Espaço e identidade visual: uma investigação sobre soluções de design para empresas

Coordenação de Aperfeiçoamento de Pessoal de Nível Superior (CAPES)

Parâmetros construtivos de kirigami tridimensional de 90 graus de abertura

Origami folds and kirigami cuts merged in an oriental technique called Origamic Architecture (or 3D kirigami) that has intrinsic relationships with geometry as well as these paper arts. Despite its potential, it is not very used as a didactic resource because of the lack of parameters in its construction. There are many studies about programs development and computational language to help the design of pop-up structures, as origamic architecture is also known. However, there are few studies concerning the study of positioning the lines and creases, which is essential in the process of creating a 3D kirigami design, especially in the development of spatial perception of the figure. Limited to the 90o open type models, this article is about the establishment of some initial guidelines for design of an origamic architecture through visual elements as point, line and shape. It is presented some basic models to illustrate the constructive parameters detected as well as some models elaborated by the author, showing the viability of the guidelines established.

Lo spazio senso-motorio come rappresentazione dei comportamenti intersoggettivi. Una nuova ipotesi sperimentale dalla filosofia alle neuroscienze

La ricerca ha preso le mosse da tre ipotesi fondamentali: 1) Esiste un legame tra processi cognitivi di basso ed alto livello; 2) Lo spazio senso-motorio è una percezione soggettiva; 3) Lo spazio senso-motorio varia in funzione delle diverse modalità di interazione sociale. La tesi sostiene che lo spazio senso-motorio si lascia modulare dalla semplice co-presenza di un altro agente umano e da interazioni cooperative e non cooperative. I capitoli I, II, III, hanno lo scopo di scomporre e spiegare il significato della prima, seconda e terza ipotesi; giungendo a formulare la tesi centrale che sarà poi dimostrata sperimentalmente nel capitolo IV. Il capitolo V introduce future linee di ricerca nell’ambito dell’etica proponendo una nuova ipotesi sul legame che potrebbe sussistere tra la percezione dello spazio durante l’interazione sociale e i giudizi morali. Il lavoro svolto chiama ad operare insieme diverse discipline che concorrono a formare le scienze cognitive: la storia della filosofia, la filosofia della mente contemporanea, la neuropsicologia sperimentale ed alcuni temi della psicologia sociale.

A virtual environment for the assessment and the rehabilitation of the visuo-constructional ability in dementia patients

This study proposes a VE that offers a reliable diagnosis of the stage of cognitive decline in dementia patients and assists the delay of this decline in terms of the visuo-constructional ability. The proposed VE, in the case of the assessment, presents a visuo-constructional completion task, which requires spatial perception, motor memory and the perception of the target object. In the case of the rehabilitation the VE uses sound as audio-feedback that, with the aid of the music perception, tends to develop an enhancement in the visuo-construction ability of the dementia patients that can be generalized even outside of the VE. The study examined 30 subjects that were normal controls (N), 30 patients suffering from memory disorders (Age-Associated Memory Impairment--AAMI) and 30 suffering from Alzheimer's Disease (AD). The results showed that there is a significant correlation between the performance in the visuo-constructional task and the dementia diagnosis. It also seems that the visuo-constructional ability of the (AD) patients can be statistically improved by the audio experience in the VE. The empirical results of this study offer an alternative diagnosis and treatment of dementia patients and could share some light in the brain sub-systems that are responsible for the visuo-constructional ability. Further studies are required in order to investigate the nature of this phenomenon more.

