作业帮求翻译.速度The “moon illusion” consists of two phenomena: (1) the
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求翻译.速度
The “moon illusion” consists of two phenomena: (1) the moon appears larger than it actually is, and (2) this enlargement is much stronger on the horizon than at the zenith. Generally, any celestial objects near the horizon looks larger than when the same object is high on the sky.
The moon in the neighbouring picture is of “aesthetically correct” size. By placing the mouse over the picture the actual size is seen (pictures from Rock 1984, based on the painting by Honoré Daumier »O Lune! … Inspire-moi ce soir quelque petite pensée…« 1844).
Comment. The moon illusion is usually explained through size constancy, with the necessary additional assumption that the ‘default’ distance for any object is less than the horizon/skyline distance.
Amazingly, when you bend over and look through your legs, the moon illusion is greatly diminished (Coren 1992, Higashiyama & Adachi 2006)! This underscores the influence of context on size constancy.
The painting reminds me of Spitzweg's “Der arme Poet” (1839). With “Poète dans la mansarde” (1842) and “Locataires et Proprietaires: Brigand de proprietaire” (1847) Daumier repeatedly took up this topic.
The “moon illusion” consists of two phenomena: (1) the moon appears larger than it actually is, and (2) this enlargement is much stronger on the horizon than at the zenith. Generally, any celestial objects near the horizon looks larger than when the same object is high on the sky.
The moon in the neighbouring picture is of “aesthetically correct” size. By placing the mouse over the picture the actual size is seen (pictures from Rock 1984, based on the painting by Honoré Daumier »O Lune! … Inspire-moi ce soir quelque petite pensée…« 1844).
Comment. The moon illusion is usually explained through size constancy, with the necessary additional assumption that the ‘default’ distance for any object is less than the horizon/skyline distance.
Amazingly, when you bend over and look through your legs, the moon illusion is greatly diminished (Coren 1992, Higashiyama & Adachi 2006)! This underscores the influence of context on size constancy.
The painting reminds me of Spitzweg's “Der arme Poet” (1839). With “Poète dans la mansarde” (1842) and “Locataires et Proprietaires: Brigand de proprietaire” (1847) Daumier repeatedly took up this topic.
“月亮幻觉”由两个现象:(1)月球比实际上显得更大;(2)这几个放大地平线上更坚固比在天顶.一般地,任何接近地平线天体的时候看起来比早就在同一目标的天空.
月亮在临近的画是“美学正确”的尺寸.把鼠标的这幅画中,实际大小的图片观察的基础上,岩石1984年Honore作品Daumier Lune啊”!Inspire-moi ce soir……pensee什麽娇小《1844).
评论.月亮幻觉通常是解释经大小恒久不变,所需的额外的假设,“违约对任何目标的距离小于地平线/天际的距离.
令人吃惊的是,当你弯腰,就会看看你的腿,月亮幻觉大大减少了(Coren 1992年,Higashiyama和Adachi 2006)!这强调了语境对大小的影响忠贞不渝.
这幅画使我想起了Spitzweg陪"蔷薇的(1839出版)诗人”.在“Poete mansarde”(1842年洛杉矶等)和“Locataires Proprietaires:强盗”(1847年)德proprietaire反复Daumier了这个话题.
月亮在临近的画是“美学正确”的尺寸.把鼠标的这幅画中,实际大小的图片观察的基础上,岩石1984年Honore作品Daumier Lune啊”!Inspire-moi ce soir……pensee什麽娇小《1844).
评论.月亮幻觉通常是解释经大小恒久不变,所需的额外的假设,“违约对任何目标的距离小于地平线/天际的距离.
令人吃惊的是,当你弯腰,就会看看你的腿,月亮幻觉大大减少了(Coren 1992年,Higashiyama和Adachi 2006)!这强调了语境对大小的影响忠贞不渝.
这幅画使我想起了Spitzweg陪"蔷薇的(1839出版)诗人”.在“Poete mansarde”(1842年洛杉矶等)和“Locataires Proprietaires:强盗”(1847年)德proprietaire反复Daumier了这个话题.
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