The paintings' overlapping transparent planes, for example, reflect Sheeler's experiments with double-exposure photographs.
The monochromatic colour scheme was suited to the presentation of complex, multiple views of the object, which was reduced to overlapping opaque and transparent planes.
Richter's House of Cards is all edges and transparent planes, reaching towards the ceiling and held together by small steel clamps.
Until now, Sheeler has been best known as the chief instigator (with Charles Demuth) of Precisionism, or Cubist realism, a painting style famous for its semi-abstract depictions of everything from still lifes to factories to ship decks in sharp, transparent planes.
On discriminating depth in isolated stimuli, or judging the relative depth between transparent planes, DF performs as well as controls.
Curiously, despite this good performance, it transpired that DF in fact only ever perceived one direction of motion when presented with two transparent planes of dots moving in opposite directions.
Indeed we have internal evidence of this within the present study, in that DF was surprisingly unable to perceive superimposed transparent planes defined by motion and/or disparity – she invariably saw motion in only one direction.
Evidently DF could still use information about transparent planes defined by motion and/or disparity to improve her depth discrimination thresholds – as well as or better than any of the control subjects we examined – despite being unable to perceive this information consciously.
The directions of motion of the two transparent planes of dots that made up the cylinder were aligned with the PREF and the opposite (NULL) directions of the MU cluster and the MU cylinder preference was calculated online over a range of disparities.
The distance-independent (uniform) contrast reduction was implemented by inserting a transparent virtual plane in front of the scene.
