Wheatstone and the Origins of Moving Stereoscopic Images

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.

MRI Stereoscope: A Miniature Stereoscope for Human Neuroimaging

Stereoscopic vision enables the perception of depth. To study the brain mechanisms behind stereoscopic vision using noninvasive brain imaging (magnetic resonance brain imaging; MRI), scientists need to reproduce the independent views of the left and right eyes in the brain scanner using "dichoptic" displays. However, high-quality dichoptic displays are technically challenging and costly to implement in the MRI scanner. The novel miniature stereoscope system ("MRI stereoscope") is an affordable and open-source tool that displays high-quality dichoptic images inside the MRI scanner. The MRI stereoscope takes advantage of commonly used display equipment, the MRI head coil, and a display screen. To validate the MRI stereoscope, binocular disparity stimuli were presented in a 3T MRI scanner while neural activation was recorded using functional MRI in six human participants. The comparison of large binocular disparities compared with disparities close to zero evoked strong responses across dorsal and ventral extra-striate visual cortex. In contrast, binocularly anti-correlated stimuli, which are not perceived in depth, did not evoke comparable activation. These results are the proof-of-concept that the MRI stereoscope can deliver dichoptic images that produce the perception of stereoscopic depth during acquisition of MR responses. Application of the MRI stereoscope to neuroscience can help to address important questions in perception and consciousness.

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.

Stereoscopy in Surgical Neuroanatomy: Past, Present, and Future

Since the dawn of antiquity, scientists, philosophers, and artists have pondered the nature of optical stereopsis-the perception of depth that arises from binocular vision. The early 19th century saw the advent of stereoscopes, devices that could replicate stereopsis by producing a 3D illusion from the super-imposition of 2D photographs. This phenomenon opened up a plethora of possibilities through its usefulness as an educational tool-particularly in medicine. Before long, photographers, anatomists, and physicians were collaborating to create some of the first stereoscopic atlases available for the teaching of medical students and residents. In fields like neurosurgery-where a comprehensive visuospatial understanding of neuro-anatomical correlates is crucial-research into stereoscopic modalities are of fundamental importance. Already, medical institutions all over the world are capitalizing on new and immersive technologies-such as 3D intraoperative recording, and 3D endoscopes-to refine their pedagogical efforts as well as improve their clinical capacities. The present paper surveys the history of stereoscopy from antiquity to the modern era-with a focus on its role in neurosurgery and medical education. Through the tracking of this evolution, we can discuss potential benefits, future directions, and highlight areas in which further research is needed. By anticipating these factors, we may strive to take full advantage of an emergent field of technology, for our ultimate goal of improving patient care.

Acquisition of Volumetric Models of Skull Base Anatomy Using Endoscopic Endonasal Approaches: 3D Scanning of Deep Corridors Via Photogrammetry

OBJECTIVE

In this study we aim to evaluate the feasibility of creating volumetric models of highly intricate skull-base anatomy-previously not amenable to volumetric reconstruction-using endoscopic endonasal approaches.

METHODS

Ten human cadaveric heads were dissected through the nasal corridor to expose anterior, middle, and posterior cranial fossi structures and the pterygopalatine and infratemporal fossi. A rigid endoscope with a 30° lens was used to capture the images. Subsequently, a photogrammetry software was used to align, smooth, and texturize the images into a complete 3-dimensional model.

RESULTS

An average of 174 photographs were used to construct each model (n = 10). In the end, we achieved high-definition stereoscopic volumetric models of the nasal corridor; paranasal fossae; and anterior, middle and posterior fossae structures that preserved structural integrity. Strategic points of interests were labeled and animated for educational use.

CONCLUSIONS

Endoscopic volumetric models represent a new way to depict the anatomy of the skull base; their use with 3-dimensional technologies could potentially improve the visuospatial understanding of narrow surgical corridors for education and surgical-planning purposes.

Ocular Equivocation: The Rivalry Between Wheatstone and Brewster

Ocular equivocation was the term given by Brewster in 1844 to binocular contour rivalry seen with Wheatstone's stereoscope. The rivalries between Wheatstone and Brewster were personal as well as perceptual. In the 1830s, both Wheatstone and Brewster came to stereoscopic vision armed with their individual histories of research on vision. Brewster was an authority on physical optics and had devised the kaleidoscope; Wheatstone extended his research on audition to render acoustic patterns visible with his kaleidophone or phonic kaleidoscope. Both had written on subjective visual phenomena, a topic upon which they first clashed at the inaugural meeting of the British Association for the Advancement of Science in 1832 (the year Wheatstone made the first stereoscopes). Wheatstone published his account of the mirror stereoscope in 1838; Brewster's initial reception of it was glowing but he later questioned Wheatstone's priority. They both described investigations of binocular contour rivalry but their interpretations diverged. As was the case for stereoscopic vision, Wheatstone argued for central processing whereas Brewster's analysis was peripheral and based on visible direction. Brewster's lenticular stereoscope and binocular camera were described in 1849. They later clashed over Brewster's claim that the Chimenti drawings were made for a 16th-century stereoscope. The rivalry between Wheatstone and Brewster is illustrated with anaglyphs that can be viewed with red/cyan glasses and in Universal Freeview format; they include rivalling 'perceptual portraits' as well as examples of the stimuli used to study ocular equivocation.

