Tatiana Kartashova

Delft University of Technology | TU · Department of Industrial Design

Complex, goal-directed and time-critical movements require the processing of temporal features in sensory information as well as the fine-tuned temporal interplay of several effectors. Temporal estimates used to produce such behavior may thus be obtained through perceptual or motor processes. To disentangle the two options, we tested whether adapta...

Vision in depth is distorted. A similar distortion can be observed for pointing to visual targets in depth. It has been suggested that pointing errors in depth reflect the visual distortion. Alternatively, pointing in depth might be guided by a prior that biases movements toward the natural grasping distance at which object manipulation is usually...

Complex, goal-directed and time-critical movements require the processing of temporal features in sensory information as well as the fine-tuned temporal interplay of several effectors. Temporal estimates used to produce such behavior may thus be obtained through perceptual or motor processes. To disentangle the two options, we tested whether adapta...

In order to know how far objects are away from us, the brain might use the coordinates contained in plans of movements that would reach the object. We investigated whether adaptation of pointing movements changes the visual perception of depth. We presented three-dimensional stimuli in a virtual environment using head mounted displays and controlle...

In computer graphics, illuminating a scene is a complex task, typically consisting of cycles of adjusting and rendering the scene to see the effects. We propose a technique for visualization of light as a tensor field via extracting its properties (i.e., intensity, direction, diffuseness) from (virtual) radiance measurements and showing these prope...

In this paper, we introduce a toolbox for the perceptually based visualization of light in a volume, focusing on the visual effects of illumination. First, our visualizations extend the conventional methods from a two-dimensional representation on surfaces to the whole volume of a scene. Second, we extend the conventional methods from showing only...

In this article, we studied perception of a particular case of light fields that is characterized by a difference in its consistent structure between parts of a scene. In architectural lighting design, such a consistent structure in a part of a light field is called a light zone. First, we explored whether human observers are sensitive to light zon...

Light strongly influences the appearance of the shape and material of an object. For example increasing the light diffuseness makes an object look more flat and matte. We consider the actual light resulting from sources and optical interactions in the scene. Taking into account the interdependence of light and scene properties, it is not easy to op...

(Conference talk) Light zones are spatial groupings of lighting variables (intensity, direction, etc.) significant to the space-and form-giving characteristics of light (Madsen, 2007). Previously, Kartashova et al. (2015) found that for paintings in which more than one light zone was present the light inferences showed striking individual differenc...

Human observers have been demonstrated to be sensitive to the local (physical) light field, or more precisely, to the primary direction, intensity, and diffuseness of the light at a point in a space. In the present study we focused on the question of whether it is possible to reconstruct the global visual light field, based on observers' inferences...

Human observers are sensitive to light properties such as the intensity, direction and diffuseness. We study how well they are able to estimate the light field (the structure of the net flux transport) in rooms, by empirical measurement and comparison of the physical and visual light fields. We made regularized measurements of the physical light fi...

The aim of this study was to investigate whether inferences of light in the empty space of a painting and on objects in that painting are congruent with each other. We conducted an experiment in which we tested the perception of light qualities (direction, intensity of directed and ambient components) for two conditions: a) for a position in empty...

The structure of a light field in a scene is dependent on the illumination, materials and scene geometry. We adapted the method for measurement and reconstruction of the physical light field introduced by Mury (2009) to cubic illuminance measurements using a device with a mini receptor head at each surface of a cube (Cuttle, 2014). Since human obse...