This dissertation reported an experimental answer to the long-standing question of how three-dimensionality appears in wall-bounded magnetohydrodynamic flows and presented also an experimental study on the transition to turbulence in a confined, mostly quasi two-dimensional flow. Accordingly, it was shown the analysis of a vortex array with susceptibility to three-dimensionality, enclosed in a cubic container and a mostly, quasi two-dimensional vortex pair confined by the walls of a shallow, cylindrical container. Both containers were hermetically filled by a liquid metal fluid and subject to a constant, homogeneous magnetic field. The flow forcing was made by injecting constant electric current from one wall that intersects magnetic field lines (Hartmann wall). Flow characteristics and the presence of three-dimensionality were monitored by measuring electric potentials on either Hartmann walls that confined the liquid metal. A form of three-dimensionality termed as weak appeared through differential rotation along the axis of individual vortices, while a strong form manifested itself in vortices that do not extend from one to the other Hartmann wall. In the cubic container, this resulted into an array of novel, spectacular flow structures that were both steady and strongly three-dimensional, and, yielded to a frequency-selective breakdown of quasi two-dimensionality in chaotic and turbulent flow regimes. The mostly quasi two-dimensional flow in the shallow, cylindrical container was shown to undergo a sequence of supercritical bifurcations to turbulence triggered by boundary layer separations from the circular wall. For very high forcing, the flow reached a turbulent regime where the dissipation increased drastically. This was related to a possible transition from a laminar to a turbulent Hartmann layer.

Ambientes virtuais tridimensionais imersivos são frequentemente utilizados como apoio às estratégias de treinamento ou educação conduzidas em ambientes reais. Técnicas estereoscópicas como as de anaglifos, obturação e polarização da luz são recursos que oferecem a sensação de imersão nesses ambientes virtuais. É crescente o interesse em pesquisas acerca de como os humanos percebem o espaço e interagem em ambientes virtuais, investigando como componentes de sistemas imersivos afetam a percepção humana. Essa percepção é importante para várias tarefas, como mover objetos e identificar estruturas, que requerem a interpretação e entendimento das informações do espaço. Apesar de tal interesse, não são encontrados na literatura modelos de mensuração de tal percepção. Este cenário constitui um desafio no que concerne à necessidade de criação de modelos para mensurar, independentemente da aplicação, a percepção da tridimensionalidade proporcionada pelas técnicas estereoscópicas citadas. Este projeto de mestrado define, implementa e valida um modelo extensível capaz de avaliar a percepção da tridimensionalidade em sistemas de realidade virtual estereoscópicos no contexto de ambientes que envolvem interação com manipulação de objetos. O escopo da presente pesquisa foi definido mediante a realização de uma Revisão Sistemática, que identificou métodos e parâmetros utilizados na avaliação de ambientes estereoscópicos. Para atingir os objetivos deste trabalho, foram conduzidos experimentos que serviram de base para a definição do modelo. Os resultados dos experimentos indicaram que o modelo elaborado é capaz de compor um veredicto sobre a percepção de tridimensionalidade fornecida por uma técnica, assim como auxiliar na tomada de decisões acerca da utilização de técnicas estereoscópicas em sistemas de RV / Three-Dimensional immersive virtual environments are often used as support for training strategies or education conducted in real environments. Stereoscopic techniques such as anaglyph, shutter glasses and polarized glasses can offer a sense of immersion in these virtual environments. There is a growing interest in research how humans perceive space and interact in virtual environments, investigating how components of immersive systems affect different understanding of space in virtual reality systems. This perception is important for various tasks, such as moving objects and identify structures that require interpretation and understanding of space information. This scenario is a challenge regarding the establishment of models to measure, independently of the application, the perception of three-dimensionality provided by the stereoscopic techniques cited. This master project defines and validates an extensible model able to evaluate the three-dimensionality perception in different virtual reality systems with stereoscopy that involves objects manipulation. The scope of this study was defined with a systematic review that identified methods and parameters used to assess stereoscopic environments. To achieve the objectives of this study, experiments was conducted as the basis to define the model. The results of the experiments indicated that the model developed is able to set a verdict about three-dimensionality perception provided by a stereoscopic technique and assist decision-making regarding the use of stereoscopic techniques in VR systems

