Impressive Scenes Research Articles

A QUANTITATIVE ANALYSIS OF IMPRESSIONES OF VERTICAL TRAVEL USING STAIRS AND SPATIAL COMPOSITION

This study aims to clarify how impressive scenes during vertical travel by stairs are experienced. We quantified the impressions and studied the relations with spatial composition of the stairs. Experiment participants were asked to take photographs of scenes that attracted attention while traveling along stairs and filled a questionnaire on their impressions. The photographed scenes were classified in 21 types by an impressiveness-measuring scale, differences of impression by direction, type and number of elements indicated to contribute to the experience. Effects of spatial composition on experiences were examined by analyzing relations between sequence of scenes and evaluations of attractiveness. Results showed that both impressions of individual scenes and the sequential composition of them were important in forming attractiveness.

A STUDY ON SPATIAL COMPOSITION OF STAIRS AND CHANGES IN IMPRESSIONS BY MOVEMENT

The purpose of this study is to clarify how spatial impressions change through vertical travel by stairs and its relation between spatial compositions. Photographs of impressive scenes taken by subjects during vertical travels were mapped on architectural drawings. Distributions of impressive scenes were analyzed together with elements that subjects indicated as impressive. Results showed that impressions of spatial experience were related difference in floor levels rather that the stairs themselves.

Quiet Revolution... And Rigid Stagnation

Take a scene I noted in a recent film, a good film, rescreened on television last March (1986). It was Invasion of the Body Snatchers-not Don Siegel's 1956 original but Philip Kaufman's 1978 remake, with Donald Sutherland. The scene was the one where Donald Sutherland, at the height of the danger, is overcome by fatigue and falls asleep on a bench in the open air, which allows one of the giant pods from outer space that threaten the earth to begin its work, which will be to replace the human original with another Sutherland. This initiates the most impressive scene in the film. During the night-this is San Francisco, and it is clearly very hot-a plant-like thing opens up, and with an unobtrusive noise gives birth to a full-size human being, still damp and imperfectly shaped. The thing and Donald Sutherland, the original and the gradually approximating imitation, appear in the same shot.

Peeking beneath the Sun's Skirts

olar scientists are getting an eyeful this summer-more than they had ever hoped for. Their sensitive solar instruments on board Skylab are clicking away in unison like finely tuned machines. (Such flawless performance is not guaranteed on any space mission let alone on a patched-up space station.) resulting photographs of sun have a clarity and resolution never before achieved. And that monstrous, churning, ever-changing ball of gas spewing out enough energy to feed a solar system (SN: 1/27/73, p. 61) is turning out to be much inore complex than they ever imagined. After only two months of looking through telescopes' eyes at some 40,000 pictures of their favorite star, scientists sit knee-deep in unanalyzed data, speak of mind-boggling phenomena and structure, and confess they don't know what it all means-yet. But answers about how sun works are all there just awaiting discovery, and they know it. sun is full of mystery, true teaser of science. six telescopes in orbit photograph sun simultaneously over a broad range of electromagnetic spectrum (the first time this has been done). photographs reveal features on sun only hinted at before from rocket flights and ground based studies: features in corona (the hot, thin outer atmosphere), transition region, chromosphere (the lower atmosphere) and photosphere (the surface). corona has yielded some of biggest surprises. Before Skylab, most scientists studying corona called it quiet, homogeneous outer layer of atmosphere. No more. The quiet homogeneous corona doesn't exist anymore, says Giuseppe A. Vaiana of American Science and Engineering. Robert MacQueen of High Altitude Observatory in Boulder agrees. see changes-dramatic, large-scale changes day by day and even orbit by orbit. We are impressed with bewildering array of structure. corona is a dynamic beast. photographs reveal clearly for first time whole range of coronal features, from intensely active regions to weakest bright points, filament boundaries and limb brightening in coronal holes. But most impressive scenes in corona are ribbon-like structures that look like piles of spaghetti. These are magnetic fields believed to trigger much of sun's spectacular events. fields themselves cannot be seen. But plasma that follows field lines can. These looped features, says Vaiana, emphasize .that major force controlling and shaping corona are magnetic fields. ribbons change with time, both in shape and in spectrum (what frequencies of light they emit). This was a surprise. For decades we've been looking at magnetic fields during flares and fields never seemed to says Goetz Oertel, chief of solar science at NASA headquarters. Not only do fields change, they sometimes change drastically. During a flare they may get unstable, blow up or combine. larger ribbons become prominences that arch for hundreds of kilometers out in corona. (See related story on Aug. 10 prominence, page 123.) On other hand, during June 15 flare (SN: 6/23/73, p. 402), changes were not large-scale at all. 'The increase of surface brightness registered during event [flare], from its moment of triggering to its peak, was in excess of a thousand, says Vaiana. But the resulting structural changes in region which flared are minimal in comparison with those shown previously. This indicates that N