Pulsiones del espacio : Oteiza y la aproximación a la arquitectura como vacío activo

Este trabajo se centra en el estudio de las investigaciones de Jorge Oteiza en torno a la funcionalidad estética del espacio, en especial, en la actividad artística que desarrolló en el año 1958, un año decisivo en la vida del escultor en el que dio por finalizado su proceso de experimentación sobre la naturaleza espacial de la estatua. En este desenlace tuvo un papel fundamental la relación funcional que planteó, a la hora de retomar su trabajo después de su triunfo en la IV Bienal de São Paulo de 1957, entre la escultura y la arquitectura. La primera, entendida como organismo puramente espacial, debía de responder a las condiciones de su mundo circundante, el espacio arquitectónico. Su función: acondicionarlo estéticamente para satisfacer las necesidades espirituales del habitante. Siguiendo el canon estético que para la escultura acababa de anunciar en Brasil, la desocupación espacial (la liberación de la energía espacial de la estatua, el rompimiento de la neutralidad del espacio libre) no se trataba de embellecer superficialmente la arquitectura sino de activar su vacío interior. Oteiza, que siempre estuvo muy interesado por la arquitectura y que había colaborado con anterioridad en numerosas ocasiones con los mejores arquitectos del país, fue durante este año cuando profundizó de manera más sistemática (teórica y prácticamente) sobre la relación arte-arquitectura. De hecho, él mismo nombraba como el último trabajo de su línea de experimentación en escultura a su propuesta para el concurso del Monumento a José Batlle en Montevideo, que junto al arquitecto Roberto Puig acabaron a finales de año. En el proyecto se planteaba a escala urbana, y como ejemplo concreto, el modelo teórico de integración arquitectura + (arte=0) que había elaborado los meses anteriores, la integración vacía. En el texto explicativo que acompañaba al proyecto (un texto que desbordaba los límites de una memoria al uso) demandaba la necesidad de la toma de conciencia estética del espacio, como acto de libertad individual, y declaraba el fin del rol de espectador del hombre frente a la obra de arte, reclamando su participación activa en la misma. Para él, la noción del espacio estético no era una condición innata en el hombre, se descubría, se aprendía, evolucionaba y se olvidaba (una vez convertido en hábito). Frente a la ceguera de la sensibilidad espacial del hombre, proponía la educación de la percepción espacial, condicionar emocionalmente la reflexión espontánea ante el juego espacial de las formas en la naturaleza y el espectáculo natural de la ciudad. Aprender a leer el lenguaje emocional del espacio, a pensar visualmente. La obra de arte era así un catalizador espiritual del contorno del mundo, modificador de la vida espacial circundante que corregía hábitos visuales y condicionaba estímulos y reflejos. Desde una resonancia afectiva con la definición psicológica del término (como energía psíquica profunda que invita o incita a pasar a la acción), a diferencia del instinto, la pulsión (siendo la fuente de toda conducta espontánea) es susceptible de ser modificada por la experiencia, por la educación, por la cultura, por el deseo. Es desde esta aproximación en términos de energía desde la que se propone la noción pulsiones del espacio como fórmula (reversible) entre la energía espacial liberada en el proceso de desocupación definido por Oteiza y caracterizadora de la obra como vacío activo (en escultura, en arquitectura), y la energía psíquica profunda que invita o incita a la toma de posesión del espacio (la voluntad espacial absoluta con la que Oteiza definía su modelo de arte=0, cero como expresión formal). Si el hombre modifica su entorno al mismo tiempo que es condicionado por él, es indispensable una conciencia estética del espacio que le enseñe, de entre todas las posibilidades que este le ofrece, qué es lo que necesita (qué es lo que le falta), para tomar posesión de él, para un efectivo ser o existir en el espacio. Es desde esta caracterización como energía por lo que las pulsiones del espacio se sitúan entre el hombre y su entorno (construido) y permiten la transformación entre energía espacial y energía psíquica; entre su hábitat y sus hábitos. Por estas mismas fechas, Oteiza definía una casa como un conjunto articulado de vacíos activos, como una obra de plástica pura que no es arte sino en función del habitante. Es este habitante, educado en la toma de conciencia estética del espacio, el que participando activamente en la interpretación de los espacios previstos por el arquitecto, sintiendo y movido por las pulsiones del espacio, hará uso adecuado de la