{"status":"ok","message-type":"work","message-version":"1.0.0","message":{"indexed":{"date-parts":[[2025,11,2]],"date-time":"2025-11-02T06:35:18Z","timestamp":1762065318830,"version":"build-2065373602"},"reference-count":31,"publisher":"MDPI AG","issue":"3","license":[{"start":{"date-parts":[[2022,9,13]],"date-time":"2022-09-13T00:00:00Z","timestamp":1663027200000},"content-version":"vor","delay-in-days":0,"URL":"https:\/\/creativecommons.org\/licenses\/by\/4.0\/"}],"content-domain":{"domain":[],"crossmark-restriction":false},"short-container-title":["BDCC"],"abstract":"<jats:p>The retinal afterimage is a widely known effect in the human visual system, which has been studied and used in the context of a number of major art movements. Therefore, when considering the general role of computation in the visual arts, this begs the question whether this effect, too, may be induced using partly automated techniques. If so, it may become a computationally controllable ingredient of (interactive) visual art, and thus take its place among the many other aspects of visual perception which already have preceded it in this sense. The present moment provides additional inspiration to lay the groundwork for extending computer graphics in general with the retinal afterimage: Historically, we are in a phase where some head-mounted stereoscopic AR\/VR technologies are now providing eye tracking by default, thereby allowing realtime monitoring of the processes of visual fixation that can induce the retinal afterimage. A logical starting point for general investigation is then shape display via the retinal afterimage, since shape recognition lends itself well to unambiguous reporting. Shape recognition, however, may also occur due to normal vision, which happens simultaneously. Carefully and rigorously excluding this possibility, we develop computational techniques enabling shape display exclusive to the retinal afterimage.<\/jats:p>","DOI":"10.3390\/bdcc6030097","type":"journal-article","created":{"date-parts":[[2022,9,13]],"date-time":"2022-09-13T21:06:52Z","timestamp":1663103212000},"page":"97","update-policy":"https:\/\/doi.org\/10.3390\/mdpi_crossmark_policy","source":"Crossref","is-referenced-by-count":2,"title":["Computational Techniques Enabling the Perception of Virtual Images Exclusive to the Retinal Afterimage"],"prefix":"10.3390","volume":"6","author":[{"ORCID":"https:\/\/orcid.org\/0000-0003-1112-8969","authenticated-orcid":false,"given":"Staas","family":"de Jong","sequence":"first","affiliation":[{"name":"Honours Academy, Universiteit Leiden, 2311 EZ Leiden, The Netherlands"}]},{"given":"Gerrit","family":"van der Veer","sequence":"additional","affiliation":[{"name":"Multimedia & Cultuur, Vrije Universiteit, 1081 HV Amsterdam, The Netherlands"}]}],"member":"1968","published-online":{"date-parts":[[2022,9,13]]},"reference":[{"key":"ref_1","unstructured":"Hering, E. (1964). Outlines of a Theory of the Light Sense, Harvard University Press."},{"key":"ref_2","doi-asserted-by":"crossref","first-page":"384","DOI":"10.1037\/h0041403","article-title":"An opponent-process theory of color vision","volume":"64","author":"Hurvich","year":"1957","journal-title":"Psychol. Rev."},{"key":"ref_3","unstructured":"Rathus, S.A. (2012). Psychology: Concepts and Connections, Cengage Learning. [10th ed.]."},{"key":"ref_4","doi-asserted-by":"crossref","unstructured":"Poplawski, P. (2003). Encyclopedia of Literary Modernism, Greenwood Press.","DOI":"10.5040\/9798400680045"},{"key":"ref_5","unstructured":"Gardner, H., and Kleiner, F.S. (2010). Gardner\u2032s Art through the Ages: The Western Perspective, Volume 2, Cengage Learning."},{"key":"ref_6","doi-asserted-by":"crossref","unstructured":"Chevreul, M.E. (1839). De la Loi du Contraste Simultan\u00e9 des Couleurs, et de I\u2032Assortiment des Objets Color\u00e9s, Consid\u00e9r\u00e9 d\u2032Apr\u00e8s Cette Loi, Pitois-Levrault.","DOI":"10.5479\/sil.439259.39088007381551"},{"key":"ref_7","unstructured":"Chevreul, M.E. (1855). The Principles of Harmony and Contrast of Colours, and Their Applications to the Arts, Longman, Brown, Green, and Longmans."},{"key":"ref_8","unstructured":"Signac, P. (1899). D\u2032Eug\u00e8ne Delacroix au N\u00e9o-Impressionnisme, \u00c9ditions de la Revue Blanche."},{"key":"ref_9","unstructured":"(2008). Scholastic Inc. Georges Seurat\u2014Working with Color. Scholastic Art, Scholastic Inc. Teacher\u2019s Edition."},{"key":"ref_10","unstructured":"Houston, J., and Hickey, D. (2007). Optic Nerve: Perceptual Art of the 1960s, Merrell Publishers."},{"key":"ref_11","unstructured":"Seitz, W.C., and Museum of Modern Art (1965). The Responsive Eye, Museum of Modern Art."},{"key":"ref_12","unstructured":"Sylvester, D., and De Sausmarez, M. (2012). Bridget Riley: Works 1960\u20131966, Ridinghouse."