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Titlebook: Space-Time Geometries for Motion and Perception in the Brain and the Arts; Tamar Flash,Alain Berthoz Book 2021 The Editor(s) (if applicabl

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发表于 2025-3-21 19:45:56 | 显示全部楼层 |阅读模式
书目名称Space-Time Geometries for Motion and Perception in the Brain and the Arts
编辑Tamar Flash,Alain Berthoz
视频videohttp://file.papertrans.cn/874/873228/873228.mp4
概述Discusses the state of the art in motor control, perception and memory.Addresses a large readership from humanities and natural sciences.Presents a novel approach including video material, images and
丛书名称Lecture Notes in Morphogenesis
图书封面Titlebook: Space-Time Geometries for Motion and Perception in the Brain and the Arts;  Tamar Flash,Alain Berthoz Book 2021 The Editor(s) (if applicabl
描述.This book is based on a two-day symposium at the Paris Institute of Advanced Study titled "space-time geometries and movement in the brain and the arts". It includes over 20 chapters written by the leading scientists and artists who presented their related research studies at the symposium and includes six sections; the first three focus on space-time geometries in perception, action and memory while the last three focus on specific artistic domains: drawing and painting, dance, music, digital arts and robotics. The book is accompanied by a dedicated webpage including related images and videos. .There is an ever-growing interest in the topics covered by this book. Space and time are of fundamental importance for our understanding of human perception, action, memory and cognition, and are entities which are equally important in physics, biology, neuroscience and psychology. Highly prominent scientists and mathematicians have expressed their belief that our bodies and minds shape the ways we perceive space and time and the physical laws we formulate. Understanding how the brain perceives motion and generates -bodily movements is of great significance. There is also growing interest
出版日期Book 2021
关键词Neurogeometry and perception; Brain geometry; Hippocampal cognitive map; Brain space-time representatio
版次1
doihttps://doi.org/10.1007/978-3-030-57227-3
isbn_softcover978-3-030-57229-7
isbn_ebook978-3-030-57227-3Series ISSN 2195-1934 Series E-ISSN 2195-1942
issn_series 2195-1934
copyrightThe Editor(s) (if applicable) and The Author(s), under exclusive license to Springer Nature Switzerl
The information of publication is updating

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发表于 2025-3-22 00:06:29 | 显示全部楼层
Lecture Notes in Morphogenesishttp://image.papertrans.cn/s/image/873228.jpg
发表于 2025-3-22 01:37:53 | 显示全部楼层
https://doi.org/10.1007/978-3-030-57227-3Neurogeometry and perception; Brain geometry; Hippocampal cognitive map; Brain space-time representatio
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Space-Time Geometries for Motion and Perception in the Brain and the Arts978-3-030-57227-3Series ISSN 2195-1934 Series E-ISSN 2195-1942
发表于 2025-3-22 16:54:27 | 显示全部楼层
Brain Representations of Motion Generation and Perception: Space-Time Geometries and the Artsat a mixture of several Euclidean and non-Euclidean space-time geometries subserve motion production and perception. This theory has enabled us also to examine the issues associated with motor compositionality—namely, how the brain constructs complex movements by composing together elementary motor
发表于 2025-3-22 20:00:07 | 显示全部楼层
A Common Multiplicity of Action Spaces in the Brain and in the arts? The 4/5 Spaces Theorysubclasses of a more general geometry (Topos), as described in the chapter of Daniel Bennequin. This would allow both specialization of these networks and compatibility allowing an efficient transition from one to another. It is possible that, during development, the brain of children implements the
发表于 2025-3-22 22:00:59 | 显示全部楼层
Variety of Brains Geometries for Action/Perceptionifferent action spaces (at least five); this geometry corresponds to a 2-category of fibered categories of geometrical spaces over several networks in the brain, seen as different sites for different topos. The unifying theme of these works is adaptation.
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Art and the Geometry of Visual Spacee way to depict visual space. But although often trained in the techniques of linear perspective, artists have rarely applied its rules rigorously, and have instead developed various forms of ‘natural perspective’ that, it can be argued, are more effective at depicting visual space and so operate mo
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