Part IV · Chapter 11 · Lectures 8 & 9

Surfaces & depth

How the brain turns edges into surfaces — figure–ground, border ownership, amodal and modal completion — and how it rebuilds a 3D world from flat retinal images using pictorial and non-pictorial depth cues.

1. Surface perception at Marr's three levels

V1 gives you edges. But the world is made of surfaces — the continuous areas of objects that define their shape — and objects overlap, hide each other, and sit under uneven light. The retinal image is a fragmented 2D mess.

LevelSurface perception
Computational (why?)Recover coherent surfaces and objects from a fragmented 2D image
Algorithmic (how?)Assign borders to figure or ground; link separated regions by amodal and modal completion; interpret shading and lighting; form contextual predictions
Implementation (where?)V1 encodes local edges. V2 integrates borders and represents real and illusory surfaces

2. Figure–ground and border ownership

Definition Border ownership — a visual border between two regions is normally perceived to belong to only one of them. Whichever region owns the border becomes the figure; the other becomes ground and seems to continue behind it.
Rubin's vase (1921) — one border, two owners
What to notice: the image never changes — only which side is marked as owning the border. You can't see both at once, because a border can only belong to one region at a time.

The lecture's other examples: Da Vinci's Last Supper (figure–ground separation in a painting) and a carved-wood puzzle where the borders can belong to the light wooden pieces (light wood in front) or to the dark deer shapes (deer in front, light wood becomes the table behind).

3. Amodal and modal completion

Objects get cut into pieces by whatever's in front of them. The brain has to glue the pieces back into one object — and it does it in two different ways.

Amodal completion The brain infers parts of an object hidden (occluded) by another object, but does not actually "see" those parts. You know the cat continues behind the fence; you don't see its hidden body.
Modal completion You perceive an illusory surface, suggested by cues like colour or alignment — no occlusion needed, and you really do "see" its edges, even where there's no contrast at all.
Kanizsa triangle — both kinds of completion at once
What to notice: at 0° you see a triangle, a shade brighter (or darker, in dark mode) than the page, with sharp edges — that's modal completion (an illusory surface). You also see three whole discs and an outlined triangle lying behind it — that's amodal completion (occluded parts inferred, not seen). Rotate the pac-men a few tens of degrees and the white triangle collapses: the illusion depends on the edges being aligned.
Telling them apart on an exam Ask: is something occluding it? → amodal (the outlined triangle and whole discs behind the illusory one). Is the surface itself illusory? → modal (the illusory triangle on top). Modal completion also lets us read silhouettes and see illusory coloured surfaces (the lecture's cat).

When the predictions go wrong — and how knowledge steers them

Your brain is mostly making predictions, and sometimes gets them wrong: amodal completion gone wrong (a head "joined" to the wrong body behind an occluder) and modal completion gone wrong — the whole r/confusingperspective genre. Knowledge of objects and context refines the predictions: prime people with "young" or "old" and the same ambiguous drawing becomes a young woman or an old woman.

Where it happens: V1 edges → V2 surfaces

Neurophysiology: V1 cells respond to edges. V2 cells respond to real surfaces and illusory surfaces — a V2 cell fires for the edge of a Kanizsa-style illusory figure even though there is no luminance edge in its receptive field. That's why the implementation row reads "V1 edges, V2 surfaces".

4. Depth: rebuilding the third dimension

The retina is a 2D sheet. Depth is inferred. At Marr's levels:

LevelDepth perception
ComputationalReach and grasp objects accurately, navigate safely, judge approaching objects
AlgorithmicCombine pictorial cues (occlusion, perspective, texture, shading…) with non-pictorial cues (binocular disparity, motion parallax, vergence, accommodation)
ImplementationV1–V5 are all involved in inferring depth
Pictorial cues2D information in the image itself that can be used to infer 3D depth — what a painter can use.
Non-pictorial cuesOther information from the body and the world — eye muscles, lens, two eyes, your own movement.

