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Those, in turn, may suggest non-spatial meanings (e.g. up is better, down is worse as in the case of a social hierarchy of H.G. Wells' The Time Machine and the Morlocks and the Eloi): Literary space represents an author's model of the world, expressed in the language of spatial representation.
Spatial organization can be observed when components of an abiotic or biological group are arranged non-randomly in space. Abiotic patterns, such as the ripple formations in sand dunes or the oscillating wave patterns of the Belousov–Zhabotinsky reaction [ 1 ] emerge after thousands of particles interact millions of times.
Spatial planning mediates between the respective claims on space of the state, market, and community. In so doing, three different mechanisms of involving stakeholders, integrating sectoral policies and promoting development projects mark the three schools of transformative strategy formulation, innovation action and performance in spatial ...
The city of the ancient world cannot be understood as a simple agglomeration of people and things in space—it had its own spatial practice, making its own space (which was suitable for itself—Lefebvre argues that the intellectual climate of the city in the ancient world was very much related to the social production of its spatiality). [9]
For example, management researchers have highlighted the "material and visual turn" in organization research. [72] Going above and beyond the multimodal character of ethnographic research, [ 73 ] this growing area of research is interested in going beyond simply textual data as a single mode, for example, going beyond text to understand visual ...
In the process of creating an urban plan or urban design, carrier-infill is one mechanism of spatial organization in which the city's figure and ground components are considered separately. The urban figure, namely buildings, is represented as total possible building volumes, which are left to be designed by architects in the following stages.
For example, after relating the story of how Simonides relied on remembered seating arrangements to call to mind the faces of recently deceased guests, Stephen M. Kosslyn remarks "[t]his insight led to the development of a technique the Greeks called the method of loci, which is a systematic way of improving one's memory by using imagery."
A fiction-writing mode is a manner of writing imaginary stories with its own set of conventions regarding how, when, and where it should be used. Fiction is a form of narrative, one of the four rhetorical modes of discourse. Fiction-writing also has distinct forms of expression, or modes, each with its own purposes and conventions.