Ambientes virtuais tridimensionais imersivos são frequentemente utilizados como apoio às estratégias de treinamento ou educação conduzidas em ambientes reais. Técnicas estereoscópicas como as de anaglifos, obturação e polarização da luz são recursos que oferecem a sensação de imersão nesses ambientes virtuais. É crescente o interesse em pesquisas acerca de como os humanos percebem o espaço e interagem em ambientes virtuais, investigando como componentes de sistemas imersivos afetam a percepção humana. Essa percepção é importante para várias tarefas, como mover objetos e identificar estruturas, que requerem a interpretação e entendimento das informações do espaço. Apesar de tal interesse, não são encontrados na literatura modelos de mensuração de tal percepção. Este cenário constitui um desafio no que concerne à necessidade de criação de modelos para mensurar, independentemente da aplicação, a percepção da tridimensionalidade proporcionada pelas técnicas estereoscópicas citadas. Este projeto de mestrado define, implementa e valida um modelo extensível capaz de avaliar a percepção da tridimensionalidade em sistemas de realidade virtual estereoscópicos no contexto de ambientes que envolvem interação com manipulação de objetos. O escopo da presente pesquisa foi definido mediante a realização de uma Revisão Sistemática, que identificou métodos e parâmetros utilizados na avaliação de ambientes estereoscópicos. Para atingir os objetivos deste trabalho, foram conduzidos experimentos que serviram de base para a definição do modelo. Os resultados dos experimentos indicaram que o modelo elaborado é capaz de compor um veredicto sobre a percepção de tridimensionalidade fornecida por uma técnica, assim como auxiliar na tomada de decisões acerca da utilização de técnicas estereoscópicas em sistemas de RV / Three-Dimensional immersive virtual environments are often used as support for training strategies or education conducted in real environments. Stereoscopic techniques such as anaglyph, shutter glasses and polarized glasses can offer a sense of immersion in these virtual environments. There is a growing interest in research how humans perceive space and interact in virtual environments, investigating how components of immersive systems affect different understanding of space in virtual reality systems. This perception is important for various tasks, such as moving objects and identify structures that require interpretation and understanding of space information. This scenario is a challenge regarding the establishment of models to measure, independently of the application, the perception of three-dimensionality provided by the stereoscopic techniques cited. This master project defines and validates an extensible model able to evaluate the three-dimensionality perception in different virtual reality systems with stereoscopy that involves objects manipulation. The scope of this study was defined with a systematic review that identified methods and parameters used to assess stereoscopic environments. To achieve the objectives of this study, experiments was conducted as the basis to define the model. The results of the experiments indicated that the model developed is able to set a verdict about three-dimensionality perception provided by a stereoscopic technique and assist decision-making regarding the use of stereoscopic techniques in VR systems

This thesis encompasses two research fields in astronomy: astrometry and astronomy education and they are discussed in two parts. These parts represent two sides of a coin; astrometry, which is about constructing 3D representations of the Universe, and AER, where for this thesis, the goal is to investigate university students’ and lecturers’ disciplinary discernment vis-à-vis the structure of the Universe and extrapolating three-dimensionality. Part I presents an investigation of stellar surface structures influence on ultra-high-precision astrometry. The expected effects in different regions of the HR-diagram were quantified. I also investigated the astrometric effect of exoplanets, since astrometric detection will become possible with projects such as Gaia. Stellar surface structures produce small brightness variations, influencing integrated properties such as the total flux, radial velocity and photocenter position. These properties were modelled and statistical relations between the variations of the different properties were derived. From the models it is clear that for most stellar types the astrometric jitter due to stellar surface structures is expected to be of order 10 μAU or greater. This is more than the astrometric displacement typically caused by an Earth-sized exoplanet in the habitable zone, which is about 1–4 μAU, making astrometric detection difficult. Part II presents an investigation of disciplinary discernment at the university level. Astronomy education is a particularly challenging experience for students because discernment of the ‘real’ Universe is problematic, making interpretation of the many disciplinary-specific representations used an important educational issue. The ability to ‘fluently’ discern the disciplinary affordances of these representations becomes crucial for the effective learning of astronomy. To understand the Universe I conclude that specific experiences are called. Simulations could offer these experiences, where parallax motion is a crucial component. In a qualitative study, I have analysed students’ and lecturers’ discernment while watching a simulation video, and found hierarchies that characterize the discernment in terms of three-dimensionality extrapolation and an Anatomy of Disciplinary Discernment. I combined these to define a new construct: Reading the Sky. I conclude that this is a vital competency needed for learning astronomy and suggest strategies for how to implement this in astronomy education.

