simultaneous perception

si·mul·ta·ne·ous per·cep·tion

a combination of two slightly dissimilar images into a single image.
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In the essay, Rowe and Slutzky suggest a duality: literal transparency implies a material condition, such as glass, whereas phenomenal or seeming transparency refers to a spatial organization and simultaneous perception of different locations.
15) Rowe and Slutzky criticize Siegfried Giedion for not thoroughly grasping phenomenal transparency despite Giedion's conception relying on the simultaneous perception of several vantage points, see also (Giedion, Space, Time and Architecture, 436).
The Peli field expansion system is a simultaneous perception device mounted on the spectacles above and below the line of sight with the base directed towards the patient's visual field impairment.
It manages sensitivity by combining the simultaneous perception of the proximity of a person--or of any other component--as well as contacts and their intensity.
Among specific topics are the simultaneous perception of parallel streams of visual data, the duality of natural and technological explanations, drawing simple shapes and forms in various programming languages, re-visualizing Giotto's 14th-century Assisi fresco "Exorcism of the Demons at Arezzo," digitally mediated art inspired by scientific research, and bringing the arts as data to visualize how knowledge works.
What Arcangeli puts into the field--which more or less corresponds to the statement "a painting is a painting"--is as tautological as any of its predecessors in Conceptual art, but his use of different linguistic systems effects a shift in the simultaneous perception of the word and the thing.
But this seriality of images contrasts with Reb's Allmuserian, simultaneous perception, as the Soulcatcher explains: "'Befo', afterwards, and in between didn't mean nothin' to him' "(174).
Transparency means a simultaneous perception of different spatial locations.
A person using simultaneous perception will be "relaxed and alert at the same time," and Hiss distinguishes its "broad-band focus" from the more concentrated beam of purposeful thinking.
f) recording the associations of newly encountered names or objects or events or sounds or sights with simultaneous perceptions through the unused other senses,
Within this assumption he draws on David Cannadine's paradigm of a competing triad of fluctuating and simultaneous perceptions of class.

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