Reverse Perspective: Reimagining Visual Perception in Computer Vision

By Fouad Sabry

What is Reverse Perspective

Reverse perspective, also called inverse perspective, inverted perspective, divergent perspective, or Byzantine perspective, is a form of perspective drawing in which the objects depicted in a scene are placed between the projective point and the viewing plane. Objects farther away from the viewing plane are drawn as larger, and closer objects are drawn as smaller, in contrast to the more conventional linear perspective for which closer objects appear larger. Lines that are parallel in three-dimensional space are drawn as diverging against the horizon, rather than converging as they do in linear perspective. Technically, the vanishing points are placed outside the painting with the illusion that they are "in front of" the painting.

How you will benefit

(I) Insights, and validations about the following topics:

Chapter 1: Reverse perspective

Chapter 2: Necker cube

Chapter 3: Isometric projection

Chapter 4: Perspective (graphical)

Chapter 5: Vanishing point

Chapter 6: Ponzo illusion

Chapter 7: Curvilinear perspective

Chapter 8: Depiction

Chapter 9: Parallel projection

Chapter 10: Accidental viewpoint

(II) Answering the public top questions about reverse perspective.

(III) Real world examples for the usage of reverse perspective in many fields.

Who this book is for

Professionals, undergraduate and graduate students, enthusiasts, hobbyists, and those who want to go beyond basic knowledge or information for any kind of Reverse Perspective.

• Language: English
• Publisher: One Billion Knowledgeable
• Release date: May 14, 2024

Book preview

Chapter 1: Reverse perspective

Inverse perspective, often known as reverse perspective, is another name for The vanishing points are technically located outside of the painting, but they provide the impression that they are in front of the painting during the painting process.

This perspective is also present in the artwork of many pre-Renaissance cultures, and it was occasionally utilized in Cubism and other styles of modern art, as well as in children's drawings. The name Byzantine perspective originates from the fact that this perspective is used in Byzantine and Russian Orthodox icons.

{End Chapter 1}

Chapter 2: Necker cube

Louis Albert Necker, a Swiss crystallographer, is credited with being the invention of the Necker cube, an optical illusion that was initially published in 1832 under the name Rhomboid. Due to the fact that it is a straightforward wire-frame drawing of a cube in two dimensions and does not provide any visual cues regarding its orientation, it might be understood to have either the square in the lower left or the square in the upper right as its front side.

One of the most ambiguous drawings is the Necker cube.

However, the human visual system chooses an interpretation of each portion of the picture that makes the whole consistent, despite the fact that each individual part of the picture is obscure on its own. Computer models of the human visual system are occasionally put through their paces with the Necker cube in order to determine whether or not they are capable of arriving at consistent interpretations of the image in the same manner that humans themselves do.

Generally speaking, humans do not perceive a cube that has an inconsistent interpretation. An example of an impossible item is a cube that has edges that cross in a manner that is inconsistent. More specifically, an impossible cube does not exist (compare this with a Penrose triangle).

Because the cube is on the left, the lower-left face is the one that most people perceive to be in front of them the majority of the time. It is possible that this is due to the fact that individuals observe objects from above, with the top side visible, significantly more frequently than they view them from below, with the bottom side visible. As a result, the brain prefers the conclusion that the cube is viewed from above. In the event that you blink when you are experiencing the second perspective, you will most likely flip to the first perception.

By concentrating on various aspects of the cube, it is possible to bring about the switch to take place. In the event that one observes the first interpretation on the right, it is feasible to bring about a switch to the second interpretation by concentrating on the base of the cube until the process of switching to the second interpretation takes place. In a similar vein, if one is looking at the second interpretation, concentrating on the left side of the cube can persuade them to switch to the first interpretation.

Through the use of the Necker cube, the human visual system has been illuminated.

It is also possible to change the orientation of the Necker cube by changing the point of view of the observer of the object.