Дисертації з теми "Space perception"
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1
Peng, Wenzhe. "Machines' perception of space." Thesis, Massachusetts Institute of Technology, 2018. http://hdl.handle.net/1721.1/118574.
Анотація:
Thesis: S.M., Massachusetts Institute of Technology, Department of Architecture, 2018.Cataloged from PDF version of thesis.
Includes bibliographical references (pages 106-108).
Architectural design is highly dependent on the architect's understanding of space. However, in the era of digital revolution, when efficiency and economy are the major concerns in most industrial fields, whether a computer can gain human-like understanding to read and operate space and assist with its design and analysis remains a question. This thesis focuses on the geometrical aspects of spatial awareness. Machine systems that have similar behaviors to humans' perceptions of space in geometric aspects will be developed employing techniques such as isovist and machine learning, and trained with open-sourced datasets, self-generated datasets or crowdsourced datasets. The proposed systems simulate behaviors including space composition classification, space scene classification, 3D reconstruction of space, space rating and algebraic operations of space. These aspects cover topics ranging from pure geometrical understandings to semantic reasoning and emotional feelings of space. The proposed systems are examined in two ways. Firstly, they are applied to a real-time space evaluation modeling interface, which gives a user instant insights about the scene being constructed; Secondly, they are also undertaken in the spatial analysis of existing architectural designs, namely small designs by Mies van der Rohe and Aldo van Eyck. The case studies conducted validate that this methodology works well in understanding local spatial conditions, and that it can be helpful either as a design aid tool or in spatial analysis.
by Wenzhe Peng.
S.M.
2
Meldgaard, Betty Li. "Perception, action, and game space." Universität Potsdam, 2008. http://opus.kobv.de/ubp/volltexte/2008/2462/.
Анотація:
This paper examines the use of the ecological approach to visual perception in relation to action in game spaces. By applying the ecological approach it is believed that we can gain new insights into the mechanisms of perceiving possibilities for action.
3
Johansson, Maria. "Natural Light, Space and Perception." Thesis, KTH, Arkitektur, 2020. http://urn.kb.se/resolve?urn=urn:nbn:se:kth:diva-280168.
Анотація:
This is a research-based project investigating the relation between natural light, space and perception. It is in the format of a book with eight parts based on the observation and analysis of physical models. The spaces created in this book are divided in three parts, general daylight solutions, perceptual light-spaces and purposeful light-spaces. The first part consists of 19 spaces transferred from drawings found in Sunlighting as Formiver for Architecture by William M.C. Lam. The second part contains ten spaces based on perception and in the third part the focus in of function, which is generally divided into more general purposes of 13 models. The analysis I am using is a combination Light-zone(s) described by Merete Madsens and the Visual Terms and Seven Basic Terms by Anders Liljefors, which is a way to analyse perception. Following is an analysis of possible functions and daylight variability, which are then concluded. The spaces and findings are compared and summarised in order to find general strategies for the use of daylight in architecture. This book is meant to be used as a learning tool, a handbook and/or a basis for further investigation of the relation between natural light, space and perception.
4
Tucker, Andrew James. "Visual space attention in three-dimensional space." Australasian Digital Thesis Program, 2006. http://adt.lib.swin.edu.au/public/adt-VSWT20070301.085637/index.html.
Анотація:
Thesis (PhD) - Faculty of Life and Social Sciences, Swinburne University of Technology, 2006.Submitted in partial fulfilment of the requirements for the degree of Doctor of Philosophy, Faculty of Life and Social Sciences, Swinburne University of Technology - 2006. Typescript. "March 2006". Includes bibliographical references (p. 153-173).
5
Henriksen, Frank Ekeberg. "Space in electroacoustic music : composition, performance and perception of musical space." Thesis, City University London, 2002. http://openaccess.city.ac.uk/7653/.
Анотація:
This thesis concerns space as an essential element of expression and communication in electroacoustic music. It shows that musical space is a complex term which refers to many different aspects of composition, performance and perception of electroacoustic music. It is argued that space is a compound musical element which can be integrated into the compositional structure to a degree where space becomes the primary canier of meaning in the work, and that the creation and interpretation of this meaning is a result of learned cultural aspects of interpersonal communication in terms of personal space and territoriality. Furthermore, the close relationship between electroacoustic music composition and technology is acknowledged, and the influence of available technology on aesthetic choices and decision making with regard to spatial composition and performance is taken into consideration. The structure for the investigation is based on a model of musical space comprising three basic levels: 1) spatial properties of individual sounds in terms of intrinsic space, extrinsic space and spectral space, 2) the spatial arrangement of individual sounds and events into a composed space which is played in, and becomes affected by, the listening space, and 3) the perceived space, which constitutes the listening experience of the combination of composed space and listening space. A framework for describing and analysing spatial elements in electroacoustic composition is proposed. The discussion and findings are largely based on my experience as a listener, composer and performer of electroacoustic music, and in addition finds support in research on auditory perception, particularly Jens Blauert's work on spatial hearing and Albert Bregman's auditory scene theory, as well as Denis Smalley's spectromorphological theory, James Tenney's writings on perception-based music listening and analysis, and Edward T. Hall's investigations into space as an element of non-verbal communication.
6
Tackett, Jared Franklin. "Directing Movement and the Perception of Space." Thesis, Virginia Tech, 2009. http://hdl.handle.net/10919/33437.
Анотація:
An investigation on how architectural elements can direct movement and affect the way we perceive space. The idea is implemented in the design of a playground and pavilion for Elkhorn Lake, located in Jenkins, Kentucky.
Wall, column, color, roof, and floor are explored to create a variety of spatial arrangements that affect ways of perceiving and moving through the pavilion and playground.Master of Architecture
7
Lai, Chih-Ta. "Chien, Auo, Shih : evolution of space perception and space making in China." Thesis, Massachusetts Institute of Technology, 1985. http://hdl.handle.net/1721.1/36917.
Анотація:
Thesis (M.Arch.)--Massachusetts Institute of Technology, Dept. of Architecture, 1985.MICROFICHE COPY AVAILABLE IN ARCHIVES AND ROTCH.
Bibliography: leaves 105-106.
The question of "what is the essence of Chinese architecture" has been puzzling Westerners as well as Chinese since the incept i on of Traditional Chinese Architecture Studies five decades ago . This thesis attempts to answer the question by exploring some spatial concepts which have not been clearly documented before. Based on the exploration of those spatial concepts, a new historical perspective will be introduced to show succinctly how Chinese architecture evolved in the last 30 centuries. The theoretical assumptions guiding the thesis are: the emergence of spatial concepts is due to the fact of man-always-having-to-perceive-spatial-phenomena, the characteristics of spatial concepts are .determined by the relationship between man and phenomena , the relationship between man and phenomena may evolve, the evolution of spatial concepts makes up t he hi story of architecture.
by Chih-Ta Lai.
M.Arch
8
Ward, David. "Action-space theory of conscious vision." Thesis, University of Edinburgh, 2010. http://hdl.handle.net/1842/5604.
Анотація:
I argue that conscious visual experience consists in a direct and noninferential grasp of the way one’s current perceptual contact with the environment poises one to pursue various intentional plans, goals and projects. I show that such a view of visual consciousness is supported by current work in cognitive neuroscience, affords a compelling account of colour perception, and suggests a way to bridge the ‘explanatory gap’ between consciousness and the language of the natural sciences. In chapter 1, I examine the reasoning that leads to the appearance of an explanatory gap between the phenomenal and the physical in more detail, and set out the constraints on a solution that our discussion of the problem has imposed. I then sketch the two rival takes on the relationship between perception and action mentioned above – adjudicating between these two theories (and finding in favour of the action-space view) is the task of the next two chapters, and is a recurring theme throughout. Chapter 2 moves on to discuss some recent work in the neuropsychology of vision and what it might suggest about the functional role of conscious vision, and the first half of chapter 3 considers two puzzle cases concerning colour perception. Each of these discussions turns out to constitute a source of support for the actionspace view that visual perception consists in a grasp of the practical consequences of sensation, and the second half of chapter 3 sets out this view and responds to an initial range of questions and objections it might face. Chapter 4 illustrates our view via a discussion of colour perception, and chapter 5 discusses the type of grasp of practical consequences that is necessary for perceptual sensitivity to issue in conscious experience. By chapter 6, we are in a position to see how the action-space approach can help close the explanatory gap for phenomenal consciousness, and our final chapter sets out how I think this should be done. I conclude with a brief discussion of further questions and prospects for the action-space approach.
9
Friedensen, Victoria Pidgeon. "Protest Space: A Study of Technology Choice, Perception of Risk, and Space Exploration." Thesis, Virginia Tech, 1999. http://scholar.lib.vt.edu/theses/available/etd-120899-134345.
Анотація:
Thesis (M.S.)--Virginia Polytechnic Institute and State University, 1999.Cover title. Computer printout. Abstract. Includes bibliographical references (p. [103]-112). Available electronically via Internet.
10
Henrion, Andrea. "The urban observatory : spatial adjustment-perception in space." Virtual Press, 1997. http://liblink.bsu.edu/uhtbin/catkey/1116357.
Анотація:
This thesis develops a creative Project, the "Urban Observatory", situated on a traffic island in the center of Chicago on Wacker Drive and Wabash Avenue along the Chicago River. The aim of the building is to inspire and motivate people to experience the city from a different standpoint and to raise the inhabitant of the city to a different level of perception.The purpose of this study was to explore everyday circumstances and observations of an individual place, the American City and the search for its true genius loci. The main intention is to explore and visualize issues about culturally based differences in behavior and perception of people living in place of 'super scale' and 'high technology' on one side and abandonment and destruction on the other side. The study of the American City and its inhabitants results in an experimental design for an Urban Observatory, an architectural formulation standing in opposition to an architecture of change and fragmentation, an architecture of lost and senseless space. Furthermore the study researches the urban American fabric in practice as well as in theory. The intensive study of the writings of Malcolm Quantrill, Richard Sennett, Toni Hiss and others were the base for developing ideas about how people perceive and react consciously and unconsciously to a specific environment.This helped to identify the frame of the architectural exploration, in order to focus on ideas about: what is architecture of observation in the urban context, and what is the idea of perception in its spatial form?A journal of the design process (sketches, writings), models of varying scale and detail, drawings, photographs, etc. are the working tools to shape the idea of a building and fusing all aspects in a final project.Department of Architecture
11
Hatfield, Sarah Jane Mary. "The use and perception of derelict urban space." Thesis, Keele University, 1997. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.389602.
12
Fein, Zachery E. "The Aesthetic of Decay: Space, Time, and Perception." University of Cincinnati / OhioLINK, 2011. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1305892741.
13
Forcucci, Luca. "Mapping dynamic relations in sound and space perception." Thesis, De Montfort University, 2015. http://hdl.handle.net/2086/11450.
Анотація:
The research investigates the dynamic relations between sound, space and the audience perception as related to an artist’s intention. What is the relation between sound and space in the sonic arts, and to what kind of merger does it lead? What relationship exists between the intention of the composer and the perception of the audience regarding architectural and environmental spaces? Is there a common thread of perception of architectural and environmental spaces among participants? Is embodiment a key for the perception of the dynamic relations of sound and space? The framework for the investigation is based on a map of three defined spaces (Real, Virtual, and Hyperbiological) included in a portfolio of six works (three electroacoustic compositions, two sound installations, and one performance), which lead to the analysis of the perception of space, namely, the perception of architectural and environmental spaces as required by the portfolio. The original knowledge resides in the exploration of a potential common representation (space and sound perception being, of course, a personal representation) of internal perceptual spaces and mental imageries generated by the works. The act of listening plays a major role in the development of the portfolio presented and includes Pauline Oliveros’ concept of deep listening (Oliveros 2005). Sound and space are intimately related in the portfolio. One particular element emerging from this relationship is the plastic quality of sound, meaning that sound is considered and observed as a material that is shaped by space. From this perspective the research investigates the ‘sculptural’ and morphological quality of the relationship between sound and space. The results include the specific language and signature of the artworks that delineate the intersection of music and fine arts. The portfolio pays a large tribute to several iconic artists present in the outposts of sound blurred by space. Composers and artists are therefore presented in the theoretical section in order to highlight how their pioneering works have influenced and informed the present research portfolio. The analysis of the perception of the artworks relates to a methodology based on an empirical survey inspired by phenomenology.
14
Lorek, Edward J. "An investigation of sex differences in spatial cognition predicted by the hunter-gatherer hypothesis using a human analog of the pole-box task." Click here for download, 2006. http://wwwlib.umi.com/cr/villanova/fullcit?p1432522.
15
Asbell, Jonathan Clark. "Thresholds in Space and Time." Thesis, Virginia Tech, 2020. http://hdl.handle.net/10919/100920.
Анотація:
In architecture there is perhaps no better opportunity to capture movement and change than in the design of thresholds. They can be a simple strip of metal beneath a doorway, barely noticed as you pass over it, or a grand atrium that you stop and marvel at on your way into the office. They can manifest as a change of materials or finishes, or of some parameter such as ceiling height. They might even be immaterial altogether, like the boundary between light and shadow.
Thresholds transcend the physical to effect a psychological experience. They can be spatial or temporal or some combination of the two, but whatever form they take, all thresholds can be said to be mediators of our movement from one spatial status to another. Inside to outside, public to private, here to there. Too often our buildings relegate these changes to doors or openings that have little connection to the buildings they are a part of, and so our awareness of passage from space to space is diminished. This thesis explores ways to enrich the architecture of the threshold so that it doesn't merely recede to the bounds of our perception.Master of Architecture
The term "threshold" often brings to mind a strip of material at the base of a doorway, but architecture considers thresholds more broadly as moments of movement or change. This thesis examines such moments in an original building design, proposing several threshold types and exploring their impact on occupants.
16
LUEHMANN, NORA. "COLOR AND SPACE IN ARCHITECTURE." University of Cincinnati / OhioLINK, 2006. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1147807308.
17
Bertram, David Verge Carleton University Dissertation Geography. "The Internet as space: shifts in territoriality." Ottawa, 1999.
18
Finnegan, Jacqueline. "Flattened architecture /." South Hadley, Mass. : [s.n.],, 2008. http://ada.mtholyoke.edu/setr/websrc/pdfs/www/2008/290.pdf.
19
Griffiths, Shaaron S., and shaaron griffiths@deakin edu au. "Spatial and temporal disparaties in aurally aided visual search." Deakin University. School of Psychology, 2001. http://tux.lib.deakin.edu.au./adt-VDU/public/adt-VDU20061207.134032.
Анотація:
Research over the last decade has shown that auditorily cuing the location of visual targets reduces the time taken to locate and identify targets for both free-field and virtually presented sounds. The first study conducted for this thesis confirmed these findings over an extensive region of free-field space. However, the number of sound locations that are measured and stored in the data library of most 3-D audio spatial systems is limited, so that there is often a discrepancy in position between the cued and physical location of the target. Sampling limitations in the systems also produce temporal delays in which the stored data can be conveyed to operators. To investigate the effects of spatial and temporal disparities in audio cuing of visual search, and to provide evidence to alleviate concerns that psychological research lags behind the capabilities to design and implement synthetic interfaces, experiments were conducted to examine (a) the magnitude of spatial separation, and (b) the duration of temporal delay that intervened between auditory spatial cues and visual targets to alter response times to locate targets and discriminate their shape, relative to when the stimuli were spatially aligned, and temporally synchronised, respectively. Participants listened to free-field sound localisation cues that were presented with a single, highly visible target that could appear anywhere across 360° of azimuthal space on the vertical mid-line (spatial separation), or extended to 45° above and below the vertical mid-line (temporal delay). A vertical or horizontal spatial separation of 40° between the stimuli significantly increased response times, while separations of 30° or less did not reach significance. Response times were slowed at most target locations when auditory cues occurred 770 msecs prior to the appearance of targets, but not with similar durations of temporal delay (i.e., 440 msecs or less). When sounds followed the appearance of targets, the stimulus onset asynchrony that affected response times was dependent on target location, and ranged from 440 msecs at higher elevations and rearward of participants, to 1,100 msecs on the vertical mid-line. If targets appeared in the frontal field of view, no delay of acoustical stimulation affected performance. Finally, when conditions of spatial separation and temporal delay were combined, visual search times were degraded with a shorter stimulus onset asynchrony than when only the temporal relationship between the stimuli was varied, but responses to spatial separation were unaffected. The implications of the results for the development of synthetic audio spatial systems to aid visual search tasks was discussed.
20
Poisson, Marie E. "Studies in visual search : effects of distractor ratio and local grouping processes." Thesis, McGill University, 1991. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=70299.
Анотація:
According to Feature Integration Theory (Treisman & Gelade, 1980), search for a target defined by features on two different dimensions (e.g. green horizontal target among red horizontal and green vertical distractors) is conducted via serial attentive search of all items in the array. Results presented in this thesis clearly demonstrate that conjunction search is not conducted as a serial self-terminating search, and suggest that subjects selectively search a single feature set. Strong support is also provided for the role of local grouping processes in visual conjunction search. This includes evidence demonstrating: (1) that local context is an important factor in directing search toward the target, and (2) that groups of spatially adjacent homogeneous elements can be processed in parallel. These results point to the importance of spatial layout of target and distractor elements. More recent theories (e.g. Cave & Wolfe, 1990) will have to be amended in order to account for these data.
21
Collin, Charles Alain. "Effects of spatial frequency overlap on face and object recognition." Thesis, McGill University, 2000. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=36896.
Анотація:
There has recently been much interest in how limitations in spatial frequency range affect face and object perception. This work has mainly focussed on determining which bands of frequencies are most useful for visual recognition. However, a fundamental question not yet addressed is how spatial frequency overlap (i.e., the range of spatial frequencies shared by two images) affects complex image recognition. Aside from the basic theoretical interest this question holds, it also bears on research about effects of display format (e.g., line-drawings, Mooney faces, etc.) and studies examining the nature of mnemonic representations of faces and objects. Examining the effects of spatial frequency overlap on face and object recognition is the main goal of this thesis.A second question that is examined concerns the effect of calibration of stimuli on recognition of spatially filtered images. Past studies using non-calibrated presentation methods have inadvertently introduced aberrant frequency content to their stimuli. The effect this has on recognition performance has not been examined, leading to doubts about the comparability of older and newer studies. Examining the impact of calibration on recognition is an ancillary goal of this dissertation.
Seven experiments examining the above questions are reported here. Results suggest that spatial frequency overlap had a strong effect on face recognition and a lesser effect on object recognition. Indeed, contrary to much previous research it was found that the band of frequencies occupied by a face image had little effect on recognition, but that small variations in overlap had significant effects. This suggests that the overlap factor is important in understanding various phenomena in visual recognition. Overlap effects likely contribute to the apparent superiority of certain spatial bands for different recognition tasks, and to the inferiority of line drawings in face recognition. Results concerning the mnemonic representation of faces and objects suggest that these are both encoded in a format that retains spatial frequency information, and do not support certain proposed fundamental differences in how these two stimulus classes are stored. Data on calibration generally shows non-calibration having little impact on visual recognition, suggesting moderate confidence in results of older studies.
22
Henry, Daniel. "Spatial perception in virtual environments : evaluating an architectural application /." Connect to this title online (HTML format) Connect to this title online (PDF format) Connect to this title online (PostScript format) Connect to this title online (self-extracting binhexed format), 1992. http://www.hitl.washington.edu/publications/henry/.
23
Loffler, Gunter. "The integration of motion signals across space." Thesis, Glasgow Caledonian University, 1999. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.285230.
24
Ferguson, Tennille M. "Sputnik diplomacy : image and perception in the space age /." Title page, contents and introduction only, 1999. http://web4.library.adelaide.edu.au/theses/09AR/09arf353.pdf.
25
Zaman, C̦ağrı Hakan. "Hallucination machine : a body centric model of space perception." Thesis, Massachusetts Institute of Technology, 2014. http://hdl.handle.net/1721.1/91425.
Анотація:
Thesis: S.M., Massachusetts Institute of Technology, Department of Architecture, 2014.Thesis: S.M., Massachusetts Institute of Technology, Department of Electrical Engineering and Computer Science, 2014.
Cataloged from PDF version of thesis. "June 2014."
Includes bibliographical references (pages [83]-86).
In this thesis I present a novel approach to space perception. I provide a body-centric computational model, The Hallucination Machine, that integrates bodily knowledge with senses in a common modality which I call "the sphere of embodiment". Understanding the human experience of space is an important inquiry not only in the context of design and architecture, but in a broad range of scholarly disciplines where humans are the subject of study, whether as biological, social, or cognitive entities. My vision is that in order to create a knowledge of space shared through different disciplines and to develop tools and methods of scientific inquiry into the "human space," we have to conceptualize a space perception model that connects sensory experience with the actions and bodily knowledge of the actor. Implications for such a model have been proposed by phenomenologists in the philosophical realm and carried into psychology through concepts of embodiment, situated cognition, and enaction. The Hallucination Machine illustrates the inner-spatial relations between different senses and movements, collected through sensory and inertial recording devices of the machine which experiences space situated by its human carrier. Through this inquiry, I argue that all senses, including proprioception and orientation, are collapsed in one medium, a sphere of embodiment, in which they form a multimodal spatial experience and communicate through it. I demonstrate the practical implications of this medium through a set of experiments.
by Cagri Hakan Zaman.
S.M.
26
Gentry, Lucas. "Environmental Cybernetics: Technology and the Perception of Remediated Space." Digital Commons @ East Tennessee State University, 2020. https://dc.etsu.edu/etd/3844.
Анотація:
Moby Dick, House of Leaves, and Ex Machina portray characters that rely on a form of technology to navigate their respective environments. As such, their settings are remediated spaces – spaces understood through their relationship with technology. The inhabitants of remediated spaces inherently resemble the cyborg as their perspectives fuse with machines in their understanding of space. Captain Ahab from Moby Dick must rely on his ivory leg and ship for mobility, often merging himself with the machine of the vessel. House of Leaves provides a space and family that exist exclusively within the confines of found footage, fusing technology and humanity through layers of remediation. Ex Machina illustrates a gynoid escaping an imprisoning facility, a machine called Ava that physically resembles a human. Using theorists such as Donna Haraway and Henri Lefebvre, this thesis explores connections between technology and space.
27
Daly, Paul K. "Mental rotation with and without a concurrent task : moderating effects of visuospatial ability /." Thesis, This resource online, 1994. http://scholar.lib.vt.edu/theses/available/etd-12042009-020243/.
28
Klingenberg, Katrin Alexandra. "The disappearance of the body as a necessary friction." Virtual Press, 1996. http://liblink.bsu.edu/uhtbin/catkey/1033633.
Анотація:
The first part states the reasons for the disappearance of the body: the influence of modern technology, effects on self-perception and on the perception of reality. It questions how to deal with the shift from physical reality as reference of existence toward an infinite spectrum of virtual realities. The second part concerns a way of thinking - a fiction to explain the phenomena of disappearance - in drawing a parallel to recent thinking models in physics formulating the disappearance of matter. This shift of thinking is so fundamental that it literally reverses our notion of body and materiality. The thesis tries to imagine and to explain a reappearance of the body, the birth of the concrete out of the immaterial. The last part images and models necessary, ambiguous spaces in a world where inside and outside, weight and lightness, solid and immaterial are no longer clearly defined positions but zones, uncertainties, overlays.Department of Architecture
29
Heller, Charlotte. "The Public Perception of Urban Stormwater Ponds as Environmental Amenities." Thesis, Université d'Ottawa / University of Ottawa, 2020. http://hdl.handle.net/10393/40349.
Анотація:
Integrating green or blue space into cities can provide environmental and public health benefits which maximize urban sustainability. One type of green/blue infrastructure that has been understudied is urban stormwater ponds, which are used to manage stormwater runoff. Their performance is typically only evaluated in terms of hydrological functions, with little focus on their capacity to provide ancillary benefits to communities. In this exploratory study, an online survey was distributed to six neighbourhoods in the City of Ottawa, ON to gain insight into the social value of urban stormwater ponds. The results revealed that despite some disadvantages, most respondents visited their neighbourhood stormwater ponds regularly and largely appreciated the cultural ecosystem services provided by these ponds, such as opportunities for experiencing nature, especially wildlife, and outdoor recreation. These findings can be used to improve the multifunctionality of stormwater ponds and optimize both environmental and social sustainability outcomes.
30
Petralia, Peter S. "Reshaping spatiality : cognitive perception and the fracturing of theatrical space." Thesis, Lancaster University, 2010. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.577530.
Анотація:
Drawing on the tenets of cognitive science, particularly Lakoff and Johnson's writing on metaphor, this thesis investigates the ways in which perception is constructed spatially by focusing on contemporary artists' engagement with rehearsal processes and performances where technology asserts control over the boundaries of space, centring specifically on the author's own practice. This interrogation of theatricality includes three practical research projects (performances) and a three-chapter written thesis that explores the theoretical and practical concerns of artistic engagement with an understanding of space. This thesis explores the physicality of experience via cognitive science and positions it within the realm of the artist, addressing the ways in which material practitioners are always engaged in the experience of materiality. In both the written and practical components of this thesis, I interrogate and propose that space is perceived and constructed not only physically but also experientially. One of the key methodologies of this thesis is to locate, articulate and reflect upon the complex interaction between writing and practice: how material practice affects discourse and vice versa. Chapter One investigates heads pace, which is a feature of performance work that takes place largely in the head of an audience member, by using a set of techniques and technologies that subvert physical space - often including headphones worn by audience members. This chapter introduces many of the arguments of the larger thesis and establishes headspace as a viable term by reviewing the neurology of hearing and contemporary writing on sound reception, and through a dissection of four practical works, one of which was created by the author prior to this thesis: Whisper (Petralia, 2007), The Telephone Call (Cardiff, 2001), The Missing Voice (Cardiff, 1999) and Desire Paths (spell#7, 2004). Chapter Two concerns itself with aberrant pixel space, which, in the context of this project, is concerned with the internal architecture of the screen in relation to the external architecture of the stage in performance. Specifically, aberrant pixel space considers performances that use a cinematic and/or televisual frame that creates distinctions between what is in the shot, and what is not, uses the editing techniques of cinema/television, and plays with scale through its use of fragmented live performance and , perfect screen imagery. Aberrant pixel space is explored through the creation of a practice- as research performance work titled Virtuoso (working title) (petralia, 2009), which uses screens that form the boundaries of a space whose logic is defined by the properties of the television landscape. The work of Big Art Group and Gregory Crewdson are positioned alongside Virtuoso (working title) to understand the characteristics of spaces that can be understood via the extended metaphor of the pixel. Chapter Three focuses on telematic rehearsal space, which suggests that processes of artistic creation are not fixed to specific geographical locations but are in fact transitory, existing in the interchange between physical space and the space of communication. Chapter Three specifically considers the use of videoconferencing in rehearsal processes, using three performances including two new pieces created by the author in collaboration with Tiffany Mills Company: the dance- theatre works Tomorrow's Legs and Berries and Bulls, along with the work of other artists including Mabou Mines. The thesis concludes by interrogating the ways in which these three distinct spaces relate, reflecting on the ways in which space is contingent upon experience. Further, the conclusion discusses the ways that this thesis contributes to a new approach for understanding the making and witnessing process of live performance.
31
Dubow, Jessica. "Colonial space, colonial identity : perception and the South African landscape." Thesis, Royal Holloway, University of London, 2000. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.395834.
32
Valado, Martha Trenna. "Factors Influencing Homeless People's Perception and Use of Urban Space." Diss., The University of Arizona, 2006. http://hdl.handle.net/10150/195017.
Анотація:
In recent years, cities worldwide have employed various tactics to control homeless people's use of urban space. Yet such measures never fully accomplish their goal, because homeless people develop ways to adapt the hostile landscape. In so doing, they not only respond to tactics of spatial control but they also create their own conceptions of urban space that serve to compensate for the structural systems that fail or even punish them. Thus, just as legal categories of property ownership leave homeless people without access to private spaces, they in turn create their own concepts of ownership and continually seek to privatize public space. Whereas legal restrictions are passed that criminalize homelessness in order to protect housed urban residents' "quality-of-life," homeless people develop tactics to protect themselves from the dangers of street life. Just as municipal authorities remove various amenities and add deterrents to try to prevent the use of certain locations, homeless people are attracted and repelled by features that are often beyond the control of authorities. While social services are relocated to encourage either spatial dispersion or concentration, homeless people build internal support networks that often serve their short-term needs better than social services. In short, homeless people not only respond to spatial control tactics in a variety of ways but also create their own landscape that often frustrates attempts to control their use of space. Drawing on interviews with 60 homeless people in Tucson, Arizona, this dissertation attempts to shed light on both these facets of street life, revealing that homeless people constantly strategize to find or make private, safe, functional, comfortable, and supportive places for themselves in a landscape designed to exclude them. Findings indicate that restrictive urban polices aimed at controlling the movements and actions of street people are not only ineffective but also exacerbate the problem of homelessness. These policies have the greatest impact on newly homeless individuals, pushing them toward existing street community in order to access vital information and support networks.
33
Rainville, Stéphane Jean Michel. "The spatial mechanisms mediating the perception of mirror symmetry in human vision /." Thesis, McGill University, 1999. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=36688.