arquitectura; pasando de un arte como objeto a un arte como comportamiento, transformará su habitar en un arte, el arte de habitar. ABSTRACT This work focuses on the study of Jorge Oteiza’s investigations on the aesthetic functionality of space, especially on his artistic activity developed in 1958, a decisive year in the life of the sculptor, in which he gave end to his process of experimentation on the spatial nature of the statue. In this outcome it was fundamental the functional relationship that he propounded, at the time of returning to work after his triumph in the IV Bienal de São Paulo in 1957, between sculpture and architecture. The first, understood as a purely spatial organism, should respond to the conditions of its environment (umwelt), the architectonic space. Its function: set it up aesthetically to meet the spiritual needs of the inhabitant. Following the aesthetic canon that he had just announced in Brazil for sculpture, the spatial disoccupation (the liberation of the spatial energy of the statue, the breaking of the neutrality of the free space) the aim was not to superficially beautify architecture but to activate its inner void. Oteiza, who had always been very interested in architecture and who had previously collaborated on numerous occasions with the best architects in the country, was in this year when he deepened in a more systematic way (theoretically and practically) about the art-architecture relationship. In fact, he named as the last work of his line of experimentation in sculpture to his proposal for the competition of the Monument to José Batlle in Montevideo, which, developed together with the architect Roberto Puig, was ended at the end of the year. The project proposed on an urban scale, and as a concrete example, the theoretical model of integration architecture + (art = 0) which he had elaborated the previous months, the empty integration. In the explanatory text accompanying the project (a text that exceeded the normal extents of a competition statement) he demanded the need of the aesthetic awareness of space, as an act of individual freedom, and it declared the end of the role of man as passive spectator in front of the work of art, claiming his actively participation in it. For him, the notion of the aesthetic space was not an inborn condition in man; first it was discovered, then learned, evolved and finally forgotten (once converted into a habit). To counteract blindness of the spatial sensitivity of man, he proposed the education of spatial perception, to emotionally influence the spontaneous reflection in front of the spatial game of forms in nature and the natural spectacle of the city. Learn to read the emotional language of space, to think visually. The work of art was thus a spiritual catalyst of the world’s contour, a modifier of the surrounding spatial life that corrected visual habits and conditioned stimuli and reflexes. From an emotional resonance with the psychological definition of the term (such as deep psychic power that invites or urges action), as opposed to instinct, drive (being the source of all spontaneous behavior) is likely to be modified by experience, by education, by culture, by desire. It is from this approach in terms of energy from which the notion drives of space is proposed, as a (reversible) formula between the spatial energy released in the process of disoccupation defined by Oteiza and characterizing of the work as a charged void (in sculpture, in architecture), and the deep psychic energy that invites or encourages the taking possession of the space (the absolute spatial will with which Oteiza defined its model of Art = 0, zero as a formal expression). If man changes his environment at the same time that is conditioned by it, it is essential an aesthetic awareness of space that shows him, among all the possibilities that it offers, what he needs (what is what he lacks), in order to take possession of it, for an effective being or existing in space. It is this characterization as energy by what drives of space lie between man and his (built) environment and allow the transformation between spatial and psychological energy; between his habitat and his habits. Around this same time, Oteiza defined a House as an articulated set of charged voids, as a work of pure plastic that is not art but according to the inhabitant. It is this inhabitant, educated in aesthetic awareness of space, who actively participating in the interpretation of the spaces provided by the architect, feeling and moved by the drives of the space, will make proper use of the architecture; from an art as object to an art as behavior, he will transform his inhabitation into an art, the art of inhabitation.

