How the human visual system determines the lightness of a surface,
that is, its whiteness, blackness, or grayness, remains--like
vision in general--a mystery. In fact, we have not even been able
to create a machine that can determine, through an artificial
vision system, whether an object is white, black, or gray. Although
the photoreceptors in the eye are driven by light, the light
reflected by a surface does not reveal its shade of gray. Depending
upon the level of illumination, a surface of any shade of gray can
reflect any amount of light.
In Seeing Black and White Alan Gilchrist ties together over 30
years of his own research on lightness, and presents the first
comprehensive, historical review of empirical work on lightness,
covering the past 150 years of research on images ranging from the
simple to the complex. He also describes and analyzes the many
theories of lightness--including his own--showing what each can and
cannot explain. Gilchrist highlights the forgotten-yet-exciting
work done in the first third of the twentieth century, describing
several crucial experiments and examining the brilliant but nearly
unknown work of the Hungarian gestalt theorist, Lajos Kardos.
Gilchrists review also includes a survey of the pattern of
lightness errors made by humans, many of which result in delightful
illusions. He argues that because these errors are not random, but
systematic, they are the signature of our visual software, and so
provide a powerful tool that can reveal how lightness is computed.
Based on this argument and the concepts of anchoring, grouping, and
frames of reference, Gilchrist presents a new theoretical framework
that explains an unprecedented array oflightness errors. As both
the first comprehensive overview of research on lightness and the
first unified presentation of Gilchrists new theoretical framework
Seeing Black and White will be an invaluable resource for vision
scientists, cognitive psychologists, and cognitive neuroscientists.
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