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The Rubin vase illusion, where it is ambiguous which part is the figure and which the ground Shapes which can be read as a word once the viewer recognises them as being the isolated negative spaces of a word. Figure–ground organization is a type of perceptual grouping that is a vital necessity for recognizing objects through vision.
The figure-ground theory of urban design and urban morphology is based upon the use of figure ground studies. It relates the amount of "figure" to the amount of "ground" in a figure-ground diagram, and approaches urban design as a manipulation of that relationship, as well as being a manipulation of the geometric shapes within the diagram.
What the book does prove is that in three-layered feed-forward perceptrons (with a so-called "hidden" or "intermediary" layer), it is not possible to compute some predicates unless at least one of the neurons in the first layer of neurons (the "intermediary" layer) is connected with a non-null weight to each and every input (Theorem 3.1.1 ...
Figure-ground contrast, in the context of map design, is a property of a map in which the map image can be partitioned into a single feature or type of feature that is considered as an object of attention (the figure), with the remainder of the map being relegated to the background, outside the current focus of attention. [1]
Figure-ground is the ease with which each individual symbol or feature (the figure) can be mentally isolated from the rest of the map (the ground). The rules for establishing figure-ground are largely drawn from the gestalt principle of Prägnanz .
Figure and ground (media), a concept developed by media theorist Marshall McLuhan; Figure–ground (perception), referring to humans' ability to separate foreground from background in visual images. Figure-ground perception is one of the main issues in gestalt psychology. Figure-ground in map design, the ability to easily discriminate the main ...
The technique in this portrait and in the "Mona Lisa" is called "sfumato," in which da Vinci blended colors and shades to get gradual transitions between different shapes in each painting.
Visual object recognition refers to the ability to identify the objects in view based on visual input. One important signature of visual object recognition is "object invariance", or the ability to identify objects across changes in the detailed context in which objects are viewed, including changes in illumination, object pose, and background context.