The Marr Prize is a prestigious biennial award in computer vision given by the committee of the International Conference on Computer Vision. Named after David Marr, the Marr Prize is considered one of the top honors for a computer vision researcher.
David Courtnay Marr (January 19, 1945 – November 17, 1980) was a British neuroscientist and psychologist. Marr integrated results from psychology, artificial intelligence, andneurophysiology into new models of visual processing. His work was very influential in Computational Neuroscience and led to a resurgence of interest in the discipline.
Marr’s findings are collected in the book Vision: A computational investigation into the human representation and processing of visual information (ISBN 0-7167-1567-8), which was published after his death and re-issued in 2010 by The MIT Press.
Levels of analysis
Marr treated vision as an information processing system.
He put forth (in concert with Tomaso Poggio) the idea that one must understand information processing systems at three distinct, complementary levels of analysis. This idea is known in cognitive science as Marr’s Tri-Level Hypothesis:
- computational level: what does the system do (e.g.: what problems does it solve or overcome) and, equally importantly, why does it do these things
- algorithmic/representational level: how does the system do what it does, specifically, what representations does it use and what processes does it employ to build and manipulate the representations
- physical level: how is the system physically realized (in the case of biological vision, what neural structures and neuronal activities implement the visual system)
Stages of vision
Marr described vision as proceeding from a two-dimensional visual array (on the retina) to a three-dimensional description of the world as output.
His stages of vision include:
- a primal sketch of the scene, based on feature extraction of fundamental components of the scene, including edges, regions, etc.
- Note the similarity in concept to a pencil sketch drawn quickly by an artist as an impression.
- a 2.5D sketch of the scene, where textures are acknowledged, etc.
- Note the similarity in concept to the stage in drawing where an artist highlights or shades areas of a scene, to provide depth.
- a 3 D model, where the scene is visualized in a continuous, 3-dimensional map.
The 2.5D sketch represents that in reality we do not see all of our surroundings but construct the viewer-centered three dimensional view of our environment.
2.5D Sketch is a paraline drawing and often referred to by its generic term “axonometric” or “isometric” drawing and are often used by modern architects and designers.
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