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Author(s):  
I. G. Svidrak ◽  
I. S. Aftanaziv ◽  
O. I. Strogan ◽  
A. O. Shevchuk

The trajectories and coordinates of unmanned aircrafts spatial location determination is researched with the help of kinematic projection means. The methodology offered below considers the formation of two mobile and independent kinematic projection centers raised into the air by drones. The electromagnetic radio waves emitted by them, penetrating an unknown aircraft object, form two independent projecting rays intersecting at the searched aircraft location point. In this case, the searched object spatial location instantaneous (at a certain point in time) point will be placed on an imaginary “picture plane” on a line connecting the points projections generated by drones interceptors projecting rays. As far as all of the projection objects in this case are movable, all the moving trajectory projection of the searched aircraft will be displayed on the monitor. The introduction of another “picture plane”, perpendicular to the main one, will help to build an axonometric mapping not only for projections, but also for the aircraft spatial movement trajectory itself. Each point of this trajectory gives an information about the “instantaneous” coordinates of the aircraft spatial location. The method of application of kinematic projection for display of a trajectory of movement and search of coordinates of moving objects is described. In kinematic projection, all its key components, namely the object, the center of projection, the image plane and the projecting rays, are in continuous motion with certain speeds and accelerations. Kinematic projection deepens the field of practical application of descriptive geometry. This is confirmed by the example of practical application of kinematic projection presented in the article for improvement of remote control of tillage equipment in automated land treatment complexes. The main technical support for the practical application of kinematic projection are stationary radio towers or unmanned aerial vehicles (BPLA), such as drones. They are equipped with video cameras and electromagnetic radiation devices. This equipment serves as a center of kinematic projection. The projecting rays generated by the projection center will be received by a stationary command post (center). It is equipped with a radar system (radar) and modern computer equipment with appropriate software. This equipment, in this case, performs the function of a “picture plane”, which will reflect the trajectory of agricultural machinery. Actuators and controls of the movement of tillage equipment are equipped with receivers of control radio waves and means of automated control. The use of kinematic projection helps to improve the quality of tillage. This is ensured by the fact that its use is carried out automatically and eliminates possible errors of operators. Kinematic projection can also be used in military affairs to detect enemy drones in the airspace. In this case, use a kind of kinematic projection with its two centers of generation of projecting rays. This is an example of the solution of the so-called “inverse problem” of kinematic projection, which provides the ability to search for the coordinates of the motion of the projected object at a known trajectory of its motion. The main advantage of kinematic projection is the ability to identify and display an object on a computer screen not only in a flat view, but also taking into account its spatial coordinates.


2021 ◽  
Author(s):  
◽  
Daniel Innes

<p>Architects use media such as drawings and models to test and better understand their designs. These media are frequently scaled for convenience and reduced to two dimensions for clarity; however, in relying on these methods, the direct and visceral experience of inhabiting space is neglected. Phenomenologists such as Juhani Pallasmaa point out that this problem is exacerbated by the picture plane. The flat page or screen acts as an impenetrable window, excluding the viewer from a truly embodied appreciation of the designed spatial qualities.  This research investigates the use of virtual reality (VR) as a tool for conceiving architecture without alienating the designer from the user’s perspective. It is suggested that the holistic and subjective approach of immersive media is a necessary complement to the more abstracted and objective views of architectural tradition: plan, section, and elevation. The recent availability of consumer-grade VR allows the testing of this opportunity without many of the technological limitations of research done in the 1990’s. This research aims to describe tendencies of VR design and thus guide the incorporation of immersive technologies into contemporary practice.  To study the impact of VR, a real-time engine is used to develop an interactive program which allows the modelling of conceptual designs while immersed within them. Its efficacy is studied with three groups (architecture students, architects, and members of the public) from which quantitative and qualitative data is collected. By identifying the unique benefits of such tools, it is proposed how each group could make good use of the technology and extend the abilities of their existing workflows.</p>


2021 ◽  
Author(s):  
◽  
Daniel Innes

<p>Architects use media such as drawings and models to test and better understand their designs. These media are frequently scaled for convenience and reduced to two dimensions for clarity; however, in relying on these methods, the direct and visceral experience of inhabiting space is neglected. Phenomenologists such as Juhani Pallasmaa point out that this problem is exacerbated by the picture plane. The flat page or screen acts as an impenetrable window, excluding the viewer from a truly embodied appreciation of the designed spatial qualities.  This research investigates the use of virtual reality (VR) as a tool for conceiving architecture without alienating the designer from the user’s perspective. It is suggested that the holistic and subjective approach of immersive media is a necessary complement to the more abstracted and objective views of architectural tradition: plan, section, and elevation. The recent availability of consumer-grade VR allows the testing of this opportunity without many of the technological limitations of research done in the 1990’s. This research aims to describe tendencies of VR design and thus guide the incorporation of immersive technologies into contemporary practice.  To study the impact of VR, a real-time engine is used to develop an interactive program which allows the modelling of conceptual designs while immersed within them. Its efficacy is studied with three groups (architecture students, architects, and members of the public) from which quantitative and qualitative data is collected. By identifying the unique benefits of such tools, it is proposed how each group could make good use of the technology and extend the abilities of their existing workflows.</p>


