Quality dimensions correspond to the different ways stimuli can be
judged similar or different. For simplicity, I assume that the dimensions
have some metric, so that one can talk about distances in the conceptual
space. Such distances indicate degrees of similarity between
the objects represented in the space.
It is further assumed that each of the quality dimensions can be described
in terms of certain geometrical structures. A psychologically interesting
example is colour. Our cognitive representation of colour can
be described along three dimensions. The fi rst is hue, represented by
the familiar colour circle going from red to yellow to green to blue, then
back to red again. The topology of this dimension is thus different from
the quality dimensions representing time or weight, which are isomorphic
to the real number line. The second dimension is saturation, which
ranges from grey at the one extreme, to increasingly greater intensities
of colour at the other. This dimension is isomorphic to an interval of the
real number line. The third dimension is brightness, which varies from
white to black, and thus is also isomorphic to a bounded interval of
the real number line. Together, these three dimensions—one circular,
two linear—constitute the colour domain as a subspace of our perceptual
conceptual space. It is typically illustrated by the so-called colour
spindle.
Quality dimensions correspond to the different ways stimuli can bejudged similar or different. For simplicity, I assume that the dimensionshave some metric, so that one can talk about distances in the conceptualspace. Such distances indicate degrees of similarity betweenthe objects represented in the space.It is further assumed that each of the quality dimensions can be describedin terms of certain geometrical structures. A psychologically interestingexample is colour. Our cognitive representation of colour canbe described along three dimensions. The fi rst is hue, represented bythe familiar colour circle going from red to yellow to green to blue, thenback to red again. The topology of this dimension is thus different fromthe quality dimensions representing time or weight, which are isomorphicto the real number line. The second dimension is saturation, whichranges from grey at the one extreme, to increasingly greater intensitiesof colour at the other. This dimension is isomorphic to an interval of thereal number line. The third dimension is brightness, which varies fromwhite to black, and thus is also isomorphic to a bounded interval ofthe real number line. Together, these three dimensions—one circular,two linear—constitute the colour domain as a subspace of our perceptualconceptual space. It is typically illustrated by the so-called colourspindle.
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