scholarly journals From a Geometry of Vision to a Geometry of Light in Early-Modern Perspective

2017 ◽  
Author(s):  
Caroline O. Fowler
Keyword(s):  
Eighteenth Century ◽  
Early Modern ◽  
Convex Surface ◽  
Three Dimensional ◽  
Two Dimensional ◽  
Architectural Drawing ◽  
Johannes Kepler ◽  
Built Form ◽  
Practical Tool ◽  
Modern Artists

Must the architect or artist understand how the world is perceived on the convex surface of the eye to simulate the three-dimensional world on a two-dimensional plane? For many early-modern artists, optics – defined as the science of vision – was fundamental. Yet, for architects, the integration of optical theories into two-dimensional representations of buildings remained more tenuous. Architectural drawing depended on orthographic projection and the representation of built form through plan, section and elevation, which did not seek to mimic the process of vision. If anything, architectural drawing separated itself from the illusion of vision in its attempt to account for the discrepancies between the represented and the built form. Nevertheless, the shifting science of optics would come to influence the two-dimensional representation of the built world for both architects and painters. This essay covers a broad survey of perspectival treatises from the fifteenth to the eighteenth century in order to consider how changes in the science of optics shifted the means by which artists and architects theorized the representation of space and the simulated illusion of perspective. As will be seen, the seemingly innocuously obvious geometric parts for the creation of perspectival space – the Euclidean point and line – became obsolete in the eighteenth century due to fundamental shifts in the science of optics. Whereas once optics was a study of vision through points and lines, in the seventeenth century with the works of Johannes Kepler (1571–1630) and René Descartes (1596–1650), among many others, optics transformed into a study of light. As light rather than vision became the focus of optics and its geometrical laws, the connection between a geometry of vision and a geometry of spatial representation became challenged. When light – not vision – became subject to the laws of geometry, the eye became one instrument among many (lenses, camera obscuras, microscopes and telescopes) capable of deception and fault. In turn, geometry lost its intellectual and metaphysical resonances and became a practical tool of application. The influence of the visioning technology of geometry on perspectival drawing for both the built and the figurative world lost its theoretical foundation. No longer a technology of vision, the art of geometry became reduced to non-theoretical rudimentary forms for beginning draftsmen.

scholarly journals Three-Dimensional Thematic Map Imaging of the Yacht Port on the Example of the Polish National Sailing Centre Marina in Gdańsk

2021 ◽  
Vol 11 (15) ◽  
pp. 7016
Author(s):  
Pawel S. Dabrowski ◽  
Cezary Specht ◽  
Mariusz Specht ◽  
Artur Makar
Keyword(s):  
Spatial Data ◽  
Convex Surface ◽  
Dimensional Space ◽  
Three Dimensional ◽  
Future Research ◽  
Two Dimensional ◽  
Thematic Maps ◽  
Research Directions ◽  
Future Research Directions ◽  
The Many

The theory of cartographic projections is a tool which can present the convex surface of the Earth on the plane. Of the many types of maps, thematic maps perform an important function due to the wide possibilities of adapting their content to current needs. The limitation of classic maps is their two-dimensional nature. In the era of rapidly growing methods of mass acquisition of spatial data, the use of flat images is often not enough to reveal the level of complexity of certain objects. In this case, it is necessary to use visualization in three-dimensional space. The motivation to conduct the study was the use of cartographic projections methods, spatial transformations, and the possibilities offered by thematic maps to create thematic three-dimensional map imaging (T3DMI). The authors presented a practical verification of the adopted methodology to create a T3DMI visualization of the marina of the National Sailing Centre of the Gdańsk University of Physical Education and Sport (Poland). The profiled characteristics of the object were used to emphasize the key elements of its function. The results confirmed the increase in the interpretative capabilities of the T3DMI method, relative to classic two-dimensional maps. Additionally, the study suggested future research directions of the presented solution.