The Silhouette Zoetrope: A New Blend of Motion, Mirroring, Depth, and Size Illusions

Here, we report a novel combination of visual illusions in one stimulus device, a contemporary innovation of the traditional zoetrope, called Silhouette Zoetrope. In this new device, an animation of moving silhouettes is created by sequential cutouts placed outside a rotating empty cylinder, with slits illuminating the cutouts successively from the back. This “inside-out” zoetrope incurs the following visual effects: the resulting animated figures are perceived (a) horizontally flipped, (b) inside the cylinder, and (c) appear to be of different size than the actual cutout object. Here, we explore the unique combination of illusions in this new device. We demonstrate how the geometry of the device leads to a retinal image consistent with a mirrored and distorted image and binocular disparities consistent with the perception of an object inside the cylinder.

Depth Perception and the History of Three-Dimensional Art: Who Produced the First Stereoscopic Images?

The history of the expression of three-dimensional structure in art can be traced from the use of occlusion in Palaeolithic cave paintings, through the use of shadow in classical art, to the development of perspective during the Renaissance. However, the history of the use of stereoscopic techniques is controversial. Although the first undisputed stereoscopic images were presented by Wheatstone in 1838, it has been claimed that two sketches by Jacopo Chimenti da Empoli (c. 1600) can be to be fused to yield an impression of stereoscopic depth, while others suggest that Leonardo da Vinci’s Mona Lisa is the world’s first stereogram. Here, we report the first quantitative study of perceived depth in these works, in addition to more recent works by Salvador Dalí. To control for the contribution of monocular depth cues, ratings of the magnitude and coherence of depth were recorded for both stereoscopic and pseudoscopic presentations, with a genuine contribution of stereoscopic cues revealed by a difference between these scores. Although effects were clear for Wheatstone and Dalí’s images, no such effects could be found for works produced earlier. As such, we have no evidence to reject the conventional view that the first producer of stereoscopic imagery was Sir Charles Wheatstone.

Faces and Photography in 19th-Century Visual Science

Reading faces for identity, character, and expression is as old as humanity but representing these states is relatively recent. From the 16th century, physiognomists classified character in terms of both facial form and represented the types graphically. Darwin distinguished between physiognomy (which concerned static features reflecting character) and expression (which was dynamic and reflected emotions). Artists represented personality, pleasure, and pain in their paintings and drawings, but the scientific study of faces was revolutionized by photography in the 19th century. Rather than relying on artistic abstractions of fleeting facial expressions, scientists photographed what the eye could not discriminate. Photography was applied first to stereoscopic portraiture (by Wheatstone) then to the study of facial expressions (by Duchenne) and to identity (by Galton and Bertillon). Photography opened new methods for investigating face perception, most markedly with Galton's composites derived from combining aligned photographs of many sitters. In the same decade (1870s), Kühne took the process of photography as a model for the chemical action of light in the retina. These developments and their developers are described and fixed in time, but the ideas they initiated have proved impossible to stop.

Capturing Motion and Depth Before Cinematography

Visual representations of biological states have traditionally faced two problems: they lacked motion and depth. Attempts were made to supply these wants over many centuries, but the major advances were made in the early-nineteenth century. Motion was synthesized by sequences of slightly different images presented in rapid succession and depth was added by presenting slightly different images to each eye. Apparent motion and depth were combined some years later, but they tended to be applied separately. The major figures in this early period were Wheatstone, Plateau, Horner, Duboscq, Claudet, and Purkinje. Others later in the century, like Marey and Muybridge, were stimulated to extend the uses to which apparent motion and photography could be applied to examining body movements. These developments occurred before the birth of cinematography, and significant insights were derived from attempts to combine motion and depth.

