“Most studies employing three-dimensional objects as stimuli have used simultaneous presentation whereas most studies employing two-dimensional objects have used comparison of a single visual stimulus with a memory presentation. We suspect that it is this procedural difference rather than the difference in dimensionality that is the principal determiner of rate of mental rotation.”

— Roger Shepard

Source: Mental images and their transformations. 1982, p. 178; as cited in Niall (1997)

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Roger Shepard 10

American psychologist 1929

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“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.”

Max Beckmann (1884–1950) German painter, draftsman, printmaker, sculptor and writer

Source: 1930s, On my Painting (1938), p. 16

“The universality, invariance, and elegance of principles governing the universe may be reflected in principles of the minds that have evolved in that universe - provided that the mental principles are formulated with respect to the abstract spaces appropriate for the representation of biologically significant objects and their properties. (1) Positions and motions of objects conserve their shapes in the geometrically fullest and simplest way when represented as points and connecting geodesic paths in the six-dimensional manifold jointly determined by the Euclidean group of three· dimensional space and the symmetry group of each object. (2) Colors of objects attain constancy when represented as points in a three-dimensional vector space in which each variation in natural illumination is cancelled by application of its inverse from the three-dimensional linear group of terrestrial transformations of the invariant solar source. (3) Kinds of objects support optimal generalization and categorization when represented, in an evolutionarily shaped space of possible objects, as connected regions with associated weights determined by Bayesian revision of maximum entropy priors”

Roger Shepard (1929) American psychologist

R. N. Shepard, (1994). "Perceptual-cognitive universals as reflections of the world." Psychonomic Bulletin and Review, 1, 2–28.

“To help us to understand three-dimensional spaces, two-dimensional analogies may be very useful… A two-dimensional space of zero curvature is a plane, say a sheet of paper. The two-dimensional space of positive curvature is a convex surface, such as the shell of an egg. It is bent away from the plane towards the same side in all directions. The curvature of the egg, however, is not constant: it is strongest at the small end. The surface of constant positive curvature is the sphere… The two-dimensional space of negative curvature is a surface that is convex in some directions and concave in others, such as the surface of a saddle or the middle part of an hour glass. Of these two-dimensional surfaces we can form a mental picture because we can view them from outside… But… a being… unable to leave the surface… could only decide of which kind his surface was by studying the properties of geometrical figures drawn on it. …On the sheet of paper the sum of the three angles of a triangle is equal to two right angles, on the egg, or the sphere, it is larger, on the saddle it is smaller. …The spaces of zero and negative curvature are infinite, that of positive curvature is finite. …the inhabitant of the two-dimensional surface could determine its curvature if he were able to study very large triangles or very long straight lines. If the curvature were so minute that the sum of the angles of the largest triangle that he could measure would… differ… by an amount too small to be appreciable… then he would be unable to determine the curvature, unless he had some means of communicating with somebody living in the third dimension…. our case with reference to three-dimensional space is exactly similar. …we must study very large triangles and rays of light coming from very great distances. Thus the decision must necessarily depend on astronomical observations.”

Willem de Sitter (1872–1934) Dutch cosmologist

Kosmos (1932)

“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 triangles that we can measure are not large enough… to detect the curvature. Fortunately, however, we are, in a way, able to communicate with the fourth dimension. The theory of relativity has given us an insight into the structure of the real universe: …a four-dimensional structure. The study of the way in which the three space-dimensions are interwoven with the time-dimension affords a kind of outside point of view of the three-dimensional space… from this outside point of view we might be able to perceive the curvature of the three-dimensional world.”

Willem de Sitter (1872–1934) Dutch cosmologist

Kosmos (1932)

“In classical Newtonian physics there was a clear understanding of 'what reality is'. Indeed in this classical view, reality at a certain time is the collection of all what is actual at this time, and this is contained in 'the present'. Often it is stated that three dimensional space and one dimensional time have been substituted by four dimensional space-time in relativity theory, and as a consequence the classical concept of reality, as that what is 'present', cannot be retained. Is reality then the four dimensional manifold of relativity theory? And if so, what is then the meaning of 'change in time?”

Diederik Aerts (1953) Belgian theoretical physicist

Aerts, D. (1996). " Relativity theory: what is reality? http://www.vub.ac.be/CLEA/aerts/publications/1996RelReal.pdf". Foundations of Physics, 26, pp. 1627-1644

“Rather than pursuing our calling to present a vision of a world filled with God's power and love, the contemporary church merely presents the world as a two-dimensional facsimile of the consumer culture, albeit with a Jesus fish imprint.”

Skye Jethani

The Divine Commodity: Discovering A Faith Beyond Consumer Christianity (2009, Zondervan)

“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 (1929) American psychologist

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.

“Rotation through a fourth dimension can’t affect a three-dimensional figure any more than you can shake letters off a printed page.”

Robert A. Heinlein (1907–1988) American science fiction author

And He Built a Crooked House (p. 33)
Short fiction, Off the Main Sequence (2005)

“Value differences in painting always cut in; color differences always go side by side. Laterally. Color differences can illustrate three dimensional form, but using color in terms of hue belongs more properly to painting than modelling with dark and light [as in sculpting] does.”

Kenneth Noland (1924–2010) American artist

Kenneth Noland, p. 22
Conversation with Karen Wilkin' (1986-1988)

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