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3. Auflage. ): Gehirn und Kognition. Heidelberg: Spektrum der Wissenschaft Verlagsgesellschaft, 1990 - Welsch, Wolfgang: Grenzgänge der Ästhetik. Stuttgart: Reclam, 1996 For that reason it is necessary – prior to the creation of moving images – to determine to what purpose movement is serving. Against the backdrop of this situation in terms of perception psychology as well as being dependent on it, visualizations in design have to be minutely planned out so they will fulfill their purpose. A model-planning such as this can be termed a precondition for any gain in cognition during the process of form development.

But is there any actual added value in dynamic representations of this sort? 3 3 Exempt from this question are animations visualizing kinematic concepts and systems, since the movement of the image here means a change of the shape of the object being represented. The findings of brain research and research into cognition point toward a definite No here. This comes as a surprise, especially with regard to the shape of moving objects. Human perception and the processing of stimuli, though, are what dictate perception and recognition of form, not any possible state of the product.

New York: Princeton Architectural Press (2000). Balaram, S. “Product Symbolism of Gandhi and Its Connection with Indian Mythology” Design Issues Vol. 2 Spring, 1998. 68 – 85. JStor Online. 30 August 2007. CO%3B2> Barnard, Malcolm. Art, Design and Visual Culture: An Introduction. New York: St. Martin’s Press (1998). The graphic can also show zones where certain paradigms are active. If a product falls in the lower lefthand corner, cost and function will be valued above, but not excluding, symbolism and form.

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