We are beyond grateful to Professor Huseyin Boyaci and his team at the University of Bilkent not just for organising an event to host the consortium but for choosing such a fascinating location like Cappadocia.
Cappadocia holds wonder everywhere you look. From the carved layers of volcanic tufa, shaped by wind and water that are the fairy chimneys to the beautiful fertile lands of the Pigeon Valley, strewn with orchards and grapevines. Wondering up to Uchisar Castle, imposing and dividing in opinion.
All the while, Mount Erciyes is looming in the distance, a snow covered giant. All this landscape is mixed within a historical region that was a melting pot of cultures and beliefs, from ancient Hatti culture to Romans and Christians.
All DyViTo members are looking forward to learning more about this beautiful and magical region. Although we have a very busy week with some of the best speakers in the field attending hosted at the Argos Hotel, there is always time for tea.
As someone who considers himself a scientist first, and an artist second, I came to the Visual Science of Art Conference (VSAC) 2019 with keen interest. The meeting aims to enhance our scientific understanding of how visual artists depict the world, and to further communication between fields that, while traditionally divided within academia, share a passion for seeing. This year we were gathered in Leuven, Belgium, a city that could well have the perfect balance of culture and functionality. And the opening reception was held at the Stadhuis, an absolutely gorgeous example of 15th-century gothic architecture. Our group was welcomed in this grand hall by no less than the mayor of Leuven, Mohamed Ridouani, whose presence signified how this alliance of art and science has strengthened both communities.
The content of the meeting spanned a range of diverse topics, including the visual perception of material properties, empirical aesthetics, and historical studies of rendering techniques. There was also no shortage of visual art—the work of Maaike Schoorel being a notable example. Working from reference photographs of real scenes, she paints a kind of phantasmic representation of the original image, accentuating only the critical lines and shading that suggest the underlying forms. The effect is to break any photographic constraints on interpretation, and to allow each viewer to project their own imagery onto the canvas.
The work I presented at the conference also deals with visual ambiguity, specifically the kind that depends on how we estimate distances in photographs. In everyday circumstances, our ability to identify surface material properties is effortless and automatic, but occasionally this ability can be challenged, especially when the visual pattern impedes a reliable estimation of distance. This can be seen in aerial photographs of planted fields, which can appear strikingly similar to woven fabric or textile. The pattern of light does not specify which interpretation is correct, and so our interpretations reveal what distances we have learned to associate with such images.
In Jan Koenderink’s latest book, The Way of The Eye, he frames visual perception as a process of continually questioning our interpretations of images. Our first impression of what we are looking at is usually quite convincing, but if we relax our focus, other impressions enter into view. Surrealist painters like Dali seem to possess a supernatural talent for imagining multiple interpretations simultaneously, but how to compose photographs with this property strikes me as a slightly different, and perhaps more difficult task. When I asked Dr. Koenderink how one could compose such images, he suggested that it was a matter of attentional training.
To this end, I once spent a sunny afternoon in Giessen wandering around with my camera, hunting for ambiguous scenes. Although my perception of each scene was stable, by meditating on the question, “What else could this be?”, I began to see hints of possibility. By the end of that day I had hundreds of images, but not a clue whether any of them had captured what I had seen, or whether others would agree with my interpretations. One of my basic goals at VSAC was therefore to discuss this way of seeing with visual artists who play with ambiguity.
My line of questioning went something like this: “How does one compose images with multiple interpretations? While creating visual art, are you trying to reduce disparity between a mental image and a perceived image? Does one interpretation serve as the foundation for subsequent layers?” The answers I received to these questions were also rather ambiguous, which could mean that these are not the right questions, or that I am not ready for the answers. Maybe by the time this discussion resumes at next year’s meeting, I will be.
The International Colour Vision Society (ICVS) is an international group of physiologists, psychologists, physicists, geneticists, optometrists, ophthalmologists and visual scientists who have a research interest in the many aspects of colour vision and colour vision deficiencies.
This years meeting was held in Riga, Latvia and I have been fortunate enough to win the runner-up Talk Prize.
I presented my paper on The Temporal Dynamics of Daylight: Speed Limits on Perception. Relatively little is known about human sensitivity to changes in illumination spectra over time. We have been interested in the temporal dynamics and speed limits of illumination change perception, in particular, for daylight changes. People are aware that outdoor illumination varies in chromaticity throughout the day, yet we don’t seem to directly perceive these changes while they occur. Using psychophysical testing with daylight metamers in an immersive illumination setting we found that, for 21 participants, the minimum detectable speed of chromaticity change is on average about 20 times larger than the fastest changes usually occurring in natural daylight. In addition, we found that changes in illumination chromaticity towards a neutral reference are hardest to detect, for non-neutral adaptation lights. This supports the notion that the brain encodes a neutral-daylight illumination prior.
World Haptics Conference 2019 (WHC) was the
first major conference that I attend to in haptics. I was super excited to see
all other works in my field. Since it is not only research but also applied
field-oriented conference, I saw a lot of applications of the pure research.
First day of WHC 2019’s schedule is only
included workshops. A total of 5 workshops held on current topics in haptics. I
had a chance to attend “Softness Perception” which is directly related to my
work. My supervisor Prof. Dr. Knut Drewing also had a talk entitled “Different
Dimensions of Softness and Their Associated Exploratory Procedures” in this
On the other days, talks, demonstrations,
posters, & discussion sessions took place. There was a great environment in
which you could have the opportunity to get involve in demonstrations and talk
to people from different companies and universities during breaks or discussion
All in all, throughout my Tokyo visit I got involved in a very different
culture, met a lot of people from both industry and research, and most
importantly learned how limitless what I can do in research. I would like to
thank my supervisors Prof. Dr. Knut Drewing & Dr. Katja Doerschner for
their support during my WHC 2019 paper submission and talk preparation.
There is a plethora of benefits in having industry partners involved. The vast amounts of knowledge and hands on experience that can be accessed during the duration of the project.
Working with the Science Museum Group means that our ESRs have access not just to the wealth of knowledge at their secondment institutions but the ability to visit other museums across the UK. Ellen De Korte, currently doing her secondment at the Science and Media Museum in Bradford, visited the Science and Industry Museum in Manchester.
The museum, opened in 1983, is dedicated to the development of science, technology and industry with emphasis on the city’s achievements in these fields.