},{"key":"ref_13","unstructured":"Madden, D., Spike, N., and Spike, J.T. (2010). Anuszkiewicz: Paintings & Sculptures, 1945\u20132001: Catalogue Raisonn\u00e9, Edizioni Centro Di."},{"key":"ref_14","unstructured":"Morgan, A.L. (2007). The Oxford Dictionary of American Art and Artists, Oxford University Press."},{"key":"ref_15","unstructured":"Parola, R. (1969). Optical Art: Theory and Practice, Reinhold Book Corporation."},{"key":"ref_16","unstructured":"Goethe, J.W. (1795\/1805). Bild eines M\u00e4dchens in umgekehrten Farben, gezeichnetes Nachbild in Komplement\u00e4rfarben, Klassik Stiftung Weimar. watercolor with Pencil Outlines on Paper."},{"key":"ref_17","doi-asserted-by":"crossref","first-page":"1413","DOI":"10.1068\/p6518","article-title":"Darwin illlusion: Evolution in a blink of the eye","volume":"38","author":"Jenkins","year":"2009","journal-title":"Perception"},{"key":"ref_18","unstructured":"Chilvers, E.I., and Albers, Josef. (2009). The Oxford Dictionary of Art and Artists (Oxford Reference Online), Oxford University Press."},{"key":"ref_19","unstructured":"Albers, J. (2006). Interaction of Color\u2013Revised and Expanded Edition, Yale University Press."},{"key":"ref_20","unstructured":"Brakhage, S. (1967). The stars are beautiful. Essential Brakhage: Selected Writings on Filmmaking, McPherson & Company."},{"key":"ref_21","doi-asserted-by":"crossref","first-page":"309","DOI":"10.1080\/713826390","article-title":"A simple after image method demonstrating the involuntary multidirectional eye movements during fixation","volume":"8","author":"Verheijen","year":"1961","journal-title":"Opt. Acta"},{"key":"ref_22","doi-asserted-by":"crossref","first-page":"229","DOI":"10.1038\/nrn1348","article-title":"The role of fixational eye movements in visual perception","volume":"5","author":"Macknik","year":"2004","journal-title":"Nat. Rev. Neurosci."},{"key":"ref_23","doi-asserted-by":"crossref","first-page":"338","DOI":"10.1037\/0033-2909.85.2.338","article-title":"Why do patterned afterimages fluctuate in visibility?","volume":"85","author":"Wade","year":"1978","journal-title":"Psychol. Bull."},{"key":"ref_24","doi-asserted-by":"crossref","first-page":"1439","DOI":"10.1068\/p3127","article-title":"Effects of voluntary attention on structured afterimages","volume":"30","author":"Lou","year":"2001","journal-title":"Perception"},{"key":"ref_25","doi-asserted-by":"crossref","first-page":"1143","DOI":"10.1038\/1961143a0","article-title":"Why after-images are not seen in normal circumstances","volume":"196","author":"Daw","year":"1962","journal-title":"Nature"},{"key":"ref_26","doi-asserted-by":"crossref","first-page":"899","DOI":"10.1016\/0042-6989(78)90016-0","article-title":"Interactions between simultaneous contrast and coloured afterimages","volume":"18","author":"Anstis","year":"1978","journal-title":"Vis. Res."},{"key":"ref_27","doi-asserted-by":"crossref","first-page":"2837","DOI":"10.1016\/S0042-6989(03)00479-6","article-title":"Is word recognition different in central and peripheral vision?","volume":"43","author":"Lee","year":"2003","journal-title":"Vis. Res."},{"key":"ref_28","doi-asserted-by":"crossref","first-page":"R323","DOI":"10.1016\/j.cub.2009.03.010","article-title":"Filling-in afterimage colors between the lines","volume":"19","author":"Vergeer","year":"2009","journal-title":"Curr. Biol."},{"key":"ref_29","doi-asserted-by":"crossref","first-page":"41","DOI":"10.1177\/0276237417693564","article-title":"How images draw the eye: An eye-tracking study of composition","volume":"36","author":"Kirtley","year":"2018","journal-title":"Empir. Stud. Arts"},{"key":"ref_30","unstructured":"Microsoft Corporation (2022, August 22). Eye Tracking on HoloLens 2. Available online: https:\/\/docs.microsoft.com\/en-us\/windows\/mixed-reality\/design\/eye-tracking."},{"key":"ref_31","doi-asserted-by":"crossref","first-page":"31","DOI":"10.1162\/014892602320991356","article-title":"Max at seventeen","volume":"26","author":"Puckette","year":"2002","journal-title":"Comput. Music J."}],"container-title":["Big Data and Cognitive Computing"],"original-title":[],"language":"en","link":[{"URL":"https:\/\/www.mdpi.com\/2504-2289\/6\/3\/97\/pdf","content-type":"unspecified","content-version":"vor","intended-application":"similarity-checking"}],"deposited":{"date-parts":[[2025,10,11]],"date-time":"2025-10-11T00:30:35Z","timestamp":1760142635000},"score":1,"resource":{"primary":{"URL":"https:\/\/www.mdpi.com\/2504-2289\/6\/3\/97"}},"subtitle":[],"short-title":[],"issued":{"date-parts":[[2022,9,13]]},"references-count":31,"journal-issue":{"issue":"3","published-online":{"date-parts":[[2022,9]]}},"alternative-id":["bdcc6030097"],"URL":"https:\/\/doi.org\/10.3390\/bdcc6030097","relation":{},"ISSN":["2504-2289"],"issn-type":[{"type":"electronic","value":"2504-2289"}],"subject":[],"published":{"date-parts":[[2022,9,13]]}}}