Dynamic occupational therapy cognitive assessment for children: Perceived utility in Australian occupational therapy practice

Background and Aim: The Dynamic Occupational Therapy Cognitive Assessment for Children (DOTCA-Ch), recently developed in Israel, assesses the cognitive areas: orientation, spatial perception, praxis, visuomotor construction and thinking operations of 6- to 12-year-old children. The dynamic aspect, which incorporates mediation and prompting, has been presented as a valuable clinical feature of this new assessment. This study investigated the cultural suitability, dynamic nature and comprehensiveness of the DOTCA-Ch as a single cognitive assessment for occupational therapy practice in Australia. Methods: Twenty-three paediatric occupational therapists participated in three tutorial and video demonstrations, which were then followed by a group interview. Results and Conclusion: Thematic analysis of transcripts identified four main themes: appropriateness of assessment tasks, language, mediation and clinical utility. Within each theme, the participants raised both positive and negative features. This paper highlights occupational therapists' mixed views on the clinical utility of this assessment in Australia. Limitations of this study and areas for further research are suggested

Spatial bias and temporal lag in tactile space perception

Constructing a veridical spatial map by touch poses at least two problems for a perceptual system. First, as the hand is moved through space, the locations of features may be displaced if there is an uncorrected lag between the moment the hand encounters a feature and the time that feature is encoded on a spatial map. Second, due to the sequential nature of the process, some form of memory, which itself may be subject to spatial distortions, is required for integration of spatial samples. We investigated these issues using a task involving active haptic exploration with a stylus swept back and forth in the horizontal plane at the wrist. Remembered locations of tactile targets were shifted towards the medial axis of the forearm, suggesting a central tendency in haptic spatial memory, while evidence for a displacement of perceived locations in the direction of sweep motion was consistent with processing delays.

The spatial distribution and temporal dynamics of brain regions activated during the perception of object and non-object patterns

Both animal and human studies suggest that the efficiency with which we are able to grasp objects is attributable to a repertoire of motor signals derived directly from vision. This is in general agreement with the long-held belief that the automatic generation of motor signals by the perception of objects is based on the actions they afford. In this study, we used magnetoencephalography (MEG) to determine the spatial distribution and temporal dynamics of brain regions activated during passive viewing of object and non-object targets that varied in the extent to which they afforded a grasping action. Synthetic Aperture Magnetometry (SAM) was used to localize task-related oscillatory power changes within specific frequency bands, and the time course of activity within given regions-of-interest was determined by calculating time-frequency plots using a Morlet wavelet transform. Both single subject and group-averaged data on the spatial distribution of brain activity are presented. We show that: (i) significant reductions in 10-25 Hz activity within extrastriate cortex, occipito-temporal cortex, sensori-motor cortex and cerebellum were evident with passive viewing of both objects and non-objects; and (ii) reductions in oscillatory activity within the posterior part of the superior parietal cortex (area Ba7) were only evident with the perception of objects. Assuming that focal reductions in low-frequency oscillations (< 30 Hz) reflect areas of heightened neural activity, we conclude that: (i) activity within a network of brain areas, including the sensori-motor cortex, is not critically dependent on stimulus type and may reflect general changes in visual attention; and (ii) the posterior part of the superior parietal cortex, area Ba7, is activated preferentially by objects and may play a role in computations related to grasping. © 2006 Elsevier Inc. All rights reserved.

Perception of global image contrast is predicted by the same spatial integration model of gain control as detection and discrimination

How are the image statistics of global image contrast computed? We answered this by using a contrast-matching task for checkerboard configurations of ‘battenberg’ micro-patterns where the contrasts and spatial spreads of interdigitated pairs of micro-patterns were adjusted independently. Test stimuli were 20 × 20 arrays with various sized cluster widths, matched to standard patterns of uniform contrast. When one of the test patterns contained a pattern with much higher contrast than the other, that determined global pattern contrast, as in a max() operation. Crucially, however, the full matching functions had a curious intermediate region where low contrast additions for one pattern to intermediate contrasts of the other caused a paradoxical reduction in perceived global contrast. None of the following models predicted this: RMS, energy, linear sum, max, Legge and Foley. However, a gain control model incorporating wide-field integration and suppression of nonlinear contrast responses predicted the results with no free parameters. This model was derived from experiments on summation of contrast at threshold, and masking and summation effects in dipper functions. Those experiments were also inconsistent with the failed models above. Thus, we conclude that our contrast gain control model (Meese & Summers, 2007) describes a fundamental operation in human contrast vision.