Notes on Daubigny's Early Chronology

Robert L. Herbert's critical study of 1962, Barbizon Revisited, encouraged a sweeping reassessment of the generally neglected painters identified with the Barbizon School.1 Of these, none has been so consistently ignored as Daubigny—a surprising fact in view of his profound influence on later developments in landscape painting.2 Herbert pointed to the gap in our knowledge of Daubigny's early period, and in 1964 Jerrold Lanes expressed hope for the discovery of new documents that would clarify Daubigny's troublesome chronology.3 My investigations of French academic art have turned up four documents which may contribute to such a clarification by shedding light on Daubigny's early career. This new information modifies considerably the standard accounts and helps to explain the strong Italianate strain in his initial phase. In the late forties and early fifties Daubigny switched from an Italian to a Dutch mode, from grand and impressive scenes to the depiction of humbler aspects of the countryside.4 However, until the end of his career, he retained the classicizing features of historic landscape painting, which most critics ascribed to his early experience. Yet these critics rarely account for Daubigny's conservative tendency, other than in passing reference to his trip to Italy in 1836.

The Horned Moses

THE transfiguration of Moses, as related by the writer of Exodus, is one of the most impressive scenes of the Old Testament. When Moses came down from Mount Sinai with the two tablets of testimony, 'Moses did not know that the skin of his face shone because he had been talking with In the following verse we read: 'And when Aaron and all the people of Israel saw Moses, behold, the skin of his face shone, and they were afraid to come near him.' At the end of the chapter the same manifestation is repeated: 'And when he came out and told the people of Israel what he was commanded, the people of Israel saw the face of Moses, that the skin of Moses' face shone; and Moses would put the veil upon his face again, until he went in to speak to him (God).' First we must note that the word 'shone' is repeated three times, a fact that lends special emphasis to this feature of what has generally been called the theophany of Moses. We must also bear in mind that the attribute is applied to the skin, which implies that the shining brilliance covered his whole body and no doubt shone through his drapery; it was manifest not only on the head or a particular area of the head. We are also told that it frightened the people of Israel. When this light is compared with that of the sun or with a light even more dazzling, we must admit it could be startling, even blinding, but why should it frighten the people? One might turn his eyes away from a bright light but not necessarily in horror. To mitigate the effects of the light Moses put a veil on his head, which was not necessary when he spoke with God, implying that Moses had become so imbued with divinity, he and he alone could stand within the radiance of the light of God. Such a manifestation of light we are also familiar with from the account of the arming of Achilles2 and the presence of the Arthurian Grail,3 where it also has a terrifying effect.

Leçons de zoologie et biologie généale

In a brief account of the coelenterates, sponges and worms, in which structure is subservient to biology and life-history, is a number of explanatory references of interest to the general reader. Prof. Bohn records that at the time of the battle of the Yser, soldiers who had bathed several times in the sea of£ Pas de Calais and had been stung by the large jelly fishes were gravely indisposed and some died. This serves as an introduction to a short account of anaphylaxy. The swarming of Heteronereis is graphically described and referred to as an impressive scene of life and death–the males circling round the females and rendering the sea-water milky by their discharged sperms, the sudden rupturing of the bodies of the females and the liberation of the eggs, which are immediately fertilised, while the bodies of the females fall to the bottom and die. Interesting examples of life-histories, especially of rotifers and of parasitic worms, are given and afford opportunity for reference to parthenogenesis, heterogony and neoteny (as in Caryophyllceus).

Richard The Third, Act I, Scene 4

The chief source of Shakespeare's tragedy of Richard the Third has long been acknowledged to be either Hall's or Holinshed's prose Chronicle. In addition, some echoes have been discovered in it of the Latin tragedy, Richardus Tertius, of the anonymous English True Tragedie of Richard the Third, and of Marlowe's play, Edward the Second. But for one of the longest and most impressive scenes in Shakespeare's drama, that in which Clarence in prison meets his death at the hands of two ruffians hired for the deed by his brother, the Duke of Gloucester, no source is generally known. For the basis of the entire scene, Hall's Chronicle, which is so close akin to most situations in the play, contains of Clarence's death merely the statement that “attainted was he by parliament and iudged to death, and there vpon hastely drowned in a butte of malmesey within the towre of London.” Mr. P. A. Daniel expresses the common opinion of Shakespearian scholars to-day in saying, “Shakespeare seems to have been indebted to his own imagination only, for the scene of Clarence in prison, his beautiful narrative of his dream, and the less happy dialogue of the murderers.”