“The subject detects the presence and interrelationships of the basic components of one of the two-dimensional drawings - particularly, the variously oriented straight lines, the several types of vertices by which they are connected and, presumably, something of the structural relationships among these components within the two-dimensional pattern. Then, on the basis of some higher-level processing of these extracted features and their interrelationships, an internal representation, code, or verbal description is generated for each picture separately that captures the intrinsic structure of the three-dimensional object in a form that is independent of the particular orientation in which that object happens to be displayed.”

— Roger Shepard

Source: Mental images and their transformations. 1982, p. 64; as cited in: Keith K. Niall, "‘Mental rotation’, pictured rotation, and tandem rotation in depth." Acta psychologica 95.1 (1997): 31-83.

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Roger Shepard10

American psychologist 1929

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“Nor do such theories provide a ready account for the equivalence of the slopes of the reaction-time functions for the picture-plane and depth pairs. For, in order to explain the dependence of reaction time on angular difference, we must suppose that the features that are being compared are the features of the two-dimensional drawings, which differ more and more with angular departure, and not the features of the three-dimensional objects, which are the same regardless of orientation.”

Roger Shepard (1929) American psychologist

Source: Mental images and their transformations. 1982, p. 66; as cited in Niall (1997)

“The structure of a system is the arrangement of its subsystems and components in three-dimensional space at a given moment of time. This always changes over time. It may remain relatively fixed for a long period or it may change from moment to moment, depending upon the characteristics of the process in the system. This process halted at any given moment, as when motion is frozen by a high-speed photograph, reveals the three-dimensional spatial arrangement of the system's components as of that instant.”

James Grier Miller (1916–2002) biologist

Source: Living systems, 1978, p. 22; As cited in: Egolfs Voldemars Bakuzis (1974) Foundations of Forest Ecosystems: Concepts of systems in general. p. 490

“Painting: Once upon a time a painting was a two-dimensional representation; now it is anything its author thinks is appropriate.”

Peter Greenaway (1942) British film director

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“The notion of system we are interested in may be described generally as a complex of elements or components directly or indirectly related in a network of interrelationships of various kinds, such that it constitutes a dynamic whole with emergent properties.”

Walter F. Buckley (1922–2006) American sociologist

Source: Society: A Complex Adaptive System--Essays in Social Theory, (1998), p. 35 as cited in: Kenneth D. Bailey (2006) A Typology of Emergence in Social Systems and Sociocybernetic Theory http://www.unizar.es/sociocybernetics/congresos/DURBAN/papers/bailey.pdf.

“The illusionary nature of a two dimensional work of art can sometimes frustrate my creative process. I overcome this by stepping out of the flat illusion into the three dimensional and create sculptures of wood and bronze.”

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Vetulani.nl (The website of Tomasz Vetulani) https://web.archive.org/web/20220505122011/https://www.vetulani.nl/sculptures, archived from the original https://www.vetulani.nl/sculptures (accessed on May 5th, 2022)

“One thing is sure – we have to transform the three-dimensional world of objects into the two-dimensional world of the canvas... To transform three into two dimensions is for me an experience full of magic in which I glimpse for a moment that fourth dimension which my whole being is seeking.”

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“Previous research addressing market orientation from a cultural perspective typically has used behavioral measures of this construct. Drawing on literature in the fields of organizational theory and marketing, the authors develop a multilayer model of market-oriented organizational culture. They draw an explicit distinction among values that support market orientation, norms for market orientation, artifacts indicating high and low market orientation, and market-oriented behaviors. On the basis Of qualitative research and a subsequent survey, the authors develop scales for measuring the different layers of market-oriented culture and analyze relationships among the different components of market-oriented culture. Findings indicate that artifacts play a crucial role in determining behavior within organizations. Results also indicate that a market-oriented culture influences financial performance indirectly through market performance and that this relationship is stronger in highly dynamic markets.”

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Source: "A multiple-layer model of market-oriented organizational culture", 2000, p. 449 ; Abstract

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“Different subunits within an organization may confront different external demands. To cope with these various environments, organizations create specialized subunits with differing structural features. For example, some subunits may exhibit higher levels of formalization than others; some may be more centralized in decision making; some may be oriented to longer planning horizons. The more varied the types of environments confronted by an organization, the more differentiated its structure needs to be.”

W. Richard Scott (1932) American sociologist

Source: Institutions and Organizations., 1995, p. 89 (2001: 103)

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