2021 ◽  
Author(s):  
◽  
Laura Coates

<p>Contemporary architectural practise has come to depend upon digital representation as a means of design and for the production of architectural drawings. The computer is common place in architectural offices, relegating the drawing board as a machine of the past. Today, the architect is more likely to draw with a mouse than a mechanical pencil. The proposition of this research suggests such a dramatic shift within representational technology will not only affect how architects design, but also, what they design. Digital modes of architectural representation are reliant on mathematical code designed to artificially simulate visual experience. Such software offers strict alliance with a geometrically correct perspective code making the construction of perspective as simple as taking a ‘snap shot’. The compliance of the digital drawing to codes prescribed by a programmer distance the architect from the perspectival representation, consequently removing the architect’s control of the drawing convention. The universality of perspectival views is enforced by computer programmes such as Google Sketch-Up, which use perspective as a default view. This research explores the bias of linear perspective, revealing that which architects have forgotten due to a dependence on digital software. Special attention is drawn to the lack of control the architect exerts over their limits of representation. By using manual drawing the perspective convention is able to be unpacked and critiqued against the limitations of the system first prescribed by Brunelleschi. The manual drawing is positioned as a powerful mode of representation for it overtly expresses projection and the architect’s control of the line. The hand drawing allows the convention to be interpreted erroneously. The research is methodology driven, focusing on representation as more than a rudimentary tool, but a component of the design process. Thus, representational tools are used to provide a new spatial representation of a site. Computer aided design entered wide spread architectural practice at the end of the 1980’s, a decade that provided an ideal setting for speculative drawn projects. Such projects proved fruitful to architects critically approaching issues of representation and drawing convention, treating the drawing as more than utilitarian in the production of architecture. Whilst the move into digital imagining is not a paradigm shift for the act of drawing, it fundamentally shifted the way architects draw, separating drawing conventions onto visually separate ‘sheets’. The architectural drawing known today was that discovered in the Renaissance, Renaissance architects, the first to conceive of architecture through representation, thus was their endeavour to produce a true three dimensional image. The Renaissance architect executed absolute control of perspective, control, which has since defined the modern architect. Positioned within research by design, the ‘drawing-out’ process is a critical interpretation of perspective. In particular the drawing of instrumental perspective is unpacked within the realm of scientific research. The picture plane, horizon line and ground plane remain constant as the positions of these are well documented. The stationary point, vanishing point (possibly the most speculative components of the drawing) or the relationship between the two, behave as independent variables. In breaking the assumptions that underlie linear perspective as a fixed geometric system we may ask ourselves if we are in control of representational methods, or if they control us. Since architects are controlled by their means of representation this question is paramount to the discipline, particularly today, when digital drawing has shifted the relationship between architect and representation. The implications of this new relationship may result in monotony across the architectural disciple, where the production of critical architecture is secondary to computer technology.</p>


2021 ◽  
Author(s):  
◽  
Laura Coates

<p>Contemporary architectural practise has come to depend upon digital representation as a means of design and for the production of architectural drawings. The computer is common place in architectural offices, relegating the drawing board as a machine of the past. Today, the architect is more likely to draw with a mouse than a mechanical pencil. The proposition of this research suggests such a dramatic shift within representational technology will not only affect how architects design, but also, what they design. Digital modes of architectural representation are reliant on mathematical code designed to artificially simulate visual experience. Such software offers strict alliance with a geometrically correct perspective code making the construction of perspective as simple as taking a ‘snap shot’. The compliance of the digital drawing to codes prescribed by a programmer distance the architect from the perspectival representation, consequently removing the architect’s control of the drawing convention. The universality of perspectival views is enforced by computer programmes such as Google Sketch-Up, which use perspective as a default view. This research explores the bias of linear perspective, revealing that which architects have forgotten due to a dependence on digital software. Special attention is drawn to the lack of control the architect exerts over their limits of representation. By using manual drawing the perspective convention is able to be unpacked and critiqued against the limitations of the system first prescribed by Brunelleschi. The manual drawing is positioned as a powerful mode of representation for it overtly expresses projection and the architect’s control of the line. The hand drawing allows the convention to be interpreted erroneously. The research is methodology driven, focusing on representation as more than a rudimentary tool, but a component of the design process. Thus, representational tools are used to provide a new spatial representation of a site. Computer aided design entered wide spread architectural practice at the end of the 1980’s, a decade that provided an ideal setting for speculative drawn projects. Such projects proved fruitful to architects critically approaching issues of representation and drawing convention, treating the drawing as more than utilitarian in the production of architecture. Whilst the move into digital imagining is not a paradigm shift for the act of drawing, it fundamentally shifted the way architects draw, separating drawing conventions onto visually separate ‘sheets’. The architectural drawing known today was that discovered in the Renaissance, Renaissance architects, the first to conceive of architecture through representation, thus was their endeavour to produce a true three dimensional image. The Renaissance architect executed absolute control of perspective, control, which has since defined the modern architect. Positioned within research by design, the ‘drawing-out’ process is a critical interpretation of perspective. In particular the drawing of instrumental perspective is unpacked within the realm of scientific research. The picture plane, horizon line and ground plane remain constant as the positions of these are well documented. The stationary point, vanishing point (possibly the most speculative components of the drawing) or the relationship between the two, behave as independent variables. In breaking the assumptions that underlie linear perspective as a fixed geometric system we may ask ourselves if we are in control of representational methods, or if they control us. Since architects are controlled by their means of representation this question is paramount to the discipline, particularly today, when digital drawing has shifted the relationship between architect and representation. The implications of this new relationship may result in monotony across the architectural disciple, where the production of critical architecture is secondary to computer technology.</p>


2021 ◽  
Vol 2021 (02) ◽  
pp. 123-134
Author(s):  
O. Shylo ◽  

Through his work and pedagogical activity, an outstanding Kharkiv graphