Infant Response to Impending Optical Collision

Perception ◽  
1980 ◽  
Vol 9 (5) ◽  
pp. 549-554 ◽  
Author(s):  
Jane Dunkeld ◽  
Tom G R Bower
Keyword(s):  
The Third ◽  
Similar Transformation ◽  
Young Infants ◽  
Third Dimension

Young infants withdraw their heads when shown a display simulating a rectangle rotating towards their faces. The head withdrawal is specific to that transformation and is not elicited by a similar transformation which does not specify approach. This is possible evidence of an unlearned ability to pick up information about change of position in the third dimension.

Taking Cell Culture in Drug Discovery to the Third Dimension - A Patent Review

2008 ◽  
Vol 1 (2) ◽  
pp. 103-115
Author(s):  
Yinzhi Lai ◽  
Lina Wang ◽  
Ke Cheng ◽  
William Kisaalita
Keyword(s):  
Cell Culture ◽  
Drug Discovery ◽  
The Third ◽  
Patent Review ◽  
Third Dimension

La troisième dimension — De la fonction éthique et esthétique du décor dans le théâtre de machines français du XVIIe siècle

2020 ◽  
Vol 71 (1) ◽  
pp. 130-168
Author(s):  
Kirsten Dickhaut
Keyword(s):  
Seventeenth Century ◽  
Character Traits ◽  
Optical Illusion ◽  
Stage Design ◽  
The Third ◽  
Adequate Representation ◽  
Third Dimension ◽  
Xviie Siecle ◽  
The Aesthetic

AbstractThe machine theatre in France achieves its peak in the second half of the seventeenth century. It is the construction of machines that permits the adequate representation of the third dimension on stage. This optical illusion is created by flying characters, as heroes, gods, or demons moving horizontally and vertically. The enumeration indicates that only characters possessing either ethically exemplary character traits or incorporating sin are allowed to fly. Therefore, the third dimension indicates bienséance – or its opposite. According to this, the following thesis is deduced: The machine theatre illustrates via aesthetic concerns characterising its third dimension an ethic foundation. Ethic and aesthetics determine each other in the context of both, decorum and in theatre practice. In order to prove this thesis three steps are taken. First of all, the machine theatre’s relationship to imitation and creation is explored. Second, the stage design, representing the aesthetic benefits of the machines in service of the third dimension, are explained. Finally, the concrete example of Pierre Corneille’s Andromède is analysed by pointing out the role of Pegasus and Perseus.

Models: The Third Dimension of Science

2006 ◽  
Vol 19 (2) ◽  
pp. 344-345
Author(s):  
Ilana Löwy
Keyword(s):  
The Third ◽  
Third Dimension
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