Perception of geometric sequences and numerosity both predict formal geometric competence in primary school children

While most animals have a sense of number, only humans have developed symbolic systems to describe and organize mathematical knowledge. Some studies suggest that human arithmetical knowledge may be rooted in an ancient mechanism dedicated to perceiving numerosity, but it is not known if formal geometry also relies on basic, non-symbolic mechanisms. Here we show that primary-school children who spontaneously detect and predict geometrical sequences (non-symbolic geometry) perform better in school-based geometry tests indexing formal geometric knowledge. Interestingly, numerosity discrimination thresholds also predicted and explained a specific portion of variance of formal geometrical scores. The relation between these two non-symbolic systems and formal geometry was not explained by age or verbal reasoning skills. Overall, the results are in line with the hypothesis that some human-specific, symbolic systems are rooted in non-symbolic mechanisms.

LOSIK CLASSES FOR CODIMENSION-ONE FOLIATIONS

Following Losik’s approach to Gelfand’s formal geometry, certain characteristic classes for codimension-one foliations coming from the Gelfand-Fuchs cohomology are considered. Sufficient conditions for nontriviality in terms of dynamical properties of generators of the holonomy groups are found. The nontriviality for the Reeb foliations is shown; this is in contrast with some classical theorems on the Godbillon-Vey class; for example, the Mizutani-Morita-Tsuboi theorem about triviality of the Godbillon-Vey class of foliations almost without holonomy is not true for the classes under consideration. It is shown that the considered classes are trivial for a large class of foliations without holonomy. The question of triviality is related to ergodic theory of dynamical systems on the circle and to the problem of smooth conjugacy of local diffeomorphisms. Certain classes are obstructions for the existence of transverse affine and projective connections.

Geometry of Pictorial Relief

Pictorial relief is a quality of visual awareness that happens when one looks into (as opposed to at) a picture. It has no physical counterpart of a geometrical nature. It takes account of cues, mentally identified in the tonal gradients of the physical picture—pigments distributed over a planar substrate. Among generally recognized qualities of relief are color, pattern, texture, shape, and depth. This review focuses on geometrical properties, the spatial variation of depth. To be aware of an extended quality like relief implies a “depth” dimension, a nonphysical spatial entity that may smoothly vary in a surface-like manner. The conceptual understanding is in terms of formal geometry. The review centers on pertinent facts and formal models. The facts are necessarily so-called brute facts (i.e., they cannot be explained scientifically). This review is a foray into the speculative and experimental phenomenology of the visual field.

On Right and Wrong Drawings

Are pictorial renderings that deviate from linear perspective necessarily ‘wrong’? Are those in perfect linear perspective necessarily ‘right’? Are wrong depictions in some sense ‘impossible’? Linear perspective is the art of the peep show, making sense only from one fixed position, whereas typical art works are constructed and used more like panel presentations, that leave the vantage point free. In the latter case the viewpoint is free; moreover, a change of viewpoint has only a minor effect on pictorial experience. This phenomenologically important difference can be made explicit and formal, by considering the effects of panning eye movements when perusing scenes, and of changes of viewpoint induced by translations with respect to pictorial surfaces. We present examples from formal geometry, photography, and the visual arts.