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3D

3D is an abbreviation for three-dimensional, denoting a form, , or representation that incorporates the three spatial dimensions of length, width, and depth, distinguishing it from two-dimensional () entities confined to length and width. In and physics, 3D constitutes the framework of the physical world, where points are specified by three orthogonal coordinates (typically x, y, z) in a Cartesian system, enabling precise modeling of volumes, trajectories, and interactions observed empirically. This dimensionality aligns with human perception via and is foundational for causal analyses in , where forces and motions unfold across all three axes. The concept's applications span engineering, where 3D modeling simulates structural integrity through finite element analysis; , rendering photorealistic scenes with depth cues like shading and perspective; and via additive processes that build objects sequentially in three dimensions. Pioneering insights into 3D visualization emerged in 1838 with Charles Wheatstone's , which exploited retinal disparity to evoke depth from paired images, laying groundwork for later stereoscopic cinema and systems. While 3D technologies have advanced computational efficiency in fields like prototyping, challenges persist in rendering accurate and without optical distortions.

Science and Mathematics

Three-Dimensional Space and Geometry

Three-dimensional space refers to a geometric requiring three mutually directions—typically , width, and depth—to specify the position of any point relative to a fixed . This is formalized in as \mathbb{R}^3, the set of all ordered triples (x, y, z) of real numbers, where each coordinate measures displacement along one of three orthogonal axes. Unlike , confined to a line with a single parameter, or two-dimensional space, limited to a plane with two parameters, three-dimensional space accommodates volume and enables the representation of solid objects with non-zero thickness in all directions. The provides an algebraic foundation for three-dimensional geometry, extending ' 1637 innovation from two to three dimensions by incorporating a z-axis to the x-y . Points, lines, and surfaces are defined via equations such as the line parametric form \mathbf{r}(t) = \mathbf{r_0} + t\mathbf{d}, where \mathbf{d} is a direction in \mathbb{R}^3. In , volumes of polyhedra follow from these coordinates; for a rectangular prism with dimensions l, w, and h, the volume is V = l \times w \times h, derived by multiplying the base area l \times w by height h, reflecting the invariant measure under rigid transformations. 's Elements, Book XI (c. 300 BCE), establishes core principles of three-dimensional geometry, including intersections of planes and volumes of parallelepipeds, through axiomatic proofs without coordinates. In physics, underpins Newtonian , where \mathbf{r}, \mathbf{v} = d\mathbf{r}/dt, and \mathbf{F} are vectors in \mathbb{R}^3, obeying \mathbf{F} = m d^2\mathbf{r}/dt^2 for causal motion prediction. This framework empirically matches observations, such as projectile trajectories under , verifiable since Galileo's 1638 experiments. Crystal structures exemplify three-dimensional periodicity, with atomic lattices like face-centered cubic arrangements confirmed by X-ray diffraction, revealing in all three directions as first demonstrated by von Laue in 1912. Biological forms, from to organ shapes, occupy and navigate this space, constrained by causal interactions like and mechanical forces. Modern extensions include for curved spaces, as in general relativity's three spatial dimensions embedded in four-dimensional , where quantifies deviations from flat metrics. further abstracts three-dimensional properties, classifying manifolds by invariants like \chi = V - E + F, invariant under homeomorphisms and applied to phenomena such as knotted DNA strands.

Other Mathematical and Physical Concepts

In , three-dimensional manifolds are smooth spaces locally diffeomorphic to Euclidean \mathbb{R}^3, distinguished by properties such as , which permits a global consistent choice of orientation via nowhere-vanishing volume forms. Compact orientable 3-manifolds decompose uniquely into connected sums of prime factors, as proven by Hellmuth Kneser's finiteness and uniqueness theorem in 1929, facilitating classification efforts like the resolved by Perelman's proof in 2003. Not all such manifolds embed smoothly in \mathbb{R}^4; for instance, certain prime 3-manifolds exhibit embedding obstructions due to topological invariants like or relations. In , 4-dimensional Lorentzian manifolds are decomposed into 3-dimensional spacelike hypersurfaces foliating the , representing constant-time spatial slices that evolve under the ADM formalism, enabling numerical simulations of gravitational dynamics such as mergers. In , crystalline solids are modeled as infinite 3-dimensional Bravais lattices, where atomic periodicity generates a whose first —a Wigner-Seitz —defines the irreducible domain for wavevectors \mathbf{k}, essential for band gaps and Fermi surfaces via . Higher-order Brillouin zones extend this framework, capturing diffraction conditions where plane waves satisfy at zone boundaries, influencing phonon dispersion and electrical conductivity in materials like semiconductors. Empirical determination of these 3D lattice parameters relies on , which reconstructs atomic coordinates from diffraction intensities measured on detectors, achieving resolutions below 1 Å as in the 1913 analysis of NaCl's face-centered cubic structure by William and Lawrence Bragg, confirming interatomic distances of approximately 2.81 Å. Dimensional analysis underscores how physical laws encode spatial dimensionality through scaling; the inverse-square form of Newton's gravitational law F \propto 1/r^2 and Coulomb's electrostatic force arises because conserved flux (e.g., gravitational or lines) dilutes over a hypersurface whose area scales as r^{d-1} in d spatial dimensions, yielding $1/r^{d-1} intensity for d=3. This dimensionality dependence manifests causally in phenomena like atomic stability, where in fewer than three dimensions, inverse-power potentials fail to support bound states akin to planetary orbits—per Bertrand's 1873 theorem, only the inverse-square potential permits stable, closed Keplerian orbits for all bound energies in 3D, contrasting with logarithmic potentials in or higher-power falls in that destabilize trajectories. Such scalings highlight why observed macroscopic physics, from to molecular bonding, aligns with three spatial dimensions, as deviations would alter in phase transitions or wave propagation.

