The experts from the respective disciplines (e.g. neurobiological basics, storytelling, screenplay, visual effects, auto alignment, stitching, projection technology; hardware) will present the current state of research, applications and prospects for the areas of marketing, education, entertainment and medical applications. The reference book closes the gap between developments that are taking place and publications that are scarce and barely linked.

Link to the publisher 360lab.net

Preview of the book contribution “Spatial thinking and the brain”

The technical, content-related and dramaturgical potential of 360° projections opens up a space for experimentation in which we can create more realistic and fantastic worlds and present and solve more complex problems than with any previously known audiovisual media. The spherical projection of information gives us a descriptive language system that comes far closer to the processing of spatial-visual data in the brain than the standard image formats available. This enables us to express all sensually experienced and cognitively recognized environmental relationships much better than before in a descriptive and auditory way. Even if I have to limit myself to the visual potential in this article, the common structures between the language of words and the language of images are intended to encourage the use of synergies and promote the legibility of our messages. The information potential of 360° projections will therefore have an impact on our communication behavior, the design of our environment  and our intelligence development to the extent that we succeed in understanding the associated sensory-physiological and cognitive requirements and translating them into practical life applications.

Link to the publisher’s page “Springer Science+Business Media”

Der Beitrag Fullspace projection 360°- Spatial thinking and the brain erschien zuerst auf Farbpsychologie.

Everything could be completely different – spatial perception as design potential:

The “slit-scan” technique traces its origins to experiments with spatial perception in Kubrick’s film *2001: A Space Odyssey*, in which a fascinating journey through space at the speed of light was simulated. Thanks to new visual media, the requirements for depicting spaces in “slit-scan mode” have become much simpler, which is why we will apply this technique in *
*, our course on reinterpreting everyday situations and processes. The visible world is nothing more than a construct of our brain. Any change in the parameters of perception leads to a restructuring of reality.

Learning to see everyday things in a new light – Nothing is as it seems and must remain as it is:

Our lived world has been and continues to be shaped by other people according to their own ideas, who have imprinted their perspectives on all spaces and objects. As soon as we question our accustomed view of the environment, the conventions upon which our perceptions of our own reality are based become visible. By recognizing the structures
that underlie our conceptions of space, we simultaneously discover an inexhaustible scope for creativity in expressing our own ideas.

Support Slitscan: Sebastian Huber
Support Video: Steffen Rabenstein

[vimeo]https://vimeo.com/38093581[/vimeo]

Halle, Author: Lukas Adolphi and Lucas Treise

[vimeo]https://vimeo.com/38102104[/vimeo]

Tick Tack, author: Felix Krämer and Magdalena Groth

[vimeo]https://vimeo.com/38102434[/vimeo]

Train journey, Author: Nora Fiedler and Matthias Grosskopf

Der Beitrag Slitscan Space redefined erschien zuerst auf Farbpsychologie.

Nowhere is this more evident than in the case of people who look back on their lives after a brain injury. They often only realize that something fundamental has changed when they see the consequences of their actions. People, places or objects are suddenly missing from their world, as if they had never existed in it before. If the associative connections of our nerve networks in the brain are destroyed, we lose parts of our knowledge structure. Things can disappear completely, as can their usage properties, behavioral states or action potentials. This also changes our spatial-visual competence, allowing us to recognize the functional structures of our brain’s processing. The association network determines our reality.

To the extent that we lose access to the “vocabulary” or “image treasure” of our memory, we experience difficulties in understanding and communicating. This shows that the memory reference of our visual space forms a language system whose structures of meaning and action result from the communication process with the environment.

Publication “The formation of spatial-visual competence”

Der Beitrag Constructing the meaning and significance of perception erschien zuerst auf Farbpsychologie.

“It happens that someone who has read a novel and then sees the book as a movie says afterwards, quite disappointedly: But I imagined it all very differently. Maybe I would feel the same way if I could suddenly see.”

(in Burkhard, Ursula “Farbvorstellungen blinder Menschen”, Birkhäuser Verlag Basel Boston Stuttgart 1981, p.25)

M. Hull, who later became blind, on seeing

“If you go deeper and deeper into blindness, then the things that you once took for granted and which, when they disappeared, you initially mourned and for which you later tried to find the most diverse compensations, end up becoming meaningless. Somehow it no longer seems important what people look like or what cities look like. You start to live with other interests, other values. You start to live in a different world.”

(in Hull, John M. “Im Dunkeln sehen”, C.H. Beck’sche Verlagsbuchhandlung, Munich 1992, p.216)

Formerly blind M. May, after his eye operation on his sight

“Perhaps the best way to describe it is that for me, trying to see is like having to learn a foreign language. You have to find the words you need. Then you have to conjugate the verbs. Then you have to think about how to arrange the words. It’s similar for me with seeing. In one way or another, by touching, thinking about, understanding or whatever, I have to subject what I see to mental work, I have to consciously organize everything. Only then do I understand what I see.”

(in Kurson, Robert “Der Blinde, der wieder sehen lernte”, Hoffmann und Campe, Hamburg 2007, p.395)

Publication “The formation of spatial-visual competence”

Der Beitrag Perception and language erschien zuerst auf Farbpsychologie.