Letters and cities: reading the urban environment with the help of perception theories

When wandering around a city such as Sao Paulo, we are surrounded by letters, numbers and symbols. These elements form part of an environment full of signs in many shapes and sizes that compete for our attention. Our perception of these elements contributes towards our spatial guidance and sense of place. The idea of `reading` the city, or urban environment, was introduced by Kevin Lynch, for whom reading the urban structure follows on from recognizing or identifying its numerous visual elements, not necessarily verbal ones. Beginning with a brief bibliographic review of perception theories, this article combines concepts from environmental psychology with concerns brought up by the fields of information design and epigraphy studies, setting out the basis of a methodological proposal for the study of typography and lettering in the urban environment.

Local-global processing in early-onset schizophrenia: Evidence for an impairment in shifting the spatial scale of attention

In this study we report the results of two experiments on visual attention conducted with patients with early-onset schizophrenia. These experiments investigated the effect of irrelevant spatial-scale information upon the processing of relevant spatial-scale information, and the ability to shift the spatial scale of attention, across consecutive trials, between different levels of the hierarchical stimulus. Twelve patients with early-onset schizophrenia and matched controls performed local-global tasks under: (1) directed attention conditions with a consistency manipulation and (2) divided-attention conditions. In the directed-attention paradigm, the early-onset patients exhibited the normal patterns of global advantage and interference, and were not unduly affected by the consistency manipulation. Under divided-attention conditions, however, the early-onset patients exhibited a local-processing deficit. The source of this local processing deficit lay in the prolonged reaction time to local targets, when these had been preceded by a global target, but not when preceded by a local target. These findings suggest an impaired ability to shift the spatial scale of attention from a global to a local spatial scale in early-onset schizophrenia. (C) 2003 Elsevier Science (USA). All rights reserved.

Conservation GIS: Ontology and spatial reasoning for commonsense knowledge.

Dissertation submitted in partial fulfilment of the requirements for the Degree of Master of Science in Geospatial Technologies.

Impaired early visual response modulations to spatial information in chronic schizophrenia.

Early visual processing stages have been demonstrated to be impaired in schizophrenia patients and their first-degree relatives. The amplitude and topography of the P1 component of the visual evoked potential (VEP) are both affected; the latter of which indicates alterations in active brain networks between populations. At least two issues remain unresolved. First, the specificity of this deficit (and suitability as an endophenotype) has yet to be established, with evidence for impaired P1 responses in other clinical populations. Second, it remains unknown whether schizophrenia patients exhibit intact functional modulation of the P1 VEP component; an aspect that may assist in distinguishing effects specific to schizophrenia. We applied electrical neuroimaging analyses to VEPs from chronic schizophrenia patients and healthy controls in response to variation in the parafoveal spatial extent of stimuli. Healthy controls demonstrated robust modulation of the VEP strength and topography as a function of the spatial extent of stimuli during the P1 component. By contrast, no such modulations were evident at early latencies in the responses from patients with schizophrenia. Source estimations localized these deficits to the left precuneus and medial inferior parietal cortex. These findings provide insights on potential underlying low-level impairments in schizophrenia.

Defining the site of light perception and initiation of phototropism in Arabidopsis.

Phototropism is an adaptive response allowing plants to optimize photosynthetic light capture. This is achieved by asymmetric growth between the shaded and lit sides of the stimulated organ. In grass seedlings, the site of phototropin-mediated light perception is distinct from the site of bending; however, in dicotyledonous plants (e.g., Arabidopsis), spatial aspects of perception remain debatable. We use morphological studies and genetics to show that phototropism can occur in the absence of the root, lower hypocotyl, hypocotyl apex, and cotyledons. Tissue-specific expression of the phototropin1 (phot1) photoreceptor demonstrates that light sensing occurs in the upper hypocotyl and that expression of phot1 in the hypocotyl elongation zone is sufficient to enable a normal phototropic response. Moreover, we show that efficient phototropism occurs when phot1 is expressed from endodermal, cortical, or epidermal cells and that its local activation rapidly leads to a global response throughout the seedling. We propose that spatial aspects in the steps leading from light perception to growth reorientation during phototropism differ between grasses and dicots. These results are important to properly interpret genetic experiments and establish a model connecting light perception to the growth response, including cellular and morphological aspects.