scholarly journals Notes from the Editor

2004 ◽  
Vol 98 (2) ◽  
pp. iii-viii
Keyword(s):  
Three Dimensional ◽  
Question Wording ◽  
Hollywood Movies ◽  
The Mind ◽  
Lead Article

Readers of a certain age who are still able to summon up memories of those thrilling days of yesteryear may recall that the previews for Hollywood movies used to feature such come-ons as “Years in the making!,” “With a cast of thousands!,” and “In living color!” The articles in this issue of the APSR may or may not have been years in the making, though I am pleased to attest that the review and production phases of their creation fell well short of epic proportions. Nor, although some of these articles are co-authored, did their dramatis personae ever exceed a sub-DeMillean three. As Louis B. Mayer might have said, though, color we've got. As usual, our cover shimmers. But this time the color comes in multiple hues rather than the normal monochrome, and the color can be found not just on the cover but in our lead article as well, where the cover graphic reappears along with several multi-color accompaniments. Where, the traditionalists among us may wonder, will it all end? Brightly colored covers were bad enough—but when the next issue of the APSR arrives, should three-dimensional scattergrams be expected to pop up out of its pages? Will question-wording appendixes be intoned in the basso profundo of James Earl Jones? Will the textual analyses self-deconstruct? The mind boggles; the slope is slippery; a little color is a dangerous thing.

ORNAMENT AND DISTRACTION: PERIPHERAL AESTHETICS IN THE NINETEENTH CENTURY

2017 ◽  
Vol 45 (2) ◽  
pp. 233-255
Author(s):  
Alison Georgina Chapman
Keyword(s):  
Nineteenth Century ◽  
William James ◽  
Three Dimensional ◽  
Related Phenomenon ◽  
Two Dimensional ◽  
Optical Character ◽  
Cognitive Faculties ◽  
The Will ◽  
The Mind

In the section devoted to “Attention”inThe Principles of Psychology(1890), William James describes how the “‘adaptation of the attention’” can alter our perception of an image so as to permit multiple visual formulations (417). In his example of a two-dimensional drawing of a cube, we can see the three-dimensional body only once our attention has been primed by “preperception”: the image formed by the combination of lines has “no connection with what the picture ostensibly represents” (419, 418). In a footnote to this passage, however, James uses an example from Hermann Lotze'sMedicinische Psychologie(1852), to show how a related phenomenon can occur involuntarily, and in states of distraction rather than attention:In quietly lying and contemplating a wall-paper pattern, sometimes it is the ground, sometimes the design, which is clearer and consequently comes nearer. . .all without any intention on our part. . . .Often it happens in reverie that when we stare at a picture, suddenly some of its features will be lit up with especial clearness, although neither its optical character nor its meaning discloses any motive for such an arousal of the attention. (419)James uses the formal illogicality of the wallpaper (its lack of compositional center prevents it from dictating the trajectory for our attention according to intrinsic aesthetic laws) to demonstrate the volatility of our ideational centers, particularly in moments of reverie or inattention. Without the intervention of the will, James says, our cognitive faculties are always in undirected motion, which occurs below the strata of our mental apprehension. Momentary instances of focus or attunement are generated only by the imperceptible and purely random “irradiations of brain-tracts” (420). Attention, for James, is the artistic power of the mind; it applies “emphasis,” “intelligible perspective,” and “clear and vivid form” to the objects apprehended by the faculties of perception, it “makesexperience more than it is made by it” (381). Reverie, a moment when attention has been reduced to a minimum, thus demands an alternative aesthetic analog, where composition is reduced to a minimum too.

Interconnections

2011 ◽  
Vol 6 (6) ◽  
pp. 538-559
Author(s):  
Lori C. Walters ◽  
Darin E. Hughes ◽  
Charles E. Hughes
Keyword(s):  
New York ◽  
Virtual Worlds ◽  
Art History ◽  
Three Dimensional ◽  
World's Fair ◽  
Two Dimensional ◽  
Engineering Technology ◽  
New York World's Fair ◽  
The Mind ◽  
Central Portal