Carving Cameras: Antonioni’s Lo Sguardo di Michelangelo

2021 ◽  
pp. 23-37
Author(s):  
Steven Jacobs
Keyword(s):  
Eighteenth Century ◽  
Old Testament ◽  
Three Dimensional ◽  
Tactile Perception ◽  
Short Film ◽  
Two Dimensional ◽  
The Gaze

Dealing with Michelangelo’s famous 1513 statue of Moses, Antonioni’s 2004 short film Lo Sguardo di Michelangelo (literally The Gaze of Michelangelo) is an impressive meditation on the encounter between film and sculpture. By means of the dynamic, immaterial, two-dimensional, and volatile images of the film medium, Lo Sguardo evokes the static, material, three-dimensional, and durable forms of sculpture. Antonioni not only confronts the heroic and muscular statue of the Old Testament prophet with his own old and weakened body, he also juxtaposes visual and tactile perception: the gaze (the director’s eyes and glasses are explicitly framed) is paired with tactility as Antonioni’s hands are touching the marble surfaces. Rearticulating some of the discussions and concepts central to sculptural theory since the eighteenth century, Lo Sguardo di Michelangelo also demonstrates that the medium of film not only represents, reproduces, or duplicates artworks but that it also reconfigures, re-imagines, and remediates them.

Picturing Art History in Eighteenth-Century Britain

2019 ◽  
Vol 95 (2) ◽  
pp. 83-113
Author(s):  
Edward Wouk
Keyword(s):  
Eighteenth Century ◽  
Early Modern ◽  
Art History ◽  
Northern European ◽  
History Of Art ◽  
History Of ◽  
The Alps ◽  
Eighteenth Century Britain ◽  
Modern Artists

Rylands English MS 60, compiled for the Spencer family in the eighteenth century, contains 130 printed portraits of early modern artists gathered from diverse sources and mounted in two albums: 76 portraits in the first volume, which is devoted to northern European artists, and 54 in the second volume, containing Italian and French painters. Both albums of this ‘Collection of Engravings of Portraits of Painters’ were initially planned to include a written biography of each artist copied from the few sources available in English at the time, but that part of the project was abandoned. This article relates English MS 60 to shifting practices of picturing art history. It examines the rise of printed artists’ portraits, tracing the divergent histories of the genre south and north of the Alps, and explores how biographical approaches to the history of art were being replaced, in the eighteenth century, by the development of illustrated texts about art.

Film Cooling of a Turbine Blade With Injection Through Two Rows of Holes in the Near-Endwall Region

1987 ◽  
Vol 109 (4) ◽  
pp. 588-593 ◽  
Author(s):  
R. J. Goldstein ◽  
P. H. Chen
Keyword(s):  
Mass Transfer ◽  
Turbine Blade ◽  
Film Cooling ◽  
Convex Surface ◽  
Density Ratio ◽  
Three Dimensional ◽  
Concave Surface ◽  
Two Dimensional ◽  
Cooling Performance ◽  
Triangular Region

Measurements of film cooling on a simulated turbine blade are conducted using a mass transfer technique. Under the influence of the endwall, dramatic changes of film cooling performance occur on the convex surface of the blade as compared to the region where the flow is two dimensional. The result is a triangular region, where coolant is swept away from the surface by the three-dimensional vortex-driven flow present between adjacent blades. In order to predict the area of this unprotected region, the influences of several parameters including density ratio, blowing rate, and number of rows of injection holes are studied. The presence of the endwall affects the film cooling performance on the concave surface only slightly.

Imagine a Place

Space ◽  
2020 ◽  
pp. 63-97
Author(s):  
Marije Martijn
Keyword(s):  
Early Modern ◽  
Dimensional Space ◽  
Three Dimensional ◽  
Two Dimensional ◽  
Conic Sections ◽  
Three Dimensional Space

Proclus conceived of complex kinematic constructions in geometry as involving motions of points and lines that produced figures like conic sections within the phantasia (imagination) of the reasoner. He contended that in such constructions, the geometer projects various figures in three-dimensional space and not on a two-dimensional screen, as many commentators believe. Hence Proclus believes in what one might call the three-dimensionality of imagination. He also presents the remarkable argument that space should be understood as a kind of intelligible matter, where the latter is understood to be three-dimensional (not merely two-dimensional). Finally, the chapter discusses the extent to which Proclus foresees various early modern conceptions of space.

scholarly journals Animated Images and Animated Objects in the Toy Story Franchise: Reflexively and Intertextually Transgressive Mimesis

