866 resultados para Literary object


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Treating algebraic symbols as objects (eg. “‘a’ means ‘apple’”) is a means of introducing elementary simplification of algebra, but causes problems further on. This current school-based research included an examination of texts still in use in the mathematics department, and interviews with mathematics teachers, year 7 pupils and then year 10 pupils asking them how they would explain, “3a + 2a = 5a” to year 7 pupils. Results included the notion that the ‘algebra as object’ analogy can be found in textbooks in current usage, including those recently published. Teachers knew that they were not ‘supposed’ to use the analogy but not always clear why, nevertheless stating methods of teaching consistent with an‘algebra as object’ approach. Year 7 pupils did not explicitly refer to ‘algebra as object’, although some of their responses could be so interpreted. In the main, year 10 pupils used ‘algebra as object’ to explain simplification of algebra, with some complicated attempts to get round the limitations. Further research would look to establish whether the appearance of ‘algebra as object’ in pupils’ thinking between year 7 and 10 is consistent and, if so, where it arises. Implications also are for on-going teacher training with alternatives to introducing such simplification.

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This paper provides a solution for predicting moving/moving and moving/static collisions of objects within a virtual environment. Feasible prediction in real-time virtual worlds can be obtained by encompassing moving objects within a sphere and static objects within a convex polygon. Fast solutions are then attainable by describing the movement of objects parametrically in time as a polynomial.

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The incorporation of ekphrastic evocations of photographs into fictional works is a growing trend charted by (mostly) literary and (occasionally) art critics interested in the effect of their inclusion in a narrative. What has emerged as a veritable affinity of photography with literature has produced a fertile interdisciplinary critical discourse around areas of intersection between visual and verbal. With regard to short fiction, the photograph is often subject to investigation as analogy, the photograph and the short story being considered metonymically related with regard to form and effect. This notion of a structural equivalence between short story and photograph is one stressed by author/photographer Julio Cortàzar, concerned to highlight the quality of intensity he ascribes to both forms, which he saw as ‘cutting out a piece of reality’ in order to ‘breaking out’ into a wider one. Given Annie Saumont’s oft-cited admiration of Cortàzar’s work it is unsurprising that in her own writing – of stories themselves often classed, in their elliptical density, as verbal snapshots – she should take an interest in photographs and/or photographers. This article seeks to explore and analyse different values Saumont ascribes to what was paradoxically described by Barthes as ‘invisible’, in that what we see when viewing a photograph is, (often treacherously), ‘ pas elle qu’on voit’: never, or never solely, the actual object itself …

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The existence of hand-centred visual processing has long been established in the macaque premotor cortex. These hand-centred mechanisms have been thought to play some general role in the sensory guidance of movements towards objects, or, more recently, in the sensory guidance of object avoidance movements. We suggest that these hand-centred mechanisms play a specific and prominent role in the rapid selection and control of manual actions following sudden changes in the properties of the objects relevant for hand-object interactions. We discuss recent anatomical and physiological evidence from human and non-human primates, which indicates the existence of rapid processing of visual information for hand-object interactions. This new evidence demonstrates how several stages of the hierarchical visual processing system may be bypassed, feeding the motor system with hand-related visual inputs within just 70 ms following a sudden event. This time window is early enough, and this processing rapid enough, to allow the generation and control of rapid hand-centred avoidance and acquisitive actions, for aversive and desired objects, respectively

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There has been an increased amount of scholarly interest lately in T.S. Eliot's unfinished sequence, Coriolan (1932)—interest drawn from its Shakespearian allusiveness, and from analysis of this writing's particularly rebarbative, jarring poetic. Although, however, the two parts of the sequence published by Eliot are acknowledged as being his nearest approach to poetic commentary upon contemporary political ideas, little criticism exists establishing the hinterland of the political thought, with which Eliot was most familiar, as editor of the Criterion. Coriolan emerges at a time when the lure of fascism pulled hardest at Eliot's sensibility. This article reviews the full political context provided by Eliot's journal, as well as considering the connections between that political engagement and the readings of Shakespeare he was also promulgating through this forum, in order to provide a more complex sense than hitherto of the diverse pressures underlying the unsettled nature of the existing Coriolan poems.

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This paper presents a video surveillance framework that robustly and efficiently detects abandoned objects in surveillance scenes. The framework is based on a novel threat assessment algorithm which combines the concept of ownership with automatic understanding of social relations in order to infer abandonment of objects. Implementation is achieved through development of a logic-based inference engine based on Prolog. Threat detection performance is conducted by testing against a range of datasets describing realistic situations and demonstrates a reduction in the number of false alarms generated. The proposed system represents the approach employed in the EU SUBITO project (Surveillance of Unattended Baggage and the Identification and Tracking of the Owner).

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Perception and action are tightly linked: objects may be perceived not only in terms of visual features, but also in terms of possibilities for action. Previous studies showed that when a centrally located object has a salient graspable feature (e.g., a handle), it facilitates motor responses corresponding with the feature's position. However, such so-called affordance effects have been criticized as resulting from spatial compatibility effects, due to the visual asymmetry created by the graspable feature, irrespective of any affordances. In order to dissociate between affordance and spatial compatibility effects, we asked participants to perform a simple reaction-time task to typically graspable and non-graspable objects with similar visual features (e.g., lollipop and stop sign). Responses were measured using either electromyography (EMG) on proximal arm muscles during reaching-like movements, or with finger key-presses. In both EMG and button press measurements, participants responded faster when the object was either presented in the same location as the responding hand, or was affordable, resulting in significant and independent spatial compatibility and affordance effects, but no interaction. Furthermore, while the spatial compatibility effect was present from the earliest stages of movement preparation and throughout the different stages of movement execution, the affordance effect was restricted to the early stages of movement execution. Finally, we tested a small group of unilateral arm amputees using EMG, and found residual spatial compatibility but no affordance, suggesting that spatial compatibility effects do not necessarily rely on individuals’ available affordances. Our results show dissociation between affordance and spatial compatibility effects, and suggest that rather than evoking the specific motor action most suitable for interaction with the viewed object, graspable objects prompt the motor system in a general, body-part independent fashion

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Does language modulate perception and categorisation of everyday objects? Here, we approach this question from the perspective of grammatical gender in bilinguals. We tested Spanish–English bilinguals and control native speakers of English in a semantic categorisation task on triplets of pictures in an all-in-English context while measuring event-related brain potentials (ERPs). Participants were asked to press a button when the third picture of a triplet belonged to the same semantic category as the first two, and another button when it belonged to a different category. Unbeknownst to them, in half of the trials, the gender of the third picture name in Spanish had the same gender as that of the first two, and the opposite gender in the other half. We found no priming in behavioural results of either semantic relatedness or gender consistency. In contrast, ERPs revealed not only the expected semantic priming effect in both groups, but also a negative modulation by gender inconsistency in Spanish–English bilinguals, exclusively. These results provide evidence for spontaneous and unconscious access to grammatical gender in participants functioning in a context requiring no access to such information, thereby providing support for linguistic relativity effects in the grammatical domain.

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