http://www.journals.uchicago.edu/doi/full/10.1086/652024?prevSearch=%2528feelings%2529%2BAND%2B%255Bjournal%253A%2Bisis%255D&searchHistoryKey= A “STRUCTURE OF FEELING,” as Kathleen Woodward has observed, identifies “a particular and pervasive feeling, or a structured complex of feelings … [and] can help us recognize the emergence of a new social formation. Thus an attention to feeling can itself be a methodology … whose goal is to comprehend the ways in which the spheres of subjectivity—here feelings—and sociality mutually constitute each other.”1 The “structure of feeling” construct is thus a way of mediating between the macro and micro levels of analysis, or between “structure” in a structuralist sense and individual experience (what people actually feel).
Research using virtual reality finds that humans in spite of living in a 3-dimensional world can without special practice make spatial judgments based on the length of, and angle between, line segments embedded in four-dimensional space.[10] The researchers noted that "the participants in our study had minimal practice in these tasks, and it remains an open question whether it is possible to obtain more sustainable, definitive, and richer 4-D representations with increased perceptual experience in 4-D virtual environments."[10] In a another study[11] the ability of humans to orient oneself in 2-D, 3-D and 4-D mazes has been tested. Each maze consisted of four path segments of random length and connected with orthogonal random bends, but without branches or loops (i.e. actually labyrinths). The graphical interface was based on John McIntosh's free 4-D Maze game.[12] The participating persons had to navigate through the path and finally estimating the linear direction back the starting point. The researchers found that some of the participants were able to mentally integrate their path after some practice in 4-D (the lower dimensional cases were for comparison and for the participants to learn the method).
http://en.wikipedia.org/wiki/Fourth_dimension
http://en.wikipedia.org/wiki/Golden_ratio
Adolf Zeising, whose main interests were mathematics and philosophy, found the golden ratio expressed in the arrangement of branches along the stems of plants and of veins in leaves. He extended his research to the skeletons of animals and the branchings of their veins and nerves, to the proportions of chemical compounds and the geometry of crystals, even to the use of proportion in artistic endeavors. In these phenomena he saw the golden ratio operating as a universal law.[51] In connection with his scheme for golden-ratio-based human body proportions, Zeising wrote in 1854 of a universal law "in which is contained the ground-principle of all formative striving for beauty and completeness in the realms of both nature and art, and which permeates, as a paramount spiritual ideal, all structures, forms and proportions, whether cosmic or individual, organic or inorganic, acoustic or optical; which finds its fullest realization, however, in the human form."[52]
In 2003, Volkmar Weiss and Harald Weiss analyzed psychometric data and theoretical considerations and concluded that the golden ratio underlies the clock cycle of brain waves.[53] In 2008 this was empirically confirmed by a group of neurobiologists.[54]
In 2010, the journal Science reported that the golden ratio is present at the atomic scale in the magnetic resonance of spins in cobalt niobate crystals.[55]
Several researchers have proposed connections between the golden ratio and human genome DNA.[56][57][58][59][60]