Evolution of illustrations in anatomy: a study from the classical period in Europe to modern times

Illustrations constitute an essential element of learning anatomy in modern times. However it required a significant evolutionary process spread over centuries, for illustrations to achieve the present status in the subject of anatomy. This review article attempts to outline the evolutionary process by highlighting on the works of esteemed anatomists in a chronological manner. Available literature suggests that illustrations were not used in anatomy during the classical period when the subject was dominated by the descriptive text of Galen. Guido da Vigevano was first to use illustrations in anatomy during the Late Middle Ages and this concept developed further during the Renaissance period when Andreas Vesalius pioneered in illustrations becoming an indispensable tool in conveying anatomical details. Toward later stages of the Renaissance period, Fabricius ab Aquapendente endeavored to restrict dramatization of anatomical illustrations which was a prevalent trend in early Renaissance. During the 18th century, anatomical artwork was characterized by the individual styles of prominent anatomists leading to suppression of anatomical details. In the 19th century, Henry Gray used illustrations in his anatomical masterpiece that focused on depicting anatomical structures and were free from any artistic style. From early part of the 20th century medical images and photographs started to complement traditional handmade anatomical illustrations. Computer technology and advanced software systems played a key role in the evolution of anatomical illustrations during the late 20th century resulting in new generation 3D image datasets that are being used in the 21st century in innovative formats for teaching and learning anatomy.

Usefulness of a glass-free medical three-dimensional autostereoscopic display in neurosurgery

PURPOSE

Many stereoscopic displays require glasses that are awkward or inappropriate for use in a neurosurgical operating room. A glass-free three-dimensional autostereoscopic display (3DAD) monitor was developed and tested for neurosurgical applications.

METHODS

Our 3DAD system uses images acquired from nine directions projected into the viewer's eyes through 1,280 lenticular lenses (1,280 x 720 pixels). The viewer interprets these as a single stereoscopic image. To evaluate the 3D visualization capabilities of the 3DAD system, 3D images of blood vessels created from brain magnetic resonance angiography were presented to 20 neurosurgeons on both a standard medical two-dimensional (2D) monitor and our 3DAD monitor. Discrimination of the positional relationships for each vessel was recorded. The observers were asked to identify blood vessels located in front of three pairs of points on each image.

RESULTS

The neurosurgeon observers achieved significantly higher correct responses using the 3DAD monitor compared with the 2D monitor (91.7 vs. 56.7 %, p< 0.0001). There were no reports of problems such as eye fatigue or discomfort.

CONCLUSION

Displaying 3D volume rendered multimodality images with a 3DAD monitor is useful for anatomical discrimination of 3D vessels in MR angiography. This technology may be useful for a wide variety of clinical applications such as rapid and precise diagnosis, surgical simulation, and medical education.

Dichoptic Viewing Methods for Binocular Rivalry Research: Prospects for Large-Scale Clinical and Genetic Studies

Binocular rivalry (BR) is an intriguing phenomenon that occurs when two different images are presented, one to each eye, resulting in alternation orrivalrybetween the percepts. The phenomenon has been studied for nearly 200 years, with renewed and intensive investigation over recent decades. Therateof perceptual switching has long been known to vary widely between individuals but to be relatively stable within individuals. A recent twin study demonstrated that individual variation in BR rate is under substantial genetic control, a finding that also represented the first report, using a large study, of genetic contribution for any post-retinal visual processing phenomenon. The twin study had been prompted by earlier work showing BR rate was slow in the heritable psychiatric condition, bipolar disorder (BD). Together, these studies suggested that slow BR may represent an endophenotype for BD, and heralded the advent of modern clinical and genetic studies of rivalry. This new focus has coincided with rapid advances in 3D display technology, but despite such progress, specific development of technology for rivalry research has been lacking. This review therefore compares different display methods for BR research across several factors, including viewing parameters, image quality, equipment cost, compatibility with other investigative methods, subject group, and sample size, with a focus on requirements specific to large-scale clinical and genetic studies. It is intended to be a resource for investigators new to BR research, such as clinicians and geneticists, and to stimulate the development of 3D display technology for advancing interdisciplinary studies of rivalry.

Efficiency of extracting stereo-driven object motions

Most living things and many nonliving things deform as they move, requiring observers to separate object motions from object deformations. When the object is partially occluded, the task becomes more difficult because it is not possible to use two-dimensional (2-D) contour correlations (Cohen, Jain, & Zaidi, 2010). That leaves dynamic depth matching across the unoccluded views as the main possibility. We examined the role of stereo cues in extracting motion of partially occluded and deforming three-dimensional (3-D) objects, simulated by disk-shaped random-dot stereograms set at randomly assigned depths and placed uniformly around a circle. The stereo-disparities of the disks were temporally oscillated to simulate clockwise or counterclockwise rotation of the global shape. To dynamically deform the global shape, random disparity perturbation was added to each disk's depth on each stimulus frame. At low perturbation, observers reported rotation directions consistent with the global shape, even against local motion cues, but performance deteriorated at high perturbation. Using 3-D global shape correlations, we formulated an optimal Bayesian discriminator for rotation direction. Based on rotation discrimination thresholds, human observers were 75% as efficient as the optimal model, demonstrating that global shapes derived from stereo cues facilitate inferences of object motions. To complement reports of stereo and motion integration in extrastriate cortex, our results suggest the possibilities that disparity selectivity and feature tracking are linked, or that global motion selective neurons can be driven purely from disparity cues.