Search

In computer graphics, illuminating a scene is a complex task, typically consisting of cycles of adjusting and rendering the scene to see the effects. We propose a technique for visualization of light as a tensor field via extracting its properties (i.e., intensity, direction, diffuseness) from (virtual) radiance measurements and showing these properties as a grid of shapes over a volume of a scene. Presented in the viewport, our visualizations give an understanding of the illumination conditions in the measured volume for both the local values and the global variations of light properties. Additionally, they allow quick inferences of the resulting visual appearance of (objects in) scenes without the need to render them. In our evaluation, observers performed at least as well using visualizations as using renderings when they were comparing illumination between parts of a scene and inferring the final appearance of objects in the measured volume. Therefore, the proposed visualizations are expected to help lighting artists by providing perceptually relevant information about the structure of the light field and flow in a scene.

Vision in depth is distorted. A similar distortion can be observed for pointing to visual targets in depth. It has been suggested that pointing errors in depth reflect the visual distortion. Alternatively, pointing in depth might be guided by a prior that biases movements toward the natural grasping distance at which object manipulation is usually performed. To dissociate whether pointing is guided by distorted vision only or whether it takes into account a natural grasping distance prior, we adapted pointing movements. Participants received visual feedback about the success of their pointing once the movement was finished. We distorted the feedback to signal either that pointing was not far enough or in separate sessions that pointing was too far. Participants adapted to this artificial error by either extending or shortening their pointing movements. The generalization of pointing adaptation revealed a bias in movement planning that is inconsistent with pointing being guided only by distorted vision but with the involvement of knowledge about the natural grasping distance. Adaptation was strongest for pointing movements to a middle position that corresponds to the natural grasping distance and it was weakest for movements leading away from it. It has been demonstrated that pointing adaptation in depth changes visual perception (Volcic R, Fantoni C, Caudek C, Assad JA, Domini F.

Complex, goal-directed and time-critical movements require the processing of temporal features in sensory information as well as the fine-tuned temporal interplay of several effectors. Temporal estimates used to produce such behavior may thus be obtained through perceptual or motor processes. To disentangle the two options, we tested whether adaptation to a temporal perturbation in an interval reproduction task transfers to interval reproduction tasks with varying sensory information (visual appearance of targets, modality, virtual reality (VR) environment or real-world) or varying movement types (continuous arm movements or brief clicking movements). Halfway through the experiments we introduced a temporal perturbation, such that continuous pointing movements were artificially slowed down in VR, causing participants to adapt their behavior to sustain performance. In four experiments, we found that sensorimotor adaptation to temporal perturbations is independent of environment context and movement type, but modality specific. Our findings suggest that motor errors induced by temporal sensorimotor adaptation affect the modality specific perceptual processing of temporal estimates.

The article presents a system of the musical culture of North India where the category of up-shastriya, or semi-classics, takes a special place. This stratum of music is the most extensive and multi-layered one and is the main type of musical art in India nowadays. Thumri is music of a lyrical nature and romantic mood. The authors see into the leading genre of the up-shastriya, a vocal thumri, and place it in the context of the related genres dadra and tappa and the regional music of Hindustani (chaiti, kajri, savani, hori, jhula, baramasi). In the XXI century, the up-shastriya music continues to develop not only in many style varieties in the vast net of gharana (schools) and in many local genre variants of Hindustani. It forms the main part of the sound “field” of the South Asia.