wide range of static 2D and 3D projection targets. The key idea of our technique, referred to as (Deformation Lamps), is to project only dynamic luminance information, which effectively activates the motion (and shape) processing in the visual system while preserving the color and texture of the original object. Although the projected dynamic luminance information is spatially inconsistent with the color and texture of the target object, the observer's brain automatically combines these sensory signals in such a way as to correct the inconsistency across visual attributes. We conducted a psychophysical experiment to investigate the characteristics of the inconsistency correction and found that the correction was critically dependent on the retinal magnitude of the inconsistency. Another experiment showed that the perceived magnitude of image deformation produced by our techniques was underestimated. The results ruled out the possibility that the effect obtained by our technique stemmed simply from the physical change in an object's appearance by light projection. Finally, we discuss how our techniques can make the observers perceive a vivid and natural movement, deformation, or oscillation of a variety of static objects, including drawn pictures, printed photographs, sculptures with 3D shading, and objects with natural textures including human bodies.
Intensive studies of visual illusion have rarely shown examples of polymorphic responses1–3. We show here that, using figures consisting of stripes shaded from dark to light, arranged in repeating sectors, an illusion of movement can be induced in about 75 of observers when viewed peripherally. The responses of the viewers fall into four categories. This polymorphic response suggests a genetic origin. Abstract How similar must two successively presented patterns be for phi movement to be perceived between them ? Phi movement between two granular patterns, one being the photographic negative of the other, appeared to be reversed , towards the direction of the earlier stimulus. Moving objects, displayed on a TV picture which was made positive and negative on alternate frames, appeared to move backwards. (The backward movement could generate its own after effect of movement.) Conclusion: phi movement was perceived between nearby points of similar brightness, irrespective of form or colour. Phi movement was studied between two positive random-dot Julesz patterns. Pairs that gave stereo when presented dichoptically also gave phi movement when presented alternatively to one eye. When one pattern was degraded with noise, both stereo and phi broke down at the same noise level. Conclusion: phi, like stereo, depended upon point-by-point comparison of brightness between two patterns. It could precede the perception of form. Abstract The visual system usually sees phi apparent movement when two similar pictures are exposed successively, and stereoscopic depth when the pictures are exposed one to each eye. But when a picture was followed via a dissolve by its own photographic negative, overlapping but displaced, strong apparent movement was seen in the opposite direction to the image displacement (“reversed phi”). When both eyes saw a positive picture, and one eye also saw an overlapping low-contrast negative containing binocular disparity, “reversed stereo” was seen, with the apparent depth opposite to the physical disparity. Results were explained with a model of spatial summation by visual receptive fields. We describe a technique for displaying patterns that appear to move continuously without changing their positions. The method uses a quadrature pair of oriented filters to vary the local phase, giving the sensation of motion. We have used this technique in various computer graphic and scientific visualization applications. Illusory motion in a still image is a fascinating research topic in the study of human motion perception. Physiologists and psychologists have attempted to understand this phenomenon by constructing simple, color repeated asymmetric patterns (RAP) and have found several useful rules to enhance the strength of illusory motion. Based on their knowledge, we propose a computational method to generate self-animating images. First, we present an optimized RAP placement on streamlines to generate illusory motion for a given static vector field. Next, a general coloring scheme for RAP is proposed to render streamlines. Furthermore, to enhance the strength of illusion and respect the shape of the region, a smooth vector field with opposite directional flow is automatically generated given an input image. Examples generated by our method are shown as evidence of the illusory effect and the potential applications for entertainment and design purposes. 