Technology and Engineering

Computer Graphics and 3D Modeling

in three dimensions involves the algorithmic representation, manipulation, and rendering of virtual objects within a simulated spatial , typically using vector to define positions, orientations, and surface properties. Core techniques include polygonal meshes, which construct models from interconnected vertices, edges, and faces—often triangles or quadrilaterals—for efficient topology and subdivision in real-time applications. NURBS (non-uniform rational B-splines) provide parametric surfaces for precise curvature control in , contrasting meshes by enabling smooth, mathematically exact representations without artifacts. Ray tracing simulates light paths by intersecting rays with scene geometry to compute reflections, refractions, and shadows, yielding photorealistic images at the cost of high computational expense compared to rasterization. Pioneering work began with Ivan Sutherland's system in 1963, which introduced interactive graphical manipulation on the TX-2 computer, laying foundational principles for constraint-based drawing that influenced subsequent 3D extensions despite its initial 2D focus. By the , advancements like Pixar's RenderMan software, released in 1988, standardized ray-tracing pipelines for film production, enabling complex shading models and in works such as Toy Story (1995). These milestones shifted from wireframe approximations to filled polygons and , driven by hardware like the Evans & Sutherland LDS-1 display (1969) for vector-based 3D visualization. Prominent software tools include Blender, an open-source suite originating in 1994 and maintained by the Blender Foundation since 2002, supporting mesh editing, NURBS, and scripting for broad accessibility. Autodesk Maya, developed from 1998 by Alias|Wavefront, excels in professional animation and rigging with node-based workflows for deformable models. Interchange standards encompass OBJ format, an ASCII-based specification from Wavefront Technologies for geometry, textures, and normals, and STL, a triangulated mesh format introduced in 1987 by 3D Systems for surface approximation. Recent integrations of leverage neural radiance fields (), introduced in 2020, to reconstruct 3D scenes from sparse images via volume density and color prediction, accelerating text-to-3D generation. By 2025, tools like 's Firefly-powered Text to 3D feature employ transformers to derive multi-view consistent models from prompts, reducing manual sculpting while supporting stylization and dynamic edits. Market projections indicate AI-driven 3D generators reaching $2 billion in value, enabling but requiring fine-tuning for geometric accuracy in contexts. These methods underpin (CAD) for micron-level precision in components and simulations approximating physical interactions via physics engines. However, photorealistic ray tracing demands exponential compute scaling with scene complexity, often necessitating offline processing despite GPU advancements following trends of doubling transistor density roughly every two years. —jagged edges from undersampling—persists in real-time rasterization, mitigated imperfectly by multisampling but introducing temporal inconsistencies in motion. Data scarcity for training implicit representations further hampers generalization, underscoring ongoing trade-offs in efficiency versus fidelity.