Анотація:
The present thesis reports psychophysical and modeling studies on the spatial properties of visual mechanisms mediating the perception of mirror symmetry in human vision. In a first set of experiments, patterns were filtered for power spectra that decayed with spatial frequency according to variable slopes. Results revealed that symmetry detection is optimal if contrast energy is roughly equated across log-frequency bands (i.e. 1/f2) and that, under such conditions, spatial scales contribute equally and independently to symmetry perception. In a second study, random-noise patterns were filtered for various orientation bands. Results showed that symmetry perception is possible at all orientations, is mediated by oriented mechanisms, and is computed independently in different orientation channels. Data also revealed that the dimensions of the spatial integration region (IR) for symmetry vary with orientation in a way that approximately matches the spatial distribution of information in the stimulus. Finally, symmetry detection was measured for bandpass textures of variable spatial density and variable contrast polarity. For such patterns, it was found that symmetry is computed at a spatial scale proportional to stimulus density and that mechanisms insensitive to contrast polarity (i.e. second-order) are involved in the scale-selection process.Overall, results from empirical and modeling work revealed an intimate link between symmetry perception and the properties of spatial filters. In particular, I argue that the size of the IR tends to vary such that a fixed amount of information is integrated irrespective of the spatial properties of the stimulus. Implications for the functional architecture of symmetry perception are discussed, and a paradigm for future research in symmetry perception is proposed in which spatial filtering is extended to higher orders of spatial complexity.
34
Keating, Peter. "Plasticity and integration of auditory spatial cues." Thesis, University of Oxford, 2011. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.561113.
Анотація:
Although there is extensive evidence that auditory spatial processing can adapt to changes in auditory spatial cues both in infancy and adulthood, the mechanisms underlying adaptation appear to differ across species. Whereas barn owls compensate for unilateral hearing loss throughout development by learning abnormal mappings between cue values and spatial position, adult mammals seem to adapt by ignoring the acoustical input available to the affected ear and learning to rely more on unaltered spatial cues. To investigate these differences further, ferrets were raised with a unilateral earplug and their ability to localize sounds was assessed. Although these animals did not fully compensate for the effects of an earplug, they performed considerably better than animals that experienced an earplug for the first time, indicating that adaptation had taken place. We subsequently found that juvenile-plugged (JP) ferrets learned to adjust both cue mappings and weights in response to changes in acoustical input, with the nature of these changes reflecting the expected reliability of different cues. Thus, the auditory system may be able to rapidly update the way in which individual cues are processed, as well as the way in which different cues are integrated, thereby enabling spatial cues to be processed in a context- specific way. In attempting to understand the mechanisms that guide plasticity of spatial hearing, previous studies have raised the possibility that changes in auditory spatial processing may be driven by mechanisms intrinsic to the auditory system. To address this possibility directly, we measured the sensitivity of human subjects to ITDs and ILDs following transient misalignment of these cues. We found that this induces a short-term recalibration that acts to compensate for the effects of cue misalignment. These changes occurred in the absence of error feedback, suggesting that mutual recalibration can occur between auditory spatial cues. The nature of these changes, however, was consistent with models of cue integration, suggesting that plasticity and integration may be inextricably linked. Throughout the course of this work, it became clear that future investigations would benefit from the application of closed-field techniques to the ferret. For this reason, we developed and validated methods that enable stimuli to be presented to ferrets over earphones, and used these methods to assess ITD and ILD sensitivity in ferrets using a variety of different stimuli. We found that the Duplex theory is able to account for binaural spatial sensitivity in these animals, and that sensitivity is comparable with that found in humans, thereby confirming the ferret as an excellent model for understanding binaural spatial hearing.
35
Elkington, Trevor G. "Moments in space, spaces in time : phenomenology and the embodied depth of cinematic image /." Thesis, Connect to this title online; UW restricted, 2001. http://hdl.handle.net/1773/6621.
36
Bilson, Amy Jo. "Image size and resolution in face recognition /." Thesis, Connect to this title online; UW restricted, 1987. http://hdl.handle.net/1773/9166.
37
Cornell, Elaine. "Binocular alignment and vergence errors in free space." University of Sydney, 2004. http://hdl.handle.net/2123/5411.
Анотація:
Doctor of PhilosophyThe human, along with other primates, has forward placed eyes, and an area of acute vision (the fovea) on each retina. The overlap of the visual fields and the hemi-decussation of the visual pathways at the optic chiasm provide the basis for binocular vision, in particular stereopsis, the accurate perception of the position of objects in three dimensional space and an improved ability to perceive the form of solid objects. An intricate system of eye movements is needed to achieve and maintain stable foveal fixation on each eye in an environment where visual targets vary in direction and depth, where the visual environment may be moving, the eyes or the rest of the body is moving. The purpose of this study is to evaluate the accuracy of binocular alignment for far and near fixations, under relatively natural conditions. To achieve binocular fixation, accurate vergence eye movements are required to align the eyes, and to maintain this alignment when a person changes fixation to objects situated at different distances from the eyes. ‘Pure’ vergence eye movements occur when these objects are situated along the mid sagittal plane, however, in natural conditions other eye movement systems are also involved. To understand the contribution of different eye movement systems to binocular fixation at different distances, the accuracy of binocular alignment in subjects with normal binocular single vision was evaluated in subjects with normal binocular vision under the following conditions • Fixation on targets along the mid sagittal plane (vergence eye movements only) • Fixation on targets displaced to either side of the mid sagittal plane (combined vergence eye movements and saccades • Fixation on earth fixed targets situated straight ahead in space, but with the head tilted to either side (combined vergence eye movements, saccades and torsional eye movements). The protocol for all experiments was approved by the Human Ethics Committee of the University of Sydney and followed the tenets of the Declaration of Helsinki. Throughout this thesis the term ‘binocular alignment’ will be used to describe the position of each eye during or following a change in vergence. The term ‘vergence error’ will refer to situations where the angle of vergence alignment is different from that required, so that the image of the fixation target does not fall on the fovea of one or both eyes.
38
Durao, M. J. "Colour and space : an analysis of the relationships between colour meaning expression and the perception of space." Thesis, University of Salford, 2000. http://usir.salford.ac.uk/26645/.
Анотація:
This thesis examines the phenomenon of colour as a means of expression of meaning in spatial contexts. The nature of the underpinning project involved paintings and their integration with an architectural setting. Judgements made-in-situ by users of the building and an expert focus group (architects, designers and fine artists) were comparatively analysed for variance in interpretations of meaning, taking into consideration their experience with colour as a medium of expression. Commonalities and differences in the responses of colour amongst and between the various groups were also analysed. To achieve this a combination of questionnaires, semi-structured interviews, and focus group meetings were used as data sources. The researcher used her experience as a painter to create two large paintings (11.5m x 2m each), which were installed in the public space of the Manchester Bridgewater Concert Hall over a period of four months. One painting was predominantly blue and green, the other was predominantly yellow and red. The installation had two phases, in which the respective paintings were each installed separately and accompanied by a corresponding lighting scheme. Colours were separated into two temperature groups - warm and cold. However, previous research findings had indicated that responses to these two groups of colour differ along other dimensions also. What had not been established by previous research, and was examined in this project, was whether these indicative differences would apply when colour is approached as part of an holistic environmental meaning rather than in isolation. The integration of paintings and colour into the architectural setting made it possible for multiple layers of experience to be examined. Meaning was extracted from the relationship between colour and the perception of two dimensions of space - pictorial space depicted in the paintings and the architectural space. The relationship between both was also explored which allowed the confirmation of previous findings and the analysis of the variables which need to be addressed when dealing with colour for paintings in real architectural environments. The thesis describes the author's conceptual model based on a combination of this empirical evidence and theoretical framework developed from the existing interdisciplinary body of knowledge on colour. The thesis also discusses how relationships between the aesthetic and psychological categories were established. It contributes to the field by demonstrating how the subjectivity of the perceptual experience can be translated into the expression of meaning along cognitive and affective dimensions within the context of a real-life application of colour in space. Additional to the written thesis a short audiovisual provided in both video and CD Rom, was created to show both the making of the paintings and their installation at the Bridgewater Concert Hall.
39
Hickok, Suzanne E. "The social construction of pictorial space." Diss., Online access via UMI:, 2009.
40
Neth, Donald C. "Facial configuration and the perception of facial expression." Columbus, Ohio : Ohio State University, 2007. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=osu1189090729.
41
Lee, Chak-pui Terence. "Unified percepts in three-dimensional space derived from motion in depth or rotation in depth." Click to view the E-thesis via HKUTO, 2007. http://sunzi.lib.hku.hk/hkuto/record/B37943741.
42
Lee, Chak-pui Terence, and 李澤沛. "Unified percepts in three-dimensional space derived from motion in depth or rotation in depth." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2007. http://hub.hku.hk/bib/B37943741.
43
Arvidsson, Martin. "Getting a Feel for Tactile Space : Exploring Haptic Perception of Microtexture." Doctoral thesis, Stockholms universitet, Psykologiska institutionen, 2012. http://urn.kb.se/resolve?urn=urn:nbn:se:su:diva-82593.
Анотація:
The present thesis is based on three studies that research different aspects of fine texture perception. The goal is to better understand the mechanisms involved in haptic perception of textures below 200 µm, also known as microtextures. Study I was conducted to establish a friction measurement model and relating the friction measurements to perceived coarseness of fine textures. A set of printing papers was used as stimulus material. In Study II an expanded set, including the set of Study I, was used as stimuli in a multidimensional scaling (MDS) experiment of haptic fine texture perception. Through scaling of perceptual attributes and similarities, a three dimensional space was found to best describe the data and the dimensions were interpreted as rough-smooth, thick-thin and distinct-indistinct. In Study III a series of model surfaces were manufactured with a systematically varied sinusoidal pattern, spanning from 300 nm to 80 µm. As in Study II, a similarity experiment was conducted and a two dimensional space was chosen, the dimensions of which were explained well through friction and the wavelength. Together these three studies form a better picture of fine texture perception. The dimensionality found with paper stimuli was very similar to the corresponding spaces for marcrotextures of everyday materials, even though a different perceptual system is used for fine texture perception. Regardless if the information is coded through the spatial or the vibratory sense, the perception does not seem to differ in dimensionality. Further, the largest among the microtextures seem to have been perceived as carrying spatial information. On the systematically varied, rigid, textures, the MDS space did not come out in a similar fashion to those of everyday materials but instead similar to the physical properties that characterizes the change in the textures. It was further found that the participants in Study III successfully discriminated textures with an amplitude of 13 nm from the unwrinkled surfaces. From these studies the main conclusions are (a) haptically measured friction and surface roughness are important contributors to fine texture perception, (b) even at microscales, spatial information is retrieved haptically, probably through vibrations, and (c) persons can haptically discriminate textures at a nanoscale.
44
Okamoto, Hiroshi 1968. "Time, speed and perception : intervals in the representation of architectural space." Thesis, Massachusetts Institute of Technology, 2000. http://hdl.handle.net/1721.1/37560.
Анотація:
Thesis (S.M.)--Massachusetts Institute of Technology, Dept. of Architecture, 2000.Includes bibliographical references (leaves 52-54).
Although the notion of "space" in architecture is a relatively contemporary one, this research looks at the difference between the conception and representation of space and the actual material reality. With contemporary thought brought about by the modern measure, as architects formalize their ideas in representations, this paper argues that there arises a tendency to quantify and objectify the represented space and discount the experiential nature of the space. This research was initiated in reaction to this tendency to conceive of space as a given, formal static container in search of a wider notion of space as a product of interactions between various dynamics. Using small time based representational design experiments as well as specific precedents of conceptions and representations of space as running parallel points of reference; this investigation explores the element of time as one of the possible components of the various dynamics that produce space. Specifically, a non-chronological look at the modern, contemporary and pre-modern notion of time was taken to explore possible alternative conceptions and representations of space and time, contending that space is neither static or exclusive of time, nor is it a stage set for speed. In other words, this paper concludes that space and time are first and foremost products of experience.
by Hiroshi Okamoto.
