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Unsurprisingly, logographic cues tend to be processed in the right brain hemisphere, the side more actively engaged with visuospatial input. Due to advances in technology and the media where logographic cues such as brand logos abound, the ability and tendency to draw meaning from pictures has become more widespread and intuitive. [citation needed]
That puts the motor cue at frames 198–195 from the end of the picture section of the reel (12.34 to 12.15 feet; or 12-foot-6-frames through 12-foot-3-frames), and the changeover cue at frames 21–19 from the end (1.31 to 1.18 feet; or 1-foot-5-frames through 1-foot-3-frames). As of January 2005, most domestic United States release prints ...
The original style of CAP code, developed in 1982 by Kodak along with the Motion Picture Association, is a series of very small dots printed in the picture area of a film print. The original instance of CAP developed by Kodak is a technology for watermarking film prints to trace copies of a print, whether legal or not.
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The Necker Cube: a wire frame cube with no depth cues. Figures drawn in a way that avoids depth cues may become ambiguous. Classic examples of this phenomenon are the Necker cube, [6] and the rhombille tiling (viewed as an isometric drawing of cubes). To go further than just perceiving the object is to recognize the object.
A random-dot stereogram (RDS) is stereo pair of images of random dots that, when viewed with the aid of a stereoscope, or with the eyes focused on a point in front of or behind the images, produces a sensation of depth due to stereopsis, with objects appearing to be in front of or behind the display level.
A cue is some organization of the data present in the signal which allows for meaningful extrapolation. For example, sensory cues include visual cues, auditory cues, haptic cues, olfactory cues and environmental cues. Sensory cues are a fundamental part of theories of perception, especially theories of appearance (how things look).
Two-dimensional pictures, such as photographs and line drawings, are the most abstract type of tangible symbols. [3] They are commonly used for both expressive and receptive communication, whereas the three-dimensional symbols are often used for receptive only communication (i.e. to cue the individual for upcoming events).