Animation ◽  
2018 ◽  
Vol 13 (1) ◽  
pp. 69-84 ◽  
Author(s):  
Robert Geal
Keyword(s):  
Early Modern ◽  
Three Dimensional ◽  
Real Life ◽  
Detailed Account ◽  
Two Dimensional ◽  
Modern Sculpture ◽  
Animated Films ◽  
Life Itself ◽  
The Media ◽  
Early Historic

This article explores how animation can manipulate a reflexive intertextual framework which relates to religious prohibitions on artistic mimesis that might replicate and threaten God’s creative act. Animated films are most intertextually reflexive, in these terms, when they narrativize the movement of diegetic objects from another medium which also transgresses God’s prohibition: sculpture. In the media of both sculpture and animation, the act of mimesis is transgressive in fundamentally ontological terms, staging the illusion of creation by either replicating the form of living creatures in three-dimensional sculpture, or by giving the impression of animating the inanimate in two-dimensional film. Both media can generate artworks that directly comment on these processes by using narratives about the creative act which not only produce the illusion of life, but which produce diegetically real life itself. Such artworks are intensely reflexive, and engage with one another in an intertextual manner. The article traces this process from the pre-historic and early historic religious, mythic and philosophical meditations which structure ideas about mimetic representations of life, via Classical and Early Modern sculpture, through a radical proto-feminist revision crystallizing around the monstrous consequences of the transgression in Mary Shelley’s Frankenstein, and finally into film and more specifically animation. The article culminates with a relatively detailed account of these processes in the Toy Story franchise, which is a heightened example of how animation can stage a narrative in which ostensibly inanimate sculpted toys move of their own volition, and of how this double form of animation does this reflexively, by ontologically performing the toys’ animating act. The animated films analysed also engage with the transgressive and monstrous consequences of this double form of animation, which derive from the intertextual life of those narratives that challenge God’s prohibition on mimesis.

scholarly journals The 1866 Vercoe and Harding map and the axonometric: the object of subjective representation

2010 ◽  
Vol 7 ◽  
pp. 58-65
Author(s):  
Katherine O'Shaughnessy
Keyword(s):  
Three Dimensional ◽  
Two Dimensional ◽  
Architectural Drawing ◽  
Heritage Sites ◽  
The Past ◽  
Historical Fact ◽  
Visual Description ◽  
Dimensional Object ◽  
A Site ◽  
Subjective Representation

The 1866 Vercoe and Harding map of Auckland provides a visual description of colonial development during the 1860s. This map is a static representation of the past and the backdrop to an exploration of the site via architectural drawing. This paper outlines the process of excavating a site through axonometric drawing looking specifically at an area within Freemans Bay. It explains how the two dimensional Vercoe and Harding map has been extruded into a three dimensional representation of the site. The idea of the map as a subjective representation of the past will be explored alongside the use of what might be considered an objective drawing type to create a subjective visualization of the site. The paper will investigate the process of creating this axonometric and the way in which this drawing relies on both historical fact and historical assumption. It will address how this process produces an understanding of the site, namely, the ability to translate each building based on the simple outline of its plan. This paper is part of a wider investigation into the documentation of heritage sites and the use of drawing to create an understanding of place. Thus, this drawing alone does not create this awareness of place, but rather, informs a new understanding of the 1866 map and a representation of what Freemans Bay might have been during the 1860s. At first glance, it might seem that a map is objective. It is a tool traditionally used for navigation and thus reliant upon objectivity. We generally trust that the person creating the map has provided us with the accurate details of the area we are navigating. We are here and the map maker can tell us how to get there. Therefore, we trust, that the 1866 Vercoe and Harding map of Auckland will provide us with a glimpse of life in Auckland during the 1860s. It might also seem that an axonometric is objective. This method of drawing is scaled and measured; it represents a three-dimensional object upon a two-dimensional surface. A plan can be extruded with the knowledge provided by the object's elevations to portray an objective, measured representation of the object. This paper investigates the seemingly objective map and axonometric through the extrusion of a portion of Vercoe and Harding's 1866 map of Auckland into an axonometric drawing. When the map is extruded into an axonometric drawing, the subjective qualities of both are revealed. In creating a new axonometric projection of a map, questions arise, such as: why the document was made? what was being represented? and how much is this document reliant upon the views of those who made the map? Equally, the subjective nature of the axonometric drawing is revealed through this process of extruding the map. For example, without a comprehensive and complete record of the site, the drawing is reliant upon a number of assumptions and these assumptions are dependent upon the subjective view of the axonometer. Therefore, the axonometric drawing derived from the map is a supposedly objective document reliant on the subjective. The axonometric drawing derived from the 1866 Vercoe and Harding map of Auckland is part of a larger project which attempts to document place by revealing the possible history of a site. A range of maps are considered in this project, all being extruded in the same manner as the Vercoe and Harding map but each having its own process dependent on the time the map is representing. These axonometric projections of various maps, together, aim to represent both time and space and to convey a sense of place.