Virtual reality (VR) transports the mind beyond the two-dimensional bounds of text and photographs; it engages the imagination and forms visual and cognitive links. VR can free participants from stereotyped bounds projected by society. Interconnections: Revisiting the Future applies these innate qualities of virtual worlds to weave together individual threads of singular disciplines into a multidisciplinary tapestry of exploration. The authors are creating an accurately modeled 1964–1965 New York World’s Fair where users can freely explore 140+ pavilions set on 660 virtual square acres. The myriad of pavilions offer links to multiple disciplines—science, engineering, technology, national and international political/cultural affairs, art, history, and architecture. The project provides on-site museum experiences with its partners, the New York Hall of Science and Queens Museum of Art. The three-dimensional virtual Fair environment serves as a central portal that links together not only subjects within that environment but also experiences at these partnering institutions.

Generating and Comparing Three-Dimensional Images of Structures Obtained by Electron Microscopy and other Methodologies

1996 ◽  
Vol 54 ◽  
pp. 4-5
Author(s):  
D. J. DeRosier
Keyword(s):  
Electron Microscopy ◽  
Three Dimensional ◽  
Spatial Relationships ◽  
Structural Studies ◽  
14Th Century ◽  
Three Dimensional Objects ◽  
Meister Eckhart ◽  
Three Dimensional Images ◽  
The Mind ◽  
Good And Evil

“Subtract the mind,…and the eye is open to no purpose, which before did see.” “Before my eye can see the painting on the wall, this must…be borne into my phantasy, to be assimilated by my understanding.” (both attributed to 14th century philosopher-mystic, Meister Eckhart).Images of models provide a way to look at structures. A well-executed model can embody the results of many studies in a way that our minds easily grasp. We learn from them, and we teach from them. They are especially important in structural studies because comprehension of spatial relationships is key to our understanding. The computer, with its ability to generate, color and animate three-dimensional objects, is a source of both good and evil when producing images of models.Models are really analogies intended to illustrate particular attributes of a structure. A “dangerous pitfall is hidden in the very nature of analogies themselves. Every grade [of analogy] can be traced between remote analogies, and analogies which are so close that they pass into identities, and – paradoxically enough – it is often the remote analogies which have the greatest value, while it is the close analogies of which we have to beware. The misuse of an analogy by pressing it to the point at which it is confused with an identity, is one to which biological thought is particularly liable.” (Agnes Arber, 1953).

A model of matter, mind, and consciousness

2020 ◽  
Vol 33 (4) ◽  
pp. 453-459
Author(s):  
Olav Drageset
Keyword(s):  
Dark Matter ◽  
Dark Energy ◽  
String Theory ◽  
Energy Levels ◽  
Three Dimensional ◽  
Negative Energy ◽  
Positive Energy ◽  
Physical Universe ◽  
Parallel Universes ◽  
The Mind

This article shows how string theory is able to model nonphysical particles and how three-dimensional string theory “branes” (parallel universes) could hold dark matter and dark energy. Introspective experience from scientifically oriented groups gives us some clues of how the mind and consciousness could be described. The resulting synthesis from science and direct introspection, for understanding mind and consciousness, are presented. It shows a cosmos with: (1) A parallel nonphysical universe containing dreams, thoughts, emotions, and memories. This universe, called the psychological universe, is probably based on dark matter; (2) A parallel nonphysical universe where intuitive nonphenomenal thinking takes place and where personality and worldview are stored. This universe is called the intuitive universe and is probably based on dark energy and seems to have quantum mechanical qualities. These two universes together make up the mind such as it is defined in this article; and (3) A third nonphysical universe filled with negative energy could make up consciousness. All four universes (including the physical universe) have different vacua, dimensions, and energy levels, so they are all around us but separated. I propose that biological beings consist of a physical body in the physical universe plus entangled bodies in the three nonphysical universes. Entanglement is established by signals going both ways between the different bodies. String theory shows how the interaction between branes/universes can take place. Such a worldview seems to match the requirements from string theory so that it becomes a theory that includes the physical universe and the mind (all kinds of positive energy), and the connection to consciousness. Consciousness itself is based on negative energy, according to mathematician Luigi Fantappiè. The physical base for negative energy is still an open question.

