Reverse Perspective
Rebecca Achtman & Duje Tadin
Basic idea: We see the world in 3-dimensions even though the image projected onto the back of our
eye is 2-dimensional. How do we do this? The short answer is that we do this by relying on a
variety of different depth cues. What happens when these cues are put into conflict?
Definitions:
Monocular cues - depth cues needing only one eye
- also called pictorial depth cues because they are often used in paintings to
depict depth (e.g., perspective and shading)
Linear perspective - parallel lines appear to converge in the distance (e.g., the sidewalks of the
Champs Elysee in Paris appear to converge at a vanishing point at the horizon)
Motion parallax - a monocular depth cue that relies on observer motion through a scene to obtain
multiple views of the scene needed to perceive its three dimensionality
Binocular cues - depth cues that can only be seen when viewed with both eyes
Retinal disparity - because our two eyes are separated by ~6cm, each eye sees a slightly different
view of the world. The difference in the images of the world projected to each
eye is called retinal disparity. Convince yourself by holding up your 2 index
fingers, one in front of the other. With your left eye closed, line up your fingers
so the finger in front blocks the one behind. Now close your right eye and open
your left eye – your fingers will no longer be lined up one directly behind the
other. Each eye sees a slightly different view of the world.
Stereovision - the brain uses retinal disparity to create 3-dimensional reconstructions of the
world
Reverse perspective - an illusion of depth perception caused by the reversal of monocular depth
cues in a piece of 3-dimensional relief artwork. For example, closer objects
are painted smaller and linear perspective is drawn so that lines converge
toward the observer.
Demonstration #1: Look inside the door
Equipment: Computer printer (color is better, but black and white will do)
Scissors
Tape
Thin cardboard (OPTIONAL)
References: based on the artwork of artist Patrick Hughes
Visit: http://www.patrickhughes.co.uk
Wade N J, Hughes P. (1999). Fooling the eyes: trompe l'oeil and reverse
perspective. Perception, 28(9), 1115 – 1119.
1. Follow the directions to create the reverse perspective 3-dimensional artwork. Each student can
create his/her own. A larger class demo can also be created by enlarging the image and printing
each component (e.g., door) on a separate sheet of paper. The larger demo will require an
underlying thin cardboard structure for stability.
2. Place the structure on a vertical surface (or have somebody hold it vertically).
3. Stand in front with one eye closed. Wait until the sides of the doors that have doorknobs appear
closer to you. Then, slowly sway from side to side (as if you are trying to look behind the
doors).
4. Enjoy the illusion! – you should be experiencing impossible bending of the whole structure.
5. Finally, look at the structure with both eyes open. Note the difference in the visual experience.
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Demonstration #2: Wire bending
Equipment: champagne wire hood
(can be purchased from: http://www.wineandcake.com/browse.cfm/4,289.html)
1. Hold the wire champagne hood so that the bottom of it (wider base) is facing you, and the
top (smaller circle) is further away.
2. Looking at the wire with one eye, concentrate until you get the impression that the top of the
wire hood is actually coming toward you.
3. Once you have this impression, twist your wrist back and forth slightly.
4. The illusion works when it looks like the wire is bending!
5. While you are doing this, open your closed eye and convince yourself that you were being
fooled (the wire was not bending!).
Deeper explanation and background:
Like other illusions, reverse perspective is interesting because of what it tells us about
normal perception. Here, a pictorial depth cue, namely linear perspective, is put in conflict with
motion parallax.
The reverse perspective illusion is created when we manipulate perspective in a way that is
contrary to the true 3-dimensional structure of the object. For example, in demonstration #1,
receding parts of the 3-dimensional artwork are drawn larger so they seem near, while protruding
parts are drawn smaller so that they appear far, and in demonstration #2, you have convinced
yourself that the wire hood is actually coming toward you instead of away from you. The overall
effect of these reversals is negligible when viewed statically and with one eye and so we interpret
the scene in the most natural way.
The illusion of reverse perspective becomes interesting only when there is motion (our own
as in demonstration #1, or object motion as in demonstration #2). Suddenly, the third dimension
becomes important. As we move in front of the painting the changing angle of the 3-dimensional
structure provides us with visual information that is contrary to what we expect on the basis of the
perspective information. There is a conflict between what we are seeing and what we thought we
would see. Our mind then conjures up a whole 3-dimensional scene that is in fact not there. This is
the essence of the reverse perspective illusion.
Interestingly, the illusion fails when it is viewed with both eyes. This is because our robust
stereovision is not fooled by the tricky reverse perspective depth cues. In other words, stereovision
simply overrides reverse perspective depth cues, and eliminates the conflict that exists when the
illusion is viewed with only one eye.