High Resolution Microscopy of Multi-Layered Biological Crystals

1982 ◽  
Vol 40 ◽  
pp. 80-83
Author(s):  
H.A. Cohen ◽  
T.W. Jeng ◽  
W. Chiu
Keyword(s):  
High Resolution ◽  
Low Dose ◽  
Three Dimensional ◽  
Data Interpretation ◽  
Two Dimensional ◽  
Biological Objects ◽  
Density Maps ◽  
Density Map ◽  
Complex Crystal ◽  
High Resolution Microscopy

This tutorial will discuss the methodology of low dose electron diffraction and imaging of crystalline biological objects, the problems of data interpretation for two-dimensional projected density maps of glucose embedded protein crystals, the factors to be considered in combining tilt data from three-dimensional crystals, and finally, the prospects of achieving a high resolution three-dimensional density map of a biological crystal. This methodology will be illustrated using two proteins under investigation in our laboratory, the T4 DNA helix destabilizing protein gp32*I and the crotoxin complex crystal.

Instrumentation For Quantitative Microscopy

1977 ◽  
Vol 35 ◽  
pp. 206-209
Author(s):  
B. Ralph ◽  
A.R. Jones
Keyword(s):  
Volume Fraction ◽  
Three Dimensional ◽  
Two Dimensional ◽  
Automatic Data ◽  
Phase Volume Fraction ◽  
Statistical Confidence ◽  
Resultant Data ◽  
Automatic Data Collection ◽  
Third Dimension ◽  
Evolution Of Microstructure

In all fields of microscopy there is an increasing interest in the quantification of microstructure. This interest may stem from a desire to establish quality control parameters or may have a more fundamental requirement involving the derivation of parameters which partially or completely define the three dimensional nature of the microstructure. This latter categorey of study may arise from an interest in the evolution of microstructure or from a desire to generate detailed property/microstructure relationships. In the more fundamental studies some convolution of two-dimensional data into the third dimension (stereological analysis) will be necessary.In some cases the two-dimensional data may be acquired relatively easily without recourse to automatic data collection and further, it may prove possible to perform the data reduction and analysis relatively easily. In such cases the only recourse to machines may well be in establishing the statistical confidence of the resultant data. Such relatively straightforward studies tend to result from acquiring data on the whole assemblage of features making up the microstructure. In this field data mode, when parameters such as phase volume fraction, mean size etc. are sought, the main case for resorting to automation is in order to perform repetitive analyses since each analysis is relatively easily performed.

A linearity test for thick specimens imaged by HVEM over a 180° angular range

1991 ◽  
Vol 49 ◽  
pp. 552-553
Author(s):  
Yu Liu
Keyword(s):  
Phase Contrast ◽  
Three Dimensional ◽  
Angular Range ◽  
Two Dimensional ◽  
Back Projection ◽  
Line Integral ◽  
Exponential Law ◽  
Transmission Electron ◽  
Absorption Law ◽  
Linearity Test

The image obtained in a transmission electron microscope is the two-dimensional projection of a three-dimensional (3D) object. The 3D reconstruction of the object can be calculated from a series of projections by back-projection, but this algorithm assumes that the image is linearly related to a line integral of the object function. However, there are two kinds of contrast in electron microscopy, scattering and phase contrast, of which only the latter is linear with the optical density (OD) in the micrograph. Therefore the OD can be used as a measure of the projection only for thin specimens where phase contrast dominates the image. For thick specimens, where scattering contrast predominates, an exponential absorption law holds, and a logarithm of OD must be used. However, for large thicknesses, the simple exponential law might break down due to multiple and inelastic scattering.

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