5. The seven pictorial cues

Build depth from a flat picture — switch cues on
What to notice: with everything off, the two figures are just shapes on a page. Each cue suggests an interpretation; turn on several and the far figure is unmistakably far. Turn on "height in field" and "known size" without the others and see how much weaker the impression is.
#CueWhat it says
1OcclusionIf A hides part of B, A is in front (Raphael's School of Athens)
2Linear perspectiveParallel lines converge with distance to a vanishing point (trompe-l'œil murals — "deceive the eye")
3Height in fieldAssuming a flat ground, objects higher in the visual field are farther
4Known sizeIf you know how big it is (a cat), its retinal size tells you its distance
5Texture gradientAssume texture elements are uniform; if they shrink, it's because they're farther
6Atmospheric perspectiveDistant surfaces are hazier and lower-contrast (the atmosphere imposes a haze)
7ShadowsGround objects to the surface; the gap between object and shadow gives the object's distance from the surface
How cues work They're not laws that force one interpretation. Each cue suggests an interpretation, and the brain picks the interpretation compatible with the greatest number of cues. So what happens when cues conflict? → the Ames room.

6. Size constancy and the Ames room

A man far away is small on your retina, but you don't see a small man. You compensate using distance:

$$\text{Perceived size} = \text{Size on retina} \times \text{Perceived distance}$$

The same equation runs in two directions — this is the part to get straight:

Height in field / other distance cues Distance is known (from cues) → solve for size. The distant man is perceived as normal-sized.
Known size (the cat) Size is known → solve for distance: $\text{Perceived distance} = \text{Known size} / \text{Size on retina}$.
The Ames room — when distance is misjudged, size pays the price
What to notice: both people are 1.6 m tall. The room is a trapezoid built so that from the peephole it looks like an ordinary rectangle — so you perceive both corners at the same distance (3 m). Perceived size = retinal size × perceived distance, so the farther person — smaller on the retina, but not perceived as farther — looks tiny. Numbers are computed from the sliders.
Try itSize constancy by hand

A 1.8 m person stands 10 m away, then walks back to 30 m. (a) How does their retinal size change? (b) With good distance cues, how big do they look? (c) In an Ames-style room that makes you think they're still at 10 m, how big do they look?

Step 1 — Retinal size

Retinal size ∝ size / distance: 1.8/10 = 0.18 → 1.8/30 = 0.06. It shrinks to one third.

Step 2 — With correct distance

Perceived size = 0.06 × 30 = 1.8 m. Size constancy: they look the same height.

Step 3 — With distance misjudged as 10 m

Perceived size = 0.06 × 10 = 0.6 m — a third of their real height.

The takeaway

Retinal size alone never determines perceived size. The equation's "perceived distance" term is the lever the Ames room pulls: the room's perspective and height-in-field cues are rigged to agree on one wrong distance, and they outvote your knowledge that people don't shrink.

7. Non-pictorial cues

CueHow it works
Motion parallaxAs you move, near objects sweep past faster than far ones. A praying mantis sways its head side to side to judge distance to prey. (Ch. 12)
AccommodationThe lens changes shape to focus; the visual system senses how strained the lens is and translates that into distance
VergenceEyes rotate toward each other (convergence) for near things, apart (divergence) for far — the angle gives distance
Binocular disparityThe two eyes see slightly different images; the difference in separation → depth. Using it is stereopsis. Wheatstone's mirror stereoscope (1832) fakes 3D by showing each eye its own image
Two eyes: vergence and disparity
Vergence–accommodation conflict Normally vergence and accommodation go hand in hand — both report the same distance. In VR, your eyes converge on the virtual object's distance, but the lens must accommodate to the fixed distance of the screen optics. The mismatch between the two depth cues causes sickness and nausea with prolonged use. Tick "VR headset" above and move the fixation slider to see the gap.

Where: binocular disparity is processed across multiple visual areas, from V1 to V5/MT.

8. Check yourself

In the Kanizsa figure, seeing a triangle with crisp edges where no edge physically exists is…
Why: You actually see an illusory surface without occlusion → modal. The outlined triangle and whole discs behind it (inferred, not seen) are the amodal part.
Distant mountains look bluish and low-contrast. This depth cue is…
Why: Haze from the atmosphere lowers contrast with distance.
Which is a non-pictorial cue?
Why: Vergence comes from your eye muscles, not the image. A painter can use all the others.
Which area responds to illusory surfaces as well as real ones?
Why: V1 encodes local edges; V2 integrates borders into surfaces, including illusory ones.
In the Ames room, which term of "perceived size = retinal size × perceived distance" is being fooled?
Why: Retinal size is honest (the far person really is smaller on your retina). The room's shape makes you misjudge distance, so perceived size comes out wrong.