Abstract
Binocular rivalry has a longer descriptive history than stereoscopic depth perception both of which were transformed by Wheatstone's invention of the stereoscope. Thereafter, artistic interest in binocular vision has been largely confined to stereopsis. A brief survey of research on binocular contour rivalry is followed by anaglyphic examples of its expression as art. Rivalling patterns can be photographs, graphics, and combinations of them. In addition, illustrations of binocular lustre and interactions between rivalry and stereopsis are presented, as are rivalling portraits of some pioneers of the science and art of binocular vision. The question of why a dynamic process like binocular rivalry has been neglected in visual art is addressed.
Highlights
The investigation of vision with two eyes is one of the oldest areas of vision research with attention concentrated on single and double vision
Paired photographic stimuli did not have the impact on studies of binocular rivalry that they did for stereoscopic vision
Some rivalling anaglyphic portraits are illustrated in Wade (2019, 2021a, 2021c, 2022) and they include pioneers of research on binocular vision like Wheatstone and Brewster in rivalry as well as Helmholtz at different ages and Panum combined with orthogonal gratings
Summary
The investigation of vision with two eyes is one of the oldest areas of vision research with attention concentrated on single and double vision (see Howard and Rogers, 1995; Wade, 1998). Binocular art, contour rivalry, lustre, stereoscopic vision, portraits, photography, graphics Binocular contour rivalry is more evident and compelling than colour rivalry and it can readily be observed with different stimuli in a stereoscope.
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