S.M.
45
Coker, Dianna Ross. "The role of visual-spatial aptitude in accounting coursework." Diss., This resource online, 1993. http://scholar.lib.vt.edu/theses/available/etd-06062008-170640/.
46
Tolmie, Julie. "Visualisation, navigation and mathematical perception : a visual notation for rational numbers mod 1." View thesis entry in Australian Digital Theses Program, 2000. http://thesis.anu.edu.au/public/adt-ANU20020313.101505/index.html.
47
Liu, Tong Tina, and 刘彤. "High and low: the resolution of representations in visual working memory." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2013. http://hub.hku.hk/bib/B50900109.
Анотація:
Visual working memory (VWM) has long been considered to be limited in capacity, but the way in which it is limited remains unclear. One of the theoretical debates in visual working memory concerns whether the number of objects that can be stored is fixed (discrete slot models) or variable (flexible resource models). Recent research on the resolution of VWM has helped elucidate this debate by acknowledging an important trade-off between number and resolution: as the number of items stored increases, the resolution of representation declines. Yet, a different conception suggests that the number and resolution may represent distinct aspects of visual working memory, evidenced by both behavioral and neuroimaging data. In this thesis, I examined three theoretical questions regarding the relationship between the number and the resolution of items in VWM. First, how does set size affect high- & low-resolution representations (differentially)? If an item limit can be evidenced in the high-resolution measure, but not in the low-resolution measure, my second research question emerges. That is, how much resolution do we have for the remaining objects when the item limit is exceeded? Third, if both high- & low-resolution representations of an item exist in VWM, are they stored together or independently?
In a series of five experiments, I addressed these questions using an adapted continuous report paradigm, in which participants were asked to remember a mixture of objects from two categories and respond firstly to the category of the item-to-report (low-resolution measure), followed by a second within-category response (high-resolution measure) which was contingent on the first. In Experiments 1-2, only performance in the low-resolution, but not in the high-resolution, measure was largely indifferent to set size, which was not compatible with either discrete slot or flexible resource models, but was largely consistent with predictions from the two-factor model and the neural object-file theory. In Experiments 3-4, precision of high-resolution representations declined monotonically until the set size reached around four items, fitting to the predictions from discrete slot models. The overall accuracy in low-resolution measure, however, remained relatively high, suggesting differential set size influence on high- and low-resolution representations. In Experiment 5, capacity comparison revealed no significant difference when the low-resolution task was absent. Taken together, I demonstrate that 1) both low-resolution ensemble representations and high-resolution individual item representations exist in VWM, and 2) high-resolution representations (i.e. object identity) and low-resolution representations (i.e. objects’ categories, configural information and perhaps some coarse feature information) of an object might be stored independently.published_or_final_version
Psychology
Master
Master of Philosophy
48
Wearne, Susan. "Spatial orientation of the human linear and angular vestibulo-ocular reflexes during centrifugation." Thesis, The University of Sydney, 1993. https://hdl.handle.net/2123/26488.
Анотація:
Six independent co-ordinates comprising three rotational and three translational degrees of freedom are required to specify the orientation and motion of a body in inertial space without ambiguity. The vestibular sensors of the inner ear are designed to provide the organism with precisely this information: three approximately orthogonal semicircular canals and two otoliths (utricle and saccule) on either side of the head transduce the three angular and three linear degrees of freedom, respectively. Activation of either angular or linear vestibular sensors results in compensatory reflexes including an angular VOR (AVOR), various linear VOR's (LVOR's) and the vestibulo-spinal reflexes which mediate static and dynamic postural control. The combined input from the vestibular labyrinth thus serves to orient the body and stabilise the eyes during head movement in any spatial plane.
The vestibular sensors are not tied to any particular muscle group; they drive a number of motor systems with disparate physical requirements and functions. How this brainstem system accurately and reflexively partials out the relevant information in the source signal to drive a particular compensatory reflex is the subject of several different sensory-motor modelling approaches. Recent evidence suggests that, analogous to a modern inertial guidance system, the vestibular system uses frequency-selective filtering, realised in the physical properties of the endorgan, and the hair cell receptors, to effect the appropriate channelling.
Considerable interspecies variation in the frequency response of the VCR reflects the range of natural movements of different animals. Analogously, variation in the working ranges of different body movements within a species should be reflected in differential frequency-tuning of the various vestibule-ocular and vestibule-spinal reflexes. Evidence for frequency-selective filtering of all vestibulo-ocular reflexes is presented in the following chapters, and a case developed for a peripheral filtering system which generates appropriate canal-ocular and otolith-ocular reflexes during combined, often ambiguous linear and angular acceleration stimulation.
49
Chik, Yuk-fung, and 戚鈺峰. "Alienation in the fiction of Hon Lai-chu : the politics of space." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2014. http://hdl.handle.net/10722/206608.
Анотація:
This dissertation peruses the question of alienation through two short stories by the local writer Hon Lai-chu.
The first objective is to delineate the exact form and content that the phenomenon of alienation assumes, its particularity in specific spatio-temporal settings, and the necessary relation of it to space and people within the contexts. At the centre of my materialist analysis lies a deprivation of what I call the right to space, and concomitant resistance by the narrators. The clarification of the specificity of alienation helps an understanding of it in and beyond any (con) text: It is but one form of an exploitative logic, of man imposed on man. Thus the urgent task now is as much to trace the various major ramifications of human exploitation, in different cultures across different periods, through which the nature of human condition can be gauged, as to pave a way to articulation of localisms instead of Localism, with respect to the situation of Hong Kong.
The second objective so registers a refusal of a reductive and totalizing rubric of describing our city. I instead seek to ascribe the validity of this description to the average person. It is through their actions and voices in everyday life that they regain, however briefly, the right to space, and therewith constitute personal resistance which I give the name localisms.published_or_final_version
Literary and Cultural Studies
Master
Master of Arts
50
Tang, Meiling. "Gender differences in relationship between background experiences and three levels of spatial ability." Columbus, Ohio : Ohio State University, 2006. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=osu1155573195.