2011
DOI: 10.3389/fnhum.2011.00118
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Abstract: Scenes in the real world carry large amounts of information about color, texture, shading, illumination, and occlusion giving rise to our perception of a rich and detailed environment. In contrast, line drawings have only a sparse subset of scene contours. Nevertheless, they also trigger vivid three-dimensional impressions despite having no equivalent in the natural world. Here, we ask why line drawings work. We see that they exploit the underlying neural codes of vision and they also show that artists’ intuit… Show more

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Cited by 64 publications
(63 citation statements)
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“…We found that the features derived from line drawings had statistically higher correlations with Occluded activity patterns than the features derived from actual scenes in V2 (p = 0.035, two-sided Wilcoxon Sign-Rank test across subjects), but not in V1 (p = 0.25). This finding implies that cortical feedback to V2 contains more generalised information than feedback to V1, since line drawings preserve the visual information required for scene interpretation, while disregarding other information 16,17 .…”
Section: Internal Models Are Generalised In Predictable Scenesmentioning
confidence: 90%
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“…We found that the features derived from line drawings had statistically higher correlations with Occluded activity patterns than the features derived from actual scenes in V2 (p = 0.035, two-sided Wilcoxon Sign-Rank test across subjects), but not in V1 (p = 0.25). This finding implies that cortical feedback to V2 contains more generalised information than feedback to V1, since line drawings preserve the visual information required for scene interpretation, while disregarding other information 16,17 .…”
Section: Internal Models Are Generalised In Predictable Scenesmentioning
confidence: 90%
“…We also found that this scene-specific information in feedback correlates with orientation information found in internal models of scenes, which we sampled by asking subjects to complete line drawings of the occluded subsections of scenes. Line drawings have remained largely unchanged during human history and therefore might embody fundamental components of how our visual systems represent the world 16,17 . Our findings support this hypothesis, particularly when scenes are highly predictable, where we have shown that line drawings outperform actual hidden scene features at predicting brain activity in occluded regions.…”
Section: Discussionmentioning
confidence: 99%
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“…We investigated patterns in children's correct and erroneous responses to determine whether they relied on the distances and directions of extended surfaces and on the shape properties of landmarks in each context. Experiment 1 also sought to replicate, in children, findings with adults and infants (Biederman & Ju, ; DeLoache, Strauss & Maynard, ; Shinskey & Jachens, ; Walther, Chai, Caddigan, Beck & Fei‐Fei, ) that the addition of color and texture information in full‐color photographs offers no significant advantage over pictures that more simply capture the occluding edges that are essential to spatial vision (Sayim & Cavanagh, ; von der Heydt, Peterhans & Baumgartner, ). Experiments 2 and 3 used an individual differences approach (after Huang & Spelke, ; Dillon et al ., ) to probe the relationships between children's sensitivity to geometry when they interpret symbolic line drawings and when they navigate or recognize objects without spatial symbols.…”
Section: Introductionmentioning
confidence: 99%
“…Human artists are able to emphasize lines that describe object boundaries over those created by shadows or irrelevant textures (Sayim & Cavanagh, 2011). We can thus sidestep the issue of detecting contours from photographic images by extracting structural features from line drawings of natural scenes, which were created by trained artists.…”
mentioning
confidence: 99%