This thesis encompasses two research fields in astronomy: astrometry and astronomy education and they are discussed in two parts. These parts represent two sides of a coin; astrometry, which is about constructing 3D representations of the Universe, and AER, where for this thesis, the goal is to investigate university students’ and lecturers’ disciplinary discernment vis-à-vis the structure of the Universe and extrapolating three-dimensionality. Part I presents an investigation of stellar surface structures influence on ultra-high-precision astrometry. The expected effects in different regions of the HR-diagram were quantified. I also investigated the astrometric effect of exoplanets, since astrometric detection will become possible with projects such as Gaia. Stellar surface structures produce small brightness variations, influencing integrated properties such as the total flux, radial velocity and photocenter position. These properties were modelled and statistical relations between the variations of the different properties were derived. From the models it is clear that for most stellar types the astrometric jitter due to stellar surface structures is expected to be of order 10 μAU or greater. This is more than the astrometric displacement typically caused by an Earth-sized exoplanet in the habitable zone, which is about 1–4 μAU, making astrometric detection difficult. Part II presents an investigation of disciplinary discernment at the university level. Astronomy education is a particularly challenging experience for students because discernment of the ‘real’ Universe is problematic, making interpretation of the many disciplinary-specific representations used an important educational issue. The ability to ‘fluently’ discern the disciplinary affordances of these representations becomes crucial for the effective learning of astronomy. To understand the Universe I conclude that specific experiences are called. Simulations could offer these experiences, where parallax motion is a crucial component. In a qualitative study, I have analysed students’ and lecturers’ discernment while watching a simulation video, and found hierarchies that characterize the discernment in terms of three-dimensionality extrapolation and an Anatomy of Disciplinary Discernment. I combined these to define a new construct: Reading the Sky. I conclude that this is a vital competency needed for learning astronomy and suggest strategies for how to implement this in astronomy education.

