British Orthoptic Journal Volume 1, 1939
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Fibonacci Number
Fibonacci number From Wikipedia, the free encyclopedia • Have questions? Find out how to ask questions and get answers. • • Learn more about citing Wikipedia • Jump to: navigation, search A tiling with squares whose sides are successive Fibonacci numbers in length A Fibonacci spiral, created by drawing arcs connecting the opposite corners of squares in the Fibonacci tiling shown above – see golden spiral In mathematics, the Fibonacci numbers form a sequence defined by the following recurrence relation: That is, after two starting values, each number is the sum of the two preceding numbers. The first Fibonacci numbers (sequence A000045 in OEIS), also denoted as Fn, for n = 0, 1, … , are: 0, 1, 1, 2, 3, 5, 8, 13, 21, 34, 55, 89, 144, 233, 377, 610, 987, 1597, 2584, 4181, 6765, 10946, 17711, 28657, 46368, 75025, 121393, ... (Sometimes this sequence is considered to start at F1 = 1, but in this article it is regarded as beginning with F0=0.) The Fibonacci numbers are named after Leonardo of Pisa, known as Fibonacci, although they had been described earlier in India. [1] [2] • [edit] Origins The Fibonacci numbers first appeared, under the name mātrāmeru (mountain of cadence), in the work of the Sanskrit grammarian Pingala (Chandah-shāstra, the Art of Prosody, 450 or 200 BC). Prosody was important in ancient Indian ritual because of an emphasis on the purity of utterance. The Indian mathematician Virahanka (6th century AD) showed how the Fibonacci sequence arose in the analysis of metres with long and short syllables. Subsequently, the Jain philosopher Hemachandra (c.1150) composed a well-known text on these. -
In This Research Report We Will Explore the Gestalt Principles and Their Implications and How Human’S Perception Can Be Tricked
The Gestalt Principles and there role in the effectiveness of Optical Illusions. By Brendan Mc Kinney Abstract Illusion are created in human perception in relation to how the mind process information, in this regard on to speculate that the Gestalt Principles are a key process in the success of optical illusions. To understand this principle the research paper will examine several optical illusions in the hopes that they exhibit similar traits used in the Gestalt Principles. In this research report we will explore the Gestalt Principles and their implications and how human’s perception can be tricked. The Gestalt Principles are the guiding principles of perception developed from testing on perception and how human beings perceive their surroundings. Human perception can however be tricked by understanding the Gestalt principles and using them to fool the human perception. The goal of this paper is to ask how illusions can be created to fool human’s perception using the gestalt principles as a basis for human’s perception. To examine the supposed, effect the Gestalt Principles in illusions we will look at three, the first being Rubin’s Vase, followed by the Penrose Stairs and the Kanizsa Triangle to understand the Gestalt Principles in play. In this context we will be looking at Optical Illusion rather than illusions using sound to understand the Gestalt Principles influence on human’s perception of reality. Illusions are described as a perception of something that is inconsistent with the actual reality (dictionary.com, 2015). How the human mind examines the world around them can be different from the actuality before them, this is due to the Gestalt principles influencing people’s perception. -
The Psychological Intersection of Motion Picture, the Still Frame, and Three-Dimensional Form
MOMENTUM, MOMENT, EPIPHANY: THE PSYCHOLOGICAL INTERSECTION OF MOTION PICTURE, THE STILL FRAME, AND THREE-DIMENSIONAL FORM by MARK GERSTEIN B.A. The University of Chicago, 1986 A thesis submitted in partial fulfillment of the requirements for the degree of Master of Fine Arts in the School of Visual Arts and Design in the College of Arts and Humanities at the University of Central Florida Orlando, Florida Spring Term 2018 ABSTRACT My journey from Hollywood Film production to a Fine Arts practice has been shaped by theory from Philosophy of Mind, Cognitive Psychology, Film, and Art, leading me to a new visual vocabulary at the intersection of motion picture, the still