Theory suggests Earth’s pivotal catastrophes can be understood through depth dimension

Scilight ◽  
2020 ◽  
Vol 2020 (43) ◽  
pp. 431104
Author(s):  
Allison Gasparini
Keyword(s):  
Depth Dimension

Pilsēta Jāņa Hvoinska dzejā

2021 ◽  
pp. 233-242
Author(s):  
Anda Kuduma
Keyword(s):  
Concept Formation ◽  
Edmund Husserl ◽  
Artistic Style ◽  
Life And Death ◽  
Jean Paul ◽  
The World ◽  
Depth Dimension ◽  
Symbolic Images ◽  
Main Ideas ◽  
The City

The article is dedicated to the evaluation of creative work by poet and translator Jānis Hvoinskis, and it characterises the content and artistic qualities of Hvoinskis’s poetry process. The main focus is on the representation of the phenomenon of the city as an essential and characteristic poetic chronotope segment in Hvoinskis’s poetry. The study aims to identify and assess the characteristic kinds of city concept formation and their importance in building Hvoinskis’s artistic style. The article highlights and evaluates the techniques for designing the artistic structure of the indivisible chronotope in Hvoinskis’s poetry. This view is based on the fundamental principles of phenomenology, i.e., an individual phenomenon (phainómeno) is crucial in the reflection of consciousness, inner temporality, intentionality, intersubjectivity, and lifeworld. In turn, the highlight of poetry subject’s primary condition and existential motifs is logically linked to the main ideas of existentialism in their attitude towards the reason of an individual’s existence, relationships to life and death, freedom of will and choice, determinism. The study’s theoretical and methodological basis includes the ideas of phenomenology theoreticians (Edmund Husserl, Maurice Merleau-Ponty, and others) and the theories of existentialism philosophers (Søren Kierkegaard, Martin Heidegger, Jean-Paul Sartre). Hvoinskis’s poetry allows us to speak about a city as a concept, i.e., as a universal and capacious generalising notion (which includes images, notions, symbols) from which its associative components – poetry themes, motifs, images – derive. Thus, it is possible to speak about the depth dimension of the city phenomenon. The city phenomenon in Hvoinskis’s poetry is the landscape that has been adopted as the centre of the world of the lyric subject in both poetry collections that have come out to date: “Lietus pār kanālu e” (Rain over the Channel e, 2009) and “Mūza no pilsētas N” (Muse from City N, 2019). The depth dimension in Hvoinskis’s poetry appears in the natural synthesis of mythical and real chronotope, associatively impressive and plastic imagery, expressive style kindred to surrealism poetics. The city appears as a modernism project created by the logic of industrialisation, simultaneously revealing a metaphysical dimension where symbolic images as constituents of a myth preserve the memory of wholeness of the world. The emotional atmosphere of Hvoinskis’s poetry is defined by the highly existential atmosphere – despite the harsh indifference created by the city, the sadness of existential loneliness, social distance, and aversion towards life, the poet makes the tragic and ugly strangely appealing without losing the feeling of lightness and hope. The poet’s intense intuition and imagination exhibit the congeniality with the 20th-century French modernists. Hvoinskis’s poetry muse is death, which implies life.

scholarly journals VISUALIZATION OF E-COMMERCE DATA USING AUGMENTED REALITY

2020 ◽  
Vol 5 (19) ◽  
pp. 104-122
Author(s):  
Azzan Amin ◽  
Haslina Arshad ◽  
Ummul Hanan Mohamad
Keyword(s):  
Machine Learning ◽  
Augmented Reality ◽  
Data Visualization ◽  
Data Science ◽  
Moving Average ◽  
Open Data ◽  
Visual Presentation ◽  
Depth Dimension ◽  
2D Data ◽  
Visualization Application

Data visualization is viewed as a significant element in data analysis and communication. As the data engagement becomes more and more complex, visual presentation of data does help users understand the data. So far, two-dimensional (2D) data visuals are often used for the data visualization process, but the lack of depth dimension leads to inefficient and limited understanding of the data. Therefore, the effectiveness of augmented reality (AR) in data visualization was studied through the development of an AR Data Visualization application using E-commerce data. Machine learning models are also involved in the development of this AR application for the provision of data using predictive analysis functions. To provide quality E-commerce data and an optimal machine learning model, the data science process is carried out using the python programming language. The E-commerce data selected for this study is open data taken through the Kaggle Website. This database has 9994 data numbers and 21 attributes. This AR data visualization application will make it easier for users to understand the E-commerce data in-depth through the use of AR technology and be able to visualize the forecasts for sales profit based on the algorithm model "Auto-Regressive Integrated Moving Average" (ARIMA).

scholarly journals Cue-selective adaptation operates on a separable encoding of stereo and texture information

2019 ◽  
Author(s):  
Evan Cesanek ◽  
Fulvio Domini
Keyword(s):  
Visual Information ◽  
Physical Object ◽  
Physical Reality ◽  
Selective Adaptation ◽  
Visual Signals ◽  
Grip Aperture ◽  
Visual Inputs ◽  
Constant Bias ◽  
Depth Dimension ◽  
Object Depth

AbstractTo perform accurate movements, the sensorimotor system must maintain a delicate calibration of the mapping between visual inputs and motor outputs. Previous work has focused on the mapping between visual inputs and individual locations in egocentric space, but little attention has been paid to the mappings that support interactions with 3D objects. In this study, we investigated sensorimotor adaptation of grasping movements targeting the depth dimension of 3D paraboloid objects. Object depth was specified by separately manipulating binocular disparity (stereo) and texture gradients. At the end of each movement, the fingers closed down on a physical object consistent with one of the two cues, depending on the condition (haptic-for-texture or haptic-for-stereo). Unlike traditional adaptation paradigms, where relevant spatial properties are determined by a single dimension of visual information, this method enabled us to investigate whether adaptation processes can selectively adjust the influence of different sources of visual information depending on their relationship to physical depth. In two experiments, we found short-term changes in grasp performance consistent with a process of cue-selective adaptation: the slope of the grip aperture with respect to a reliable cue (correlated with physical reality) increased, whereas the slope with respect to the unreliable cue (uncorrelated with physical reality) decreased. In contrast, slope changes did not occur during exposure to a set of stimuli where both cues remained correlated with physical reality, but one was rendered with a constant bias of 10 mm; the grip aperture simply became uniformly larger or smaller, as in standard adaptation paradigms. Overall, these experiments support a model of cue-selective adaptation driven by correlations between error signals and input values (i.e., supervised learning), rather than mismatched haptic and visual signals.

Ambiguity in Pictorial Depth

Perception ◽  
10.1068/p5591 ◽  
2007 ◽  
Vol 36 (9) ◽  
pp. 1290-1304 ◽  
Author(s):  
Balaraju Battu ◽  
Astrid M L Kappers ◽  
Jan J Koenderink
Keyword(s):  
Linear Regression ◽  
Cross Sections ◽  
Depth Perception ◽  
Large Degree ◽  
Picture Plane ◽  
Pictorial Space ◽  
Pictorial Depth ◽  
Pictorial Structure ◽  
Depth Dimension ◽  
Very High

Pictorial space is the 3-D impression that one obtains when looking ‘into’ a 2-D picture. One is aware of 3-D ‘opaque’ objects. ‘Pictorial reliefs’ are the surfaces of such pictorial objects in ‘pictorial space’. Photographs (or any pictures) do in no way fully specify physical scenes. Rather, any photograph is compatible with an infinite number of possible scenes that may be called ‘metameric scenes’. If pictorial relief is one of these metameric scenes, the response may be considered ‘veridical’. The conventional usage is more restrictive and is indeed inconsistent. Thus the observer has much freedom in arriving at such a ‘veridical’ response. To address this ambiguity, we determined the pictorial reliefs for eight observers, six pictures, and two psychophysical methods. We used ‘methods of cross-sections’ to operationalise pictorial reliefs. We find that linear regression of the depths of relief at corresponding locations in the picture for different observers often lead to very low (even insignificant) R2s. Thus the responses are idiosyncratic to a large degree. Perhaps surprisingly, we also observed that multiple regression of depth and picture coordinates at corresponding locations often lead to very high R2s. Often R2s increased from insignificant up to almost 1. Apparently, to a large extent ‘depth’ is irrelevant as a psychophysical variable, in the sense that it does not uniquely account for the relation of the response to the pictorial structure. This clearly runs counter to the bulk of the literature on pictorial ‘depth perception’. The invariant core of interindividual perception proves to be of an ‘affine’ rather than a Euclidean nature; that is to say, ‘pictorial space’ is not simply the picture plane augmented with a depth dimension.

Recalibration by Pairing: A Process of Perceptual Learning

Perception ◽  
1975 ◽  
Vol 4 (1) ◽  
pp. 59-72 ◽  
Author(s):  
William Epstein
Keyword(s):  
Perceptual Learning ◽  
Binocular Disparity ◽  
Ontogenetic Development ◽  
Relative Dominance ◽  
Depth Dimension

When two cues which normally agree in determining perceived depth are experimentally paired so that they designate discrepant values for the depth dimension, an opportunity is created for the recalibration or re-evaluation of the cues. Experiments which show recalibration of the oculomotor cues and recalibration of binocular disparity as a result of pairing these cues with other discrepant cues are reviewed. The locus of change is related to the relative dominance of different cues and the contribution of allocation of attention in determining dominance is discussed. Implications of recalibration by pairing for understanding ontogenetic development are considered. It is suggested that some cues may acquire their effectiveness as a consequence of pairing during development.

scholarly journals Electron Tomography

2002 ◽  
Vol 10 (2) ◽  
pp. 3-5
Author(s):  
Stephen W. Carmichael
Keyword(s):  
Electron Tomography ◽  
Three Dimensional ◽  
Two Dimensions ◽  
Three Dimensions ◽  
Specimen Preparation ◽  
Two Dimensional Image ◽  
Transmission Electron ◽  
Different Depths ◽  
Depth Dimension ◽  
Pass Through

The transmission electron microscope (TEM) was invented in the 1930's, and developments in specimen preparation in the 1950's led to its widespread use as a tool to study structure in biologic systems. Similar in principle to the light microscope, but utilizing a much shorter wavelength for better resolution, the TEM has the image-forming beam pass through the specimen. This results in a two-dimensional image which can be difficult to interpret because features from different depths of the three dimensional specimen are superimposed. Traditionally this was dealt with by cutting sections of plastic-embedded specimens so thin (in the 40 to SO nanometer range) that they effectively had only two dimensions. To allow biologists to examine structures in three dimensions, serial sections are stacked and structures reconstructed. Even though computers have made reconstruction easier, the reality is that resolution in the depth dimension is limited by the section thickness. The technique of electron tomography is emerging as a way to overcome this limitation.

scholarly journals KOMPOSISI PORTRAIT LANDSCAPE DENGAN OBJEK PEMANDANGAN PADA 12 LOKASI DI BALI

2014 ◽  
Vol 2 (1) ◽  
pp. 51-65
Author(s):  
Onkky Wahyu Al Pratama ◽  
R. Sulistiyo Wibowo
Keyword(s):  
Landscape Photography ◽  
Landscape Use ◽  
Research Questions ◽  
Depth Dimension

Landscape portrait concept is not new, but in its application and use, including rare. In landscape photography, many photographers featuring views of the widest-shaped or landscape (horizontal) and rarely use the portrait (vertical). The research questions are how photographing landscape portrait composition, whether landscape portrait composition can enrich the composition of the landscape, and how the outcome of portrait landscape that can be enjoyed in general. The methods used are observation, exploration on the method of creation, experiment or improvisation, embodiment, and presentation of work. The sceneries in Bali have been selected to provide the different compositions using landscape portrait composition. In photographing the landscape portrait, photographers should use good composition, as in the portrait landscape use good composition can provide the depth dimension of the photograph, so the photos taken can still be attractive at first sight.

Geometry of Pictorial Relief

2018 ◽  
Vol 4 (1) ◽  
pp. 451-474 ◽  
Author(s):  
Jan J. Koenderink ◽  
Andrea J. van Doorn ◽  
Johan Wagemans
Keyword(s):  
Conceptual Understanding ◽  
Visual Awareness ◽  
Color Pattern ◽  
Formal Models ◽  
Geometrical Properties ◽  
Formal Geometry ◽  
Planar Substrate ◽  
Depth Dimension ◽  
Spatial Entity

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.

scholarly journals Tydorientasie versus Diepte-orientasie as dimensies van die 4-D teorie

1983 ◽  
Author(s):  
I. Van W Raubenheimer ◽  
J. H. Visser
Keyword(s):  
Time Orientation ◽  
Time Dimension ◽  
Depth Dimension ◽  
Selection Factors ◽  
The Relationship

The relationship between two of the dimensions of the 4-D theory (Raubenheimer, 1978), namely the time dimension (Augustyn, 1978) and the depth dimension (De Jager, 1979) has been investigated. The hypothesis that there is no correlation between an individual's time orientation and his depth orientation, is substantiated by the data. The possible influence of pre-selection factors on the results, however, cannot be ignored.

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