Submitted by Erika Demachki (erikademachki@gmail.com) on 2015-10-20T16:27:09Z No. of bitstreams: 2 Tese - Luana Alves Luterman - 2014.pdf: 4494945 bytes, checksum: ef7f9ce28d34ae1808d840efc0285292 (MD5) license_rdf: 23148 bytes, checksum: 9da0b6dfac957114c6a7714714b86306 (MD5) / Approved for entry into archive by Erika Demachki (erikademachki@gmail.com) on 2015-10-20T16:29:02Z (GMT) No. of bitstreams: 2 Tese - Luana Alves Luterman - 2014.pdf: 4494945 bytes, checksum: ef7f9ce28d34ae1808d840efc0285292 (MD5) license_rdf: 23148 bytes, checksum: 9da0b6dfac957114c6a7714714b86306 (MD5) / Made available in DSpace on 2015-10-20T16:29:02Z (GMT). No. of bitstreams: 2 Tese - Luana Alves Luterman - 2014.pdf: 4494945 bytes, checksum: ef7f9ce28d34ae1808d840efc0285292 (MD5) license_rdf: 23148 bytes, checksum: 9da0b6dfac957114c6a7714714b86306 (MD5) Previous issue date: 2014-07-14 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior - CAPES / This theses aims at analyzing the relation between the body and three-dimensional objects. It seeks to comprehend the effects of language for the subject in contact with three-dimensional utterances in a specific corpus: panels, sculptures and contemporary artistic installations of the exhibition Vertigo, by The Twins; pop-up books such as Alice’s Adventures in Wonderland and The Little Prince; billboards with three-dimensional effects; videogames such as Xbox 360 and Nintendo Wii. Traversed by multiple devices such as the three-dimensional, the body is a recent object of analysis (COURTINE, 2013). The visual culture engenders the importance to consider the movements of the body not only by an anatomic-political gesture (FOUCAULT, 2003a) of the eye, but also by a disciplinarization operated by the body in its inscription realized by the focus on esthetics itself, paradigm of expression (COURTINE; HAROCHE, 1988), of particular hedonism and narcissism (HAROCHE, 2011), which transforms the interaction of the I in relation to the other. Training is a bio-political and institutional value, but in a society of control where deterritorialization (DELEUZE, 1992) interpellates the subjects, performance is the singular actional result, protocol of reading which, on the one hand, depends on historical agency, and on the other hand, calls the body with its psychical particularities. The theoretic-methodological background of the investigation is the Discourse Analysis of French roots. The discursive memory supports the internal images of the individual subject (category elaborated from the gradation of a bigger category, the discursive memory, which encompasses internal images). The individual subject, with its internal images, reminiscences of his social experiences, provides the reading of the individual, who accomplishes his own reading (performances) in between his own and the other‟s dialectical strengths. Starting from internal images, performance is realized by intericonicity, which is a trait instituted in visual arts proposed by Courtine (2005) based on some influences from anthropology, considering that seen images are not common to all individuals. Thus, the individual must be valued as an entity that delineates a singular path while composing his own way of reading (ZUMTHOR, 2007). It seems that the aesthetic sensation of the individual towards himself is ontological, naturally and independently from the archive. However, all and any internal images that generate the performance are a symbiosis supported by the discursive memory. The reactions of the body are biological, but always engaged by the historical associations of each feeling. The organic-social response of a body to a stimulus is not identical: there is a volatile identity (LE BRETON, 2003). Behaviors are heterotopic (FOUCAULT, 2003b), and for this reason they also lead to resistances. As a result, we indicate the performance as forgetfulness of history which traverses the existence of the body. The metamorphosis of the performance is increasingly more modern, since contemporaneity values mutation and disposability, the liquid behavior that values the present time (BAUMAN, 2007) in the name of hedonism, the worship of the body and of the individual himself, a cultural autism which intends to erase the historical memory for the overlap of the docile-body of the narcissical apathy, the end of memory-societies, according to Nora (1993). / Esta tese objetiva analisar a relação entre corpo e objetos tridimensionais. Procura compreender os efeitos de linguagem para o sujeito em contato com enunciados tridimensionais, em corpus específico: painéis, esculturas e instalações de arte contemporânea da exposição Vertigem, de Osgêmeos; livros pop-up, Alice no país das maravilhas e O pequeno príncipe; outdoors com efeitos tridimensionais; videogames como Xbox 360 e Nintendo Wii. O corpo, perpassado por múltiplos dispositivos, como o tridimensional, é objeto de análise recente (COURTINE, 2013). A cultura visual engendra a importância de consideração dos movimentos não apenas por um gesto anátomo-político (FOUCAULT, 2003a) do olhar, mas também de uma disciplinarização operada pelo corpo em sua inscrição efetuada pelo foco na estética de si, paradigma de expressão (COURTINE; HAROCHE, 1988) de hedonismo e narcisismo (HAROCHE, 2011) peculiares, que transformam a interação do eu em relação ao outro. O adestramento é um valor biopolítico, institucional, porém, numa sociedade de controle, em que a desterritorialização (DELEUZE, 1992) interpela os sujeitos, a performance é o resultado actancial singular, protocolo de leitura que depende de agenciamentos históricos, contudo, convoca o corpo, com suas particularidades psíquicas. O aparato teórico-metodológico da investigação é a Análise do Discurso de linha francesa. A memória discursiva alicerça as imagens internas do sujeito individual (categoria elaborada a partir da gradação de uma categoria maior, a memória discursiva, que abarca as imagens internas). O sujeito individual, com suas imagens internas, reminiscências de sua experimentação social, proporciona a leitura do indivíduo, que realiza as próprias leituras (performances) em meio às forças dialéticas de si e do outro. A performance, a partir das imagens internas, realiza-se pela intericonicidade, traço instituído na cultura visual pensada por Courtine (2005), por meio das influências da antropologia, considerando que as imagens vistas não são comuns a todos os indivíduos. Assim, o indivíduo deve ser valorizado como entidade que traça um percurso singular ao compor seu próprio percurso de leitura (ZUMTHOR, 2007). Parece ontológica a sensação estética do ser por si mesmo, natural e independente do arquivo. Entretanto, toda e qualquer imagem interna, que gera a performance, é uma simbiose amparada pela memória discursiva. As reações de um corpo são biológicas, mas sempre engatadas pelas associações históricas de cada sentimento. Não é idêntica a resposta orgânico-social de um corpo a um estímulo: há uma identidade volátil (LE BRETON, 2003). Comportamentos são heterotópicos (FOUCAULT, 2003b), por isso, também propiciam resistências. Como resultado, apontamos a performance como esquecimento da história que perpassa a existência do corpo. A metamorfose da performance é cada vez mais atual, pois a contemporaneidade valoriza a mutação e a descartabilidade, o comportamento líquido que valoriza o tempo presente (BAUMAN, 2007) em nome do hedonismo, do culto ao corpo e a si mesmo, um autismo cultural que pretende apagar a memória histórica para a sobreposição do corpo-dócil da apatia narcísica, o fim das sociedades-memória, de acordo com Nora (1993).

Textile Hybrids explores knitted textiles by challenging properties of elasticity and flexibility through yarn composition, technical construction and combinations with wood. This study is placed in the field of textile spatial design and suggests experimental ways to explore three-dimensionality in a knitted textile by changing its properties through material synergies. The outcome is a three piece series of modular three-dimensional, standalone textile objects. The construction, assembly and flexibility of each piece make it possible to separate all components for reassembly, recycling or reusing, suggesting further research possibilities into more tangible contexts within textile spatial design, architecture, furniture design and product design. This study is derived from an interest to explore different ways a textile can exist on its own in a spatial context such as the home, without solely being the material covering a load-bearing framework i.e a couch or a chair.

As soon as a material is viewed as waste, the value of this resource diminishes, leading to a lack of concern for its preservation. By presenting alternative perspectives on such materials, their beauty and potential can be shown. In WHAT A WASTE, new light is shone on discarded fishing ropes from the Swedish seas. The project focuses on the unique qualities of these discarded materials, showcasing their worth despite being worn out. A material-driven approach is employed, wherein the selected materials’ behaviour guides the creation of shape and form. In a dialogue between maker and material, the different characters of the collection take form through a playful and intuitive process. Weaving is the main technique combined with a construction principle in which the unique properties of the discarded ropes lead to shape, colour and texture discoveries. Contemplating utilising an unconventional material in the loom to highlight innovative visual and tactile characteristics. This project proposes new design methods for reusing discarded materials and how people can value waste again through textile design. Exploring ways of working with the ropes, such as detangling, in combination with other yarns can create new aesthetics for three-dimensional woven forms. Aiming to create woven sculptures of varying scales and shapes in a spatial context through a material-led process.