image, and three-dimensional form. I create large mixed media collages by projecting video onto photographs and sculptural forms, breaking the boundaries of the conventional film frame and exceeding the dynamic range of typical visual experience. My work explores emotional connections and fissures within family, and hidden meanings of haunting memories and familiar places. I am searching for an elusive type of perceptual experience characterized by an instantaneous shift in perspective—an “aha” moment of epiphany when suddenly I have the overpowering feeling that I am both seeing and aware that I am seeing. ii To Lori, Joshua and Maya, for your infinite patience and unconditional love. iii ACKNOWLEDGMENTS I want to take this opportunity to acknowledge all my Studio Art colleagues who have so graciously tolerated my presence in their sandbox over these last few years. In particular, I want to thank my Thesis Committee: Carla Poindexter, my chair, for her nuanced critique, encouragement and unwavering belief in the potential of my work, and ability to embrace the seemingly contradictory roles of mentor and colleague; Jo Anne Adams, for her attention to detail and narrative sensibility that comes from our shared background in the film industry; and Ryan Buyssens, for showing me the possibilities of technology and interactivity, and reminding me to never lose sight of the meaning in my art. -
Principles of Three-Dimensional Computer Design for Understanding Impossible Figures
International Journal of Engineering and Management Sciences (IJEMS) Vol. 5. (2020). No. 2 DOI: 10.21791/IJEMS.2020.2.21. Principles of Three-Dimensional Computer Design for Understanding Impossible Figures T. DOVRAMADJIEV ITechnical University of Varna, Bulgaria, MTF, Dept. Industrial Design, [email protected] Abstract: For a better understanding of the impossible figures, it is advisable to use modern technological means by which the design of the geometry of the models gives a complete understanding of how they are made. Computer- aided 3D design completely solves this problem. That is, on the one hand, the ultimate visual variant of impossible figures is created, on the other hand, there is the possibility for real manipulation, movement, rotation and other models of space. In this study, 3D models of impossible figures are fully constructed, which are applied in the educational process in order to develop logical thinking. The steps of creating 3D geometry using open source software Blender 3D are described in details. Keywords: 3D, Blender, logic, impossible, figures Introduction Impossible figures are combinations of geometric elements positioned in specific compilations that create the illusion of completed objects, but at the same time have an extremely impossible vision. This is especially the case when certain details are interwoven in a particular order or position. Creating them requires a rich imagination and understanding of three-dimensional space. Impossible figures are a good tool for developing logical thinking, creating creativity in adolescents, and are often used in the educational process. Impossible figures are present in the visual arts, architecture and spatial form shaping. -
Strabismus: a Decision Making Approach
Strabismus A Decision Making Approach Gunter K. von Noorden, M.D. Eugene M. Helveston, M.D. Strabismus: A Decision Making Approach Gunter K. von Noorden, M.D. Emeritus Professor of Ophthalmology and Pediatrics Baylor College of Medicine Houston, Texas Eugene M. Helveston, M.D. Emeritus Professor of Ophthalmology Indiana University School of Medicine Indianapolis, Indiana Published originally in English under the title: Strabismus: A Decision Making Approach. By Gunter K. von Noorden and Eugene M. Helveston Published in 1994 by Mosby-Year Book, Inc., St. Louis, MO Copyright held by Gunter K. von Noorden and Eugene M. Helveston All rights reserved. No part of this publication may be reproduced, stored in a retrieval system, or transmitted, in any form or by any means, electronic, mechanical, photocopying, recording, or otherwise, without prior written permission from the authors. Copyright © 2010 Table of Contents Foreword Preface 1.01 Equipment for Examination of the Patient with Strabismus 1.02 History 1.03 Inspection of Patient 1.04 Sequence of Motility Examination 1.05 Does This Baby See? 1.06 Visual Acuity – Methods of Examination 1.07 Visual Acuity Testing in Infants 1.08 Primary versus Secondary Deviation 1.09 Evaluation of Monocular Movements – Ductions 1.10 Evaluation of Binocular Movements – Versions 1.11 Unilaterally Reduced Vision Associated with Orthotropia 1.12 Unilateral Decrease of Visual Acuity Associated with Heterotropia 1.13 Decentered Corneal Light Reflex 1.14 Strabismus – Generic Classification 1.15 Is Latent Strabismus -