Additive Manufacturing and 3D Printing

Additive manufacturing, commonly known as , involves the layer-by-layer fabrication of physical objects from digital models, typically using materials such as polymers, metals, or ceramics deposited or solidified sequentially to build complex geometries unattainable through subtractive methods. This process enables precise control over internal structures, reducing material waste compared to traditional or by adding only necessary volume. Empirical efficiencies arise from on-demand production, which minimizes and costs, though material science constraints like thermal gradients during layering introduce mechanical inconsistencies. The foundational technology emerged in the 1980s with Chuck Hull's invention of in 1984, which employed a UV to cure liquid photopolymers layer by layer, patented in 1986 and commercialized via . This was followed by Scott Crump's fused deposition modeling (FDM) in 1989, extruding thermoplastic filaments to form parts, and Carl Deckard's (SLS) around 1987, fusing powder beds with lasers for metal and polymer applications. These innovations shifted manufacturing from paradigms to iterative, low-volume customization, driven by causal reductions in setup times inherent to digital-to-physical translation without tooling. In , additive manufacturing has empirically shortened prototyping cycles and lowered costs by enabling rapid iteration of lightweight components, such as blades, where traditional methods require extensive . applications demonstrate on-demand spare parts production, cutting lead times from weeks to days and reducing dependency on global supply chains. Custom prosthetics exemplify patient-specific outcomes, with fabricating lightweight limbs tailored to individual , slashing production costs and times versus conventional molding while improving fit and accessibility in underserved regions. Decentralized fabrication further empowers small-scale innovators by obviating large capital investments, fostering rapid experimentation in fields like biomedical devices. Scalability remains constrained for high-volume output, as layer-by-layer deposition is inherently slower than injection molding, which achieves economies through parallel cavity filling and cycle times under 30 seconds per part. Material weaknesses, including from interlayer bonding deficits, yield parts with directional strength variations—often 20-50% weaker perpendicular to layers—limiting load-bearing applications without post-processing like annealing. Controversies surround 3D-printed , epitomized by Defense Distributed's 2013 release of the Liberator files, prompting legal battles over rights. Despite regulatory concerns, empirical data reveal no verifiable surge in crime rates attributable to such weapons; U.S. encounters remain negligible relative to millions of annual incidents, with global studies documenting fewer than 200 cases from 2014-2023, underscoring unsubstantiated fears of proliferation against evidence of limited practical adoption due to issues. This supports causal realism favoring individual fabrication capabilities over preemptive restrictions, as homemade guns predate without analogous panic. By 2025, advancements include multi-material bioprinting techniques accelerating engineered production via enhanced extrusion precision, and large-format printers for enabling on-site building of structures with composites. MIT's innovations feature dissolvable, recyclable supports that minimize waste in complex geometries, allowing reuse in subsequent prints and addressing environmental critiques of single-use scaffolds. These developments, grounded in iterative material science, expand viable applications while contending with persistent challenges in uniformity and speed.

Stereoscopic Imaging and 3D Displays

Stereoscopic imaging exploits , the slight horizontal offset between images captured by each , to simulate as in natural , where the fuses these offsets into a three-dimensional percept. This technique relies on presenting separate left- and right-eye views, separated by optical means to prevent , thereby inducing without requiring physical depth. Common methods include anaglyph systems, which use color filters (typically red-cyan) to differentiate eye views, though they reduce color fidelity; polarized systems, employing orthogonally polarized filters for each eye to enable passive viewing; and active shutter systems, where displays in alternately block one eye in sync with the display's 120 Hz to deliver full-color, high-resolution images. Polarized and shutter approaches dominate due to better image quality, with shutter providing twice the resolution of passive polarized at equivalent frame rates. A historical revival occurred in the 1950s amid cinema's competition with television, exemplified by House of Wax (1953), the first color 3D feature from a major studio, released on using polarized projection to draw over 50 million viewers despite requiring glasses. IMAX advanced large-format with its first full-color 3D short, Transitions, at in , followed by digital projector innovations in 2008 enabling wider multiplex deployment. Contemporary developments emphasize glasses-free autostereoscopy, directing multiple views via parallax barriers or lenticular lens arrays to viewer positions, enabling multi-user 3D without eyewear, as in medical imaging prototypes tracking eye position for precise depth rendering. Holographic displays, reconstructing wavefronts for viewpoint-dependent true 3D without disparity limits, project a market expansion from $14.3 billion in 2025 to $75.62 billion by 2035, driven by medical and automotive integrations. Augmented reality glasses leverage waveguide optics to couple light into thin lenses, achieving lighter designs under 50 grams with 30° fields of view for immersive stereoscopic overlays, as seen in 2025 prototypes minimizing bulk via diffractive elements. Empirical studies link stereoscopic viewing to visual fatigue from , where eyes converge on perceived depths mismatched to the fixed screen focus plane, increasing asthenopia scores by up to 20% in sessions exceeding 30 minutes. Post-2009 Avatar surge, native 3D adoption waned by 2015 as post-conversion films proliferated, yielding dimmer images and higher ticket premiums without proportional engagement, reducing overall 3D screen shares from 50% to under 10% in major markets. Despite drawbacks, enhances spatial fidelity in , where 3D endoscopy reconstructions improve surgical precision by 15-20% via better depth cues, and in for anatomic model aiding preoperative planning. These benefits stem from reduced in interpreting complex geometries, outperforming in tasks requiring volumetric assessment.

Entertainment and Culture

3D in Film, Television, and Gaming

Stereoscopic 3D in film originated with early experiments in the using dual-image projection systems, though commercial viability emerged in the with anaglyph glasses for short films. The format saw periodic revivals, notably in the amid competition from , but digital advancements in the enabled native 3D production. James Cameron's Avatar (2009) exemplified this shift, grossing $2.75 billion worldwide, with approximately 70% of domestic earnings from 3D screenings due to its immersive depth effects and premium ticket pricing. Post-, 3D adoption waned as audience "fatigue" set in, evidenced by the drop in 3D's share of revenue from 82% for to under 20% for subsequent releases by 2010, driven by inconsistent conversion quality, viewer discomfort from glasses, and dimmer projected images. Empirical data from studio reports indicate that while 3D boosted initial novelty-driven attendance, sustained premium pricing failed to materialize, with theaters reallocating screens to amid declining uptake. In television, 3D standards like Blu-ray 3D peaked around 2010 but faced low consumer demand; by 2017, and —the last major holdouts—discontinued 3D support in new models, citing negligible sales and content scarcity. In gaming, 3D transitioned from polygonal rendering in the to stereoscopic and immersion, with engines like and Unreal facilitating depth cues in titles such as Half-Life: Alyx (released March 23, 2020), which leveraged headsets for interactive environmental manipulation and puzzle-solving, earning acclaim for spatial realism. However, -induced —symptoms including and disorientation—affects 22-80% of users depending on session length and content velocity, per clinical studies, limiting accessibility due to physiological susceptibility rather than technological maturity alone. Hardware barriers, such as required head-mounted displays costing $300-1,000 plus high-end PCs, further constrain adoption to niche demographics, undermining narratives of universal engagement; sales data for titles like Alyx reflect strong critical reception but modest volume compared to flat-screen counterparts. Overall, while 3D enhances perceptual depth in controlled scenarios, audience metrics reveal causal trade-offs: technological feasibility yields immersion for subsets, but ergonomic drawbacks and economic premiums hinder mass viability.

3D in Music

, a founding member of the Bristol-based trip-hop group formed in 1988, performs under the stage name 3D, contributing vocals, instrumentation, and production to their albums such as (1991) and (1998). 's work as 3D extends to solo and collaborative electronic projects, including contributions to the 2016 compilation Electronica 1: The Time Machine curated by , where he featured on experimental tracks blending beats and atmospheric soundscapes. This usage of "3D" reflects within the 1990s , which fused , , and but remained niche compared to mainstream genres. Several albums have been explicitly titled 3D, including The Three Degrees' 1979 disco release produced by and , which included singles like "Jump the Gun" and peaked at number 89 on the US . Similarly, American R&B group TLC's 3D (2002) debuted at number one on the , selling over 2.4 million copies in the US and featuring tracks such as "Girl Talk," though it received mixed reviews for deviating from their earlier sound. Other releases, like rock band Voltaj's 3D (2006), incorporate pop-rock elements but achieved limited international reach. Tracks explicitly titled "3D" appear sporadically in and , often as instrumental or experimental pieces in compilations, without achieving chart prominence or broad cultural penetration. This contrasts with the term's more pervasive applications in visual and technological fields, underscoring its marginal role in music and from platforms like , where such entries garner modest collector interest rather than mass appeal.

Other Artistic and Media Uses

In contemporary sculpture and , 3D printing technologies have facilitated hybrid digital-to-physical creations, particularly amid the post-2010 proliferation of affordable additive manufacturing tools associated with the maker movement. Artists like Nick Ervinck have utilized large-scale 3D printing in collaborations with firms such as Materialise to produce intricate, organic forms that challenge traditional sculptural constraints, as seen in works blending algorithmic design with material experimentation since around 2010. Similarly, Morehshin Allahyari employs 3D printing to reconstruct fragmented artifacts from conflict zones, merging digital modeling with physical output to explore themes of cultural loss and reclamation in installations exhibited internationally from 2013 onward. 3D scanning has advanced the preservation and replication of cultural artifacts by generating high-fidelity digital models without physical contact, enabling detailed analysis and facsimiles for conservation. Organizations like Factum Arte have applied structured light and to artifacts such as ancient Egyptian sculptures, producing millimeter-accurate replicas that support non-invasive study and mitigate deterioration risks, with projects documented since the early 2010s. The has similarly scanned over 1,000 cultural items by 2018 using portable 3D scanners, creating open-access models that facilitate global research while preserving originals from handling wear. Binaural 3D audio techniques, informed by empirical psychoacoustic studies of head-related transfer functions (HRTFs), have been incorporated into artistic installations to craft immersive spatial soundscapes beyond musical contexts. HRTFs, which model how human anatomy filters sound directionality, enable headphone-based rendering of three-dimensional auditory environments, as validated through listener localization tests achieving up to 90% accuracy in controlled experiments. In non-musical media, such as interactive exhibits, these methods simulate environmental acoustics for experiential art, with applications in heritage reconstructions tested for perceptual fidelity since the mid-2010s. Dolby Atmos, launched commercially in 2012, has influenced artistic in emerging media by supporting object-based audio placement in three dimensions, independent of fixed channels. This has enabled creators to position discrete sound elements dynamically in installations and interactive narratives, with over 1,700 non-film projects adopting the format by for heightened spatial immersion.

Miscellaneous Uses

Historical and Economic References

In pre-decimal British currency systems, the "3d" denoted three pence, a subdivision of the comprising 20 shillings of 12 pence each, facilitating everyday minor transactions such as purchasing or newspapers. The threepence coin itself, initially silver and later cupro-nickel in a distinctive twelve-sided brass form from 1937 onward, circulated widely within the for over a century, embodying the system's reliance on fractions for practical divisibility in trade and wages. This notation appeared routinely in historical accounting ledgers as for threepence amounts, often alongside () and pounds (£) in the £sd format derived from Latin librae, solidi, , where "d" stemmed from . For instance, a price of one and threepence was recorded as 1 3d, enabling efficient in mercantile and household records prior to mechanical calculators. The British threepence was demonetized on 1 September 1971, shortly after decimalisation on 15 February 1971, which rendered old pence obsolete and eliminated "3d" from active economic use. Analogous pre-decimal threepence coins existed in Commonwealth realms like Australia, minted until 1964 and withdrawn following decimal transition on 14 February 1966, after which they held no legal tender status. Today, "3d" lacks any ongoing economic function, supplanted by decimal notations and overshadowed by non-currency interpretations of "3D," underscoring the notation's historical specificity to imperial monetary practices rather than enduring fiscal relevance.

Sports, Gaming Mechanics, and Other

In , "3D" refers to the Dudley Death Drop, a signature double-team finishing maneuver popularized by the tag team (Bubba Ray and ) during their tenure in () in the mid-1990s and later in () through the 2000s. The move involves one wrestler lifting the opponent onto their shoulders in a position, while the partner leaps forward to execute a or head-first impact, often driving the victim through a table for dramatic effect, as seen in high-profile matches like 1996 event where the Dudleys used it to retain the . This technique emphasized teamwork and high-impact visuals, contributing to the team's 23 reigns between 1999 and 2004, with rare kickouts reported in only two instances during programming. In video game mechanics, "3D" denotes the transition to three-dimensional environments and controls, particularly in platformers like Super Mario 64, released on June 23, 1996, for the Nintendo 64, which pioneered analog stick input for fluid, 360-degree character movement and camera manipulation, enabling precise navigation of open-world levels without relying on fixed 2D constraints. This innovation allowed for mechanics such as variable-speed running, mid-air adjustments, and contextual actions like long jumps or wall kicks, setting standards for spatial awareness and momentum-based physics in subsequent titles, with the game's 24 courses demanding adaptation to depth perception and analog sensitivity for collecting 120 stars. Such 3D mechanics enhanced replayability by introducing non-linear exploration, contrasting earlier 2.5D hybrids like Super Mario World. 3D chess variants extend traditional chess into three dimensions, typically using stacked boards (e.g., 8x8x8 configurations or the 5x5x5 Raumschach board invented in ) where pieces move across multiple planes, adding layers of strategic depth through vertical threats, extended ranges for queens and bishops, and complex pawn promotions. These rules require players to visualize inter-level interactions, such as unicorns (three-dimensional knights) leaping across boards, increasing and forcing multidimensional tactical planning, as evidenced in competitive play where standard two-dimensional openings prove insufficient against elevated attacks. In , "3D" commonly abbreviates three-dimensional bin (3D-BPP), algorithmic challenges for optimally arranging rectangular items into containers to minimize and costs, as applied in warehousing since the with heuristics like first-fit decreasing height for real-time cargo loading. Solutions involve orientation constraints and stability checks, with recent models achieving up to 15% better space utilization in simulated freight scenarios compared to classical methods.

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