Technological developments in digital Jacquard weaving, as well as material research, have a strong influence on today‘s possibilities of textile production. These advancements enable to shift the perspective of textile as a flat surface to textile as a three-dimensional form and push two-dimensional weaving into the third dimension. Utilizing recent technologies in the form of applying multi-layering weaving techniques and embedding heat-reactive shrinking material, the research of Woven Forms aims to explore the forming method of construction through weaving to create abstract forms transformed from flat and to investigate its textile-form properties of shape, texture, color, and scale. The developed method of Embedded Form Weaving is set within experimental design research and structures a systematical approach to generate three-dimensional forms activated from flat surfaces. The outcome in form of abstract, self-supporting textile-forms showcases the multitude of form expressions and variety of formal variables within two construction-form-thinking families. This research contributes to the field of 3D weaving, demonstrates the potential for further research and application possibilities in other disciplines and fields, and evaluates the potential of seeing the weaving loom as a forming tool. While the fundamental base is the interlacement of warp and weft, technology, material science, and textile engineering shift the perception of woven textiles: from a rectangular piece of cloth to the opportunity to construct textile-forms.

Die Fähigkeit, in Luft- und Satellitenbildern Objekte wiederzuerkennen, kann folgendermaßen erklärt werden: Aus der Kenntnis einer Landschaft und ihrer Abbildung im Bild werden Interpretationsregeln entwickelt, die bestimmten Kombinationen von Bildmerkmalen wie Farbe, Form, Größe, Textur oder Kontext festgelegte Bedeutungen zuordnen. Kommt es nicht auf das Wiedererkennen mit festen Wahrnehmungsmustern an, stellt sich die bislang offene Frage nach einer wissenschaftlichen Kriterien genügenden Methode, wie der gedankliche Zusammenhang zwischen den Sinneswahrnehmungen erfasst werden kann. Die Erfahrung von Umkehrbildern und optischen Täuschungen führt zur Frage nach dem festen Element bei der visuellen Interpretation von Fernerkundungsdaten. Galileis Antwort, Messwerte als Ausgangspunkt naturwissenschaftlicher Erkenntnis zu nehmen, löst die Mehrdeutigkeiten und Unsicherheiten gedanklicher Interpretationen nicht auf, denn zu jeder Zahl gehört bereits eine gedankliche Bestimmung darüber, was sie bedeutet: Äpfel, Birnen, Höhendifferenzen … Daher muss für die begriffliche Interpretation der Wahrnehmungen ein anderer Ausgangspunkt bestimmt werden: Weder kann der Mensch beobachten oder wahrnehmen, ohne seine Erlebnisse gedanklich zu fassen und zu ordnen, noch ist die Sinnesempfindung ein subjektives, vom Gegenstand abgespaltenes, nur persönliches Erlebnis. Wahrnehmung realisiert sich als Einheit von Wahrnehmendem und Wahrgenommenen. Demzufolge gibt es keine binäre Unterscheidung von objektiver Tatsache und subjektiver Interpretation. Wahrnehmung findet zwischen den Polen reiner Empfindung eines gegebenen und sinnlichkeitsfreien Denkens statt. Die reinen Erlebnisqualitäten der Sinnesempfindungen (warm, kalt, hell, rau) stellen sich als die am wenigsten von der subjektiven gedanklichen Interpretation abhängigen Elemente des Erkenntnisprozesses dar. Diesem Verhältnis von Beobachtung und gedanklicher Deutung entspricht ein phänomenologischer Untersuchungsansatz. Mit ihm bekommen Erfahrungen als absolute Elemente der Wahrnehmung primäre Bedeutung, gedankliche Interpretationen werden zu Abhängigen. Daher werden in der Untersuchung Ergebnisse phänomenologischer Arbeiten bevorzugt. Auch die eigene Bearbeitung des Themas geht von einer konsequent empirischen Position aus. Um einen Sachverhalt zu verstehen, genügt es nicht, bei den Sinnesempfindungen stehen zu bleiben, denn zu ihrem Verständnis fehlt der gedankliche Zusammenhang, die Erlebnisse müssen begrifflich interpretiert werden. Dabei ist die Doppelrolle der Begriffe von entscheidender Bedeutung: In der Analyse grenzen sie innerhalb des Erfahrungsfeldes Teilaspekte gegeneinander ab, welche in der Synthese durch dieselben Begriffe gedanklich verbunden werden. Diese Funktion der Begriffe wird ausgenutzt, um Wiedererkennen und Bildung von Verständnis zu differenzieren: Die Interpretation der Erfahrung nach a priori vorgegebenen Mustern zielt auf das Wiedererkennen. Im Gegensatz dazu emergiert Verständnis im Prozess der Begriffsbildung aus den Beobachtungen: Man sucht erst nach einer Gliederung, welche eine gedankliche Synthese plausibel erscheinen lässt. Das Konzept der Selbstorganisation hat in der Ökologie mechanistische Vorstellungen weitgehend abgelöst und im letzten Jahrzehnt auch in die Technik Eingang gefunden. Mit den Worten dieses Konzeptes kann die Begriffsbildung als Erkenntnisprozess beschrieben werden, in welchem sich gedankliche und nichtgedankliche Wahrnehmungen selbst organisieren. Sinnesempfindungen haben auch in anderen Zugangsweisen zur Natur eine dominierende Stellung. Daher können Goetheanismus, wissenschaftliche Ästhetik und Kunst zu einer voraussetzungslosen Naturerkundung beitragen. Die nahe Verwandtschaft von Phänomenologie, Ästhetik und Kunst lässt künstlerisches Schaffen als Vervollkommnung des in der Natur Veranlagten erscheinen. Weitere Querbeziehungen ergeben sich aus der Interpretation topografischer oder thematischer Karten oder sonstiger visualisierter raumbezogener Daten. Parallelen und Unterschiede werden herausgearbeitet. Moderne Naturwissenschaft ist quantitativ. Daher ist zu klären, was mathematische Modellierung zur Verständnisbildung beiträgt. In diesem Teil der Arbeit ist es der folgende Gedanke, welcher über die hinlänglich bekannte Nützlichkeit mathematischer Modellierungen, Vorausberechnungen und Simulationen hinausgeht: Die Mathematik überzeugt durch ihre logische Strenge in der Ableitung und Beweisführung: Aus Obersatz und Untersatz folgt die Konklusion. Eine Beobachtungsmethode, bei welcher eine Beobachtung an die nächste gereiht wird, so dass sich das Eine aus dem Anderen ergibt, wobei kein Sprung die Folge unterbricht, käme der Notwendigkeit eines mathematischen Beweises gleich. Diese strenge Folge des Einen aus dem Anderen tritt in der wissenschaftlichen Argumentation an die Stelle der spontanen Intuition mit Verifikation, Falsifikation und bestätigendem Beispiel. Auf diese Weise kann durch die Anwendung der mathematischen Methode eine realitätsnahe Begriffsbildung erreicht werden. Die bis hierher dargelegten Aspekte der Wahrnehmung, der Ästhetik, der Kunst und der Mathematik werden in der Methode einer voraussetzungslosen Begriffsentwicklung zusammengefasst. Damit ist das Hauptziel der Untersuchung, die Entwicklung einer auf das Verständnis gerichteten erfahrungsbasierten Beobachtungsmethode, erreicht. Die Abhandlung wird mit der Anwendung der entwickelten Methode auf einen Grundbegriff der Geoinformatik in folgender Weise fortgesetzt: Für die Geoinformatik ist der Raumbegriff von grundlegender Bedeutung. Daher bietet es sich an, diesen Begriff unter Anwendung der entwickelten Methode zu untersuchen. Unter phänomenologischen Gesichtspunkten stehen Raum und Zeit in einem engen Zusammenhang. Beide werden in der Bewegung erfahren. Interpretiert man Bewegung mit den Begriffen des Nebeneinander und des Nacheinander, entsteht Wissen von Raum und Zeit. Mit anderen Worten: Die am Leib erfahrene Bewegung wird durch Interpretation mit dem Raumbegriff zur Vorstellung durchlaufener Orte. Je nachdem, welche Sinneserfahrungen, allgemeiner: Beobachtungen, zugrunde gelegt werden, hat der Raum unterschiedliche geometrische Eigenschaften. Die Erfahrungen des Tastsinnes begründen euklidische Beobachtungen. Die Begriffe Raum und Zeit haben für die Verständnisbildung eine fundamentale Bedeutung. Mit ihrer Hilfe können die Erlebnisse als zugleich und nebeneinander oder als nacheinander geordnet werden. Sie ermöglichen Erkenntnis durch Analyse und Synthese. Wesentliches Motiv der Untersuchung ist die Frage nach der Bildung von Verständnis im Rahmen der visuellen Interpretation. Das Erkennen von Objekten stellt sich als synästhetische Synthese der Sinnesempfindungen und gedanklicher Inhalte dar. Unterschiedliche Gewichtungen der Gedankeninhalte lassen zwei Vorgehensweisen unterscheiden: 1, Für das Erkennen von Neuem ist es von grundlegender Bedeutung, dass die gedanklichen Inhalte den nichtgedanklichen Sinnesempfindungen untergeordnet sind, das heißt von diesen modifiziert werden können. Vorgewussten Begriffen kommt die Rolle von Hypothesen zu. 2, Beim Wiedererkennen haben gedankliche Inhalte eine dominierende Rolle – anhand von Interpretationsmerkmalen sollen Bildinhalten Bedeutungen zugewiesen werden. Das Bild wird hierzu nach Bildflächen mit solchen Kombinationen von Farben, Formen, Mustern, Texturen und räumlichen Anordnungen durchsucht, die dem zu suchenden Begriff entsprechen können. Oder das Bild wird, bei Verwendung einer Art Beispielschlüssel, nach Übereinstimmungen mit kompletten Bildmustern durchsucht. Auch das ist eine Form des Wiedererkennens. Um ein Phänomen zu verstehen, kommt es darauf an, in der Regelmäßigkeit der äußeren Form den Zusammenhang zu entdecken, der den verschiedenartigen Ausgestaltungen als regelndes Element zugrunde liegt. Dazu muss über eine Klassifizierung von Interpretationsmerkmalen hinausgegangen werden. Die gedankliche Auseinandersetzung mit den visualisierten Repräsentanzen der Phänomene unterstützt die Bildung eines solchen ideellen Zusammenhangs, welcher das in aller Mannigfaltigkeit der natürlichen Erscheinungen Gleichbleibende, Ruhende darstellt, aus welchem die Einzelphänomene hervorgegangen sein könnten. Die Funktionen beschreiben die Wechselwirkungen zwischen den räumlichen Elementen, welche sich in Austauschprozessen von Energie, Material und Stoffen ausdrücken. Überall dort, wo räumliche Anordnung ein Ausdruck funktionaler Beziehungen ist, unterstützt die visuelle Wahrnehmung der räumlichen Beziehungen die Einsicht in die sachlichen. In den Schlussfolgerungen wird die Visualisierung von Geodaten als Mittel zur Sichtbarmachung des Zusammenhanges zwischen den Erscheinungen charakterisiert. Die Bezugnahme zur Fernerkundung führt zu der Feststellung, dass die Anwendung der vorgeschlagenen Forschungsstrategie im Bereich der Geofernerkundung nur eingeschränkt möglich ist.