Sounds, Spectra, Audio Illusions, and Data Representations
Sounds, spectra, audio illusions, and data representations Edoardo Milotti, Dipartimento di Fisica, Università di Trieste Introduction to Signal Processing Techniques A. Y. 2016-17 Piano notes Pure 440 Hz sound BacK to the initial recording, left channel amplitude (volt, ampere, normalized amplitude units … ) time (sample number) amplitude (volt, ampere, normalized amplitude units … ) 0.004 0.002 0.000 -0.002 -0.004 0 1000 2000 3000 4000 5000 time (sample number) amplitude (volt, ampere, normalized amplitude units … ) 0.004 0.002 0.000 -0.002 -0.004 0 1000 2000 3000 4000 5000 time (sample number) squared amplitude frequency (frequency index) Short Time Fourier Transform (STFT) Fourier Transform A single blocK of data Segmented data Fourier Transform squared amplitude frequency (frequency index) squared amplitude frequency (frequency index) amplitude of most important Fourier component time Spectrogram time frequency • Original audio file • Reconstruction with the largest amplitude frequency component only • Reconstruction with 7 frequency components • Reconstruction with 7 frequency components + phase information amplitude (volt, ampere, normalized amplitude units … ) time (sample number) amplitude (volt, ampere, normalized amplitude units … ) time (sample number) squared amplitude frequency (frequency index) squared amplitude frequency (frequency index) squared amplitude Include only Fourier components with amplitudes ABOVE a given threshold 18 Fourier components frequency (frequency index) squared amplitude Include only Fourier components with amplitudes ABOVE a given threshold 39 Fourier components frequency (frequency index) squared amplitude frequency (frequency index) Glissando In music, a glissando [ɡlisˈsando] (plural: glissandi, abbreviated gliss.) is a glide from one pitch to another. It is an Italianized musical term derived from the French glisser, to glide. -
The Freudian Slip Staff
The Freudian Slip CSB/SJU Psychology Department Newsletter College of Saint Benedict & Saint John’s University Sigmund Freud, photo- graph (1938) May 2013 DSM-5 By Hannah Stevens at who is making these decisions. The decisions about changes are made by 13 different work The Diagnostic and Statistical Manual of groups specializing in different sections. There are Mental Disorders or DSM is a manual giving the a total of 160 psychiatrists, psychologists, and Staff criteria for all recognized mental disorders. The other health professionals. It is a long process that first DSM dates back to before World War II and requires looking at recent research and debating Rachel Heying, provided seven different categories of mental with other professionals. health: mania, melancholia, monomania, paresis, “Imperfections dementia, dipsomania, and epilepsy. Since then The changes in the DSM-5 will have a of Perception” the DSM has been revised to fit mental health as significant impact on the field of psychology. we know it today. It is currently in its fifth revision Many practicing psychologist will have to relearn Hannah Stevens, and is due to come out this May. The current new criteria for mental disorders, as well as new “DMV-5” DSM, the DSM-IV-TR (text revision) reflects what mental disorders all together. This may be the information we have gained in mental health and cause of some of the controversy, however hope- Natalie Vasilj, our newest knowledge and research on it. In past fully with new research the DSM-5 will better rep- “Mental Health revisions major changes have been made because resent mental health. -
Optical Illusion Art As Radical Interface
Perceptual Play: Optical Illusion Art as Radical Interface Julian Oliver, 2008 In 1992 Joachim Sauter and Dirk Lüsebrink presented a work called Zerseher ('Iconoclast') at Ars Electronica, where they were awarded a prize in the Interactive Art category. In this work, audiences were invited to destroy a (digital) copy of an antique painting just by looking at it. Zerseher provides a context for direct manipulation of the visible work. The position and orientation of the viewer's eyes are tracked using a camera which, in turn, directs a digital brush over the surface of the image, smearing pixels around. It's not hard to see why the piece was awarded; here the premise explored in philosophy and poetry, that the gaze might have a mutating or productive power of its own, was explicitly manifested: the mere act of looking had the power to alter (or destroy) the artefact itself. Historically speaking, the idea that the gaze might be a primally destabilising force may have arisen from the fact that seeing itself is not always reliable; that the act of seeing – and perceiving what is seen – is something to be suspicious of. Many works of philosophy and poetry have asserted the primary fragility of perception, particularly as related to the ocular sense. This can be traced back as far as Plato in Western thought, who was early in identifying that what is seen propagates as an object of thought – a mental image – separated from the world and that it is there that interpretation occurs: "The image stands at the junction of a light which comes from the object and another which comes from the gaze".1 In recent times, the study of perception2 has been as active in scienctific thought as it has in philosophy. -
Visual Prostheses for the Blind
Review Visual prostheses for the blind 1,2 1,2 1,2,3 Robert K. Shepherd , Mohit N. Shivdasani , David A.X. Nayagam , 1,2 1,2 Christopher E. Williams , and Peter J. Blamey 1 Bionics Institute, 384-388 Albert St East Melbourne, 3002, Victoria, Australia 2 Medical Bionics Department, University of Melbourne, 384-388 Albert St East Melbourne, 3002, Victoria, Australia 3 Department of Pathology, University of Melbourne, Parkville, 3010, Victoria, Australia After more than 40 years of research, visual prostheses It is estimated that 285 million people are visually are moving from the laboratory into the clinic. These impaired worldwide; 39 million of whom are blind [2]. devices are designed to provide prosthetic vision to the Although uncorrected refractive errors are the main cause blind by stimulating localized neural populations in one of visual impairment, diseases associated with degenera- of the retinotopically organized structures of the visual tion of the retinal photoreceptors result in severe visual pathway – typically the retina or visual cortex. The long loss with few or no therapeutic options for ongoing clinical gestation of this research reflects the many significant management. Importantly, significant numbers of RGCs technical challenges encountered including surgical ac- are spared following the loss of photoreceptors. Although cess, mechanical stability, hardware miniaturization, there are major alterations to the neural circuitry of these hermetic encapsulation, high-density electrode arrays, surviving neurons [3], their presence provides the potential and signal processing. This review provides an introduc- to restore vision using electrical stimulation delivered by tion to the pathophysiology of blindness; an overview of an electrode array located close to the retina (Box 1). -
The Best Hits Bookshelf
The Best Hits Bookshelf Volume 2: Popular Tutorials First Edition March 2018 copyright 2018. The University of Iowa Department of Ophthalmology & Visual Sciences Iowa City, Iowa ii About this Book Think before you act… This first edition book is a compilation of 50 case and tutorial articles featured on our website, EyeRounds. Disclaimer org. These articles have the most online “hits” and were Content is made available for review purposes only. hand-selected for their popularity and impact. They are Much of the material from EyeRounds.org is gathered among some of our most recent and high-yield content. from Grand Rounds presentations. Popularity will, of course, change over time so future editions will likely contain a different mixture of articles. The intent of Grand Rounds is to initiate discussion and stimulate thought, as a result, EyeRounds articles The content is arranged first by type (case or tutorial) may contain information that is not medically and then subspecialty (Cornea and External Disease, proven fact and should not be used to guide treat- Cataract, Glaucoma, Neuro-Ophthalmology, Oculoplas- ment. tics, Pediatrics and Strabismus, Retina and Vitreous, and Opinions expressed are not necessarily those of the On-Call and Trauma.) University of Iowa, the Carver College of Medicine, nor the Department of Ophthalmology and Visual Sciences. About EyeRounds.org For more details, see our terms of use at EyeRounds. Ophthalmology Grand Rounds and EyeRounds.org is a org/TOS.htm website of the University of Iowa Department of Oph- thalmology and Visual Sciences in Iowa City, Iowa. On Funding Support EyeRounds.org, you will find case reports from our EyeRounds.org is partially supported by unrestricted funds daily morning rounds, high-quality atlas images, videos, from The University of Iowa Department of Ophthalmology and online tutorials. -
The Training of Human Voluntary Torsion: Tonic and Dynamic Cycloversion
University of the Pacific Scholarly Commons University of the Pacific Theses and Dissertations Graduate School 1976 The Training Of Human Voluntary Torsion: Tonic And Dynamic Cycloversion. Richard Balliet University of the Pacific Follow this and additional works at: https://scholarlycommons.pacific.edu/uop_etds Recommended Citation Balliet, Richard. (1976). The Training Of Human Voluntary Torsion: Tonic And Dynamic Cycloversion.. University of the Pacific, Dissertation. https://scholarlycommons.pacific.edu/uop_etds/2998 This Dissertation is brought to you for free and open access by the Graduate School at Scholarly Commons. It has been accepted for inclusion in University of the Pacific Theses and Dissertations by an authorized administrator of Scholarly Commons. For more information, please contact [email protected]. THE THAINING OF HUMAN VOLUNTARY TORSION: TONIC AND DYNAMIC CYCLOVERSION By Richard'Balliet ~-------- A dissertation in partial fulfi~lment of the requir~ ments for the degree o~ Doctor of Philosophy presented to the Graduite Faculty of the Department of Visual Sciences of tho University of the Pacific. - ~ --------- September, l~Y16 p--- ~--- This dissertation, written and submitted by I • RICHARD_ BALLIET is approved for recommendation to the Committee @n Graduate Studies, University of the Pacific Dean of the School or Department Chairmari: Dissertation Committee: -----Chainnru1 Ucu-< ··. ~. Dated-.Septe~ 1-3, J 976 ~·---- Til!': TRAINING OF !i1J:1~.N VOLUNTARY TORSION: '!'ONIG .<\!lfl f>YNAHIC CYC!"OVERSION Abstract of the D~ssertation Torsion is clcfin.-~d as any rotation f'.rour.d the vis~al axis o~ the eyt. ~ince t.hr. middle of the 19th century some t·csearc.hers have doubted that: functionlll ocular torsions occur in man. -
BYU Museum of Art M. C. Escher: Other Worlds Education Resources
BYU Museum of Art M. C. Escher: Other Worlds Education Resources Escher Terminology Crystallography: A branch of science that examines the structures and properties of crystals; greatly influenced the development of Escher’s tessellations de Mesquita, S. J.: A master printmaker at the School for Architecture and Decorative Arts, where Escher was studying, who encouraged Escher to pursue art rather than architecture H. S. M. Coxeter: A mathematician whose geometric “Coxeter Groups” became known as tessellations. Like Escher, Coxeter also loved music and its mathematical properties. The initial ideas for Circle Limit came from Coxeter. Infinity/Droste Effect: An image appearing within itself in smaller and smaller versions on to infinity; for example, when one mirror placed in front and one behind, creating an in infinite tunnel of the image Lithograph: A printing process in which the image to be printed is drawn on a flat stone surface and treated to hold ink while the negative space is treated to repel ink. Mezzotint: A method of engraving a copper or steel plate by scraping and burnishing areas to produce effects of light and shadow. Möbius strips: A surface that has only one side and one edge, making it impossible to orient; often used to symbolize eternity; used to how red ants is Escher’s Möbius Strip II Necker cube: An optical illusion proposed by Swiss crystallographer Louis Albert Necker, where the drawing of a cube has no visual cues as to its orientation; in Escher’s Belvedere, the Necker cube becomes an “impossible” cube. 1