The Poetics of Ornament

2018 ◽  
Author(s):  
Margaret S. Graves
Keyword(s):  
Three Dimensional ◽  
Full Scale ◽  
Architectural Form ◽  
Three Dimensional Objects ◽  
Persian Poetry ◽  
The Mind ◽  
Rhetorical Model

This chapter continues with the paradigm of rhetoric established in Chapter 4 of the book, but moves discussion from metaphor to ekphrasis—that is, description that seeks to make an absent artwork or building present in the mind of the reader or listener. The example of carved marble jar stands, called kilgas, from medieval Cairo are used to pose a question that crosses modalities: Can decoration be description? Individual stands have been inscribed with a dramatically reconfigured and miniaturized set of components from a full-scale form of architectural water feature. Tracing the redescription of architecture onto object, this chapter applies to its subjects the rhetorical model of ekphrasis, arguing that the atomized architecture of effect and spectacle encountered in medieval Arabic and Persian poetry is paralleled in the refraction of architectural form upon three-dimensional objects.

scholarly journals Sustained representation of perspectival shape

2020 ◽  
Vol 117 (26) ◽  
pp. 14873-14882 ◽  
Author(s):  
Jorge Morales ◽  
Axel Bax ◽  
Chaz Firestone
Keyword(s):  
Real World ◽  
Empirical Test ◽  
Three Dimensional ◽  
Paradigm Case ◽  
Foundational Principle ◽  
The World ◽  
Heated Debate ◽  
Dual Character ◽  
The Mind ◽  
Objective Shape

Arguably the most foundational principle in perception research is that our experience of the world goes beyond the retinal image; we perceive the distal environment itself, not the proximal stimulation it causes. Shape may be the paradigm case of such “unconscious inference”: When a coin is rotated in depth, we infer the circular object it truly is, discarding the perspectival ellipse projected on our eyes. But is this really the fate of such perspectival shapes? Or does a tilted coin retain an elliptical appearance even when we know it’s circular? This question has generated heated debate from Locke and Hume to the present; but whereas extant arguments rely primarily on introspection, this problem is also open to empirical test. If tilted coins bear a representational similarity to elliptical objects, then a circular coin should, when rotated, impair search for a distal ellipse. Here, nine experiments demonstrate that this is so, suggesting that perspectival shapes persist in the mind far longer than traditionally assumed. Subjects saw search arrays of three-dimensional “coins,” and simply had to locate a distally elliptical coin. Surprisingly, rotated circular coins slowed search for elliptical targets, even when subjects clearly knew the rotated coins were circular. This pattern arose with static and dynamic cues, couldn’t be explained by strategic responding or unfamiliarity, generalized across shape classes, and occurred even with sustained viewing. Finally, these effects extended beyond artificial displays to real-world objects viewed in naturalistic, full-cue conditions. We conclude that objects have a remarkably persistent dual character: their objective shape “out there,” and their perspectival shape “from here.”

scholarly journals A Renaissance Robot

1998 ◽  
Vol 120 (02) ◽  
pp. 80-82
Author(s):  
David Herman
Keyword(s):  
Motion Picture ◽  
Da Vinci ◽  
Three Dimensional ◽  
Leonardo Da Vinci ◽  
Practical Approach ◽  
Amusement Park ◽  
Shock Absorbers ◽  
The World ◽  
Dimensional Simulation ◽  
The Mind

This article focuses on a computer in downtown Manhattan that is displaying a robotics designer’s latest creation in action. Fashioned to look like an armored knight, the mechanical man in this three-dimensional simulation sits up, waves its arms, moves its head on a flexible neck, and opens and closes its hands and its jaw, all in smooth, precise motions. The robot could be used in a new motion picture, museum, or amusement park. Its original designer, however, never heard of movies, computers, or Wait Disney: The robot sprang from the mind of Leonardo da Vinci. Most Renaissance-era designers took a practical approach to mechanics, viewing each machine as a universal entity to be applied as a whole. Leonardo, however, used a revolutionary method of analysis that involved dissecting machines into individual components or “organs” and establishing how many essential parts exist; pulleys, chains, pinions, shock absorbers, springs, and friction bearings were just some of the elements he discovered to be common in many different machines. Leonardo’s studies have influenced and inspired Rossheim greatly in his current robotics designs. Leonardo followed the Renaissance ideal of “man as the measure,” the standard for which the world was designed.

The story in the mind: the effect of 3D gameplay on the structuring of written L2 narratives

ReCALL ◽  
2014 ◽  
Vol 27 (1) ◽  
pp. 21-37 ◽  
Author(s):  
David O. Neville
Keyword(s):  
Waste Management ◽  
Language Learning ◽  
Three Dimensional ◽  
Management Systems ◽  
Written Narratives ◽  
Making Sense ◽  
Story Maps ◽  
The Mind ◽  
Study Participants ◽  
Experimental Group

AbstractThe article reports on a mixed-methods study evaluating the use of a three-dimensional digital game-based language learning (3D-DGBLL) environment to teach German two-way prepositions and specialized vocabulary within a simulated real-world context of German recycling and waste management systems. The study assumed that goal-directed player activity in this environment would configure digital narratives, which in turn would help study participants in the experimental group to co-configure story maps for ordering and making sense of the problem spaces encountered in the environment. The study further assumed that these participants would subsequently rely on the story maps to help them structure written L2 narratives describing an imagined personal experience closely resembling the gameplay of the 3D-DGBLL environment. The study found that immersion in the 3D-DGBLL environment influenced the manner in which the second language was invoked in these written narratives: Participants in the experimental group produced narratives containing more textual indicators describing the activity associated with the recycling and waste management systems and the spaces in which these systems are located. Increased usage of these indicators suggest that participants in the experimental group did indeed rely on story maps generated during 3D gameplay to structure their narratives, although stylistic and grammatical features of the narratives suggest, however, that changes could be made to the curricular implementation of the 3D-DGBLL environment. The study also puts forward ideas for instructional best practices based on research findings and suggests future areas of development and investigation.

Précis of O'Keefe & Nadel'sThe hippocampus as a cognitive map

1979 ◽  
Vol 2 (4) ◽  
pp. 487-494 ◽  
Author(s):  
John O'Keefe ◽  
Lynn Nadel
Keyword(s):  
Deep Structure ◽  
Three Dimensional ◽  
Physiological Model ◽  
Neural System ◽  
Cognitive Map ◽  
Discourse Comprehension ◽  
Anatomy And Physiology ◽  
Mapping System ◽  
Many Sources ◽  
The Mind

AbstractTheories of spatial cognition are derived from many sources. Psychologists are concerned with determining the features of the mind which, in combination with external inputs, produce our spatialized experience. A review of philosophical and other approaches has convinced us that the brain must come equipped to impose a three-dimensional Euclidean framework on experience – our analysis suggests that object re-identification may require such a framework. We identify this absolute, nonegocentric, spatial framework with a specific neural system centered in the hippocampus.A consideration of the kinds of behaviours in which such a spatial mapping system would be important is followed by an analysis of the anatomy and physiology of this system, with special emphasis on the place-coded neurons recorded in the hippocampus of freely moving rats. A tentative physiological model for the hippocampal cognitive map is proposed. A review of lesion studies, in tasks as diverse as discrimination learning, avoidance, and extinction, shows that the cognitive map notion can adequately explain much of the data.The model is extended to humans by the assumption that spatial maps are built in one hemisphere, semantic maps in the other. The latter provide a semantic deep structure within which discourse comprehension and production can be achieved. Evidence from the study of amnesic patients, briefly reviewed, is consistent with this extension.

The orbit of Pluto over a long interval of time

1966 ◽  
Vol 25 ◽  
pp. 227-229 ◽  
Author(s):  
D. Brouwer
Keyword(s):  
Periodic Orbit ◽  
Numerical Integration ◽  
Restricted Problem ◽  
Three Dimensional ◽  
The Third ◽  
Circular Restricted Problem ◽  
Resonance Relation

The paper presents a summary of the results obtained by C. J. Cohen and E. C. Hubbard, who established by numerical integration that a resonance relation exists between the orbits of Neptune and Pluto. The problem may be explored further by approximating the motion of Pluto by that of a particle with negligible mass in the three-dimensional (circular) restricted problem. The mass of Pluto and the eccentricity of Neptune's orbit are ignored in this approximation. Significant features of the problem appear to be the presence of two critical arguments and the possibility that the orbit may be related to a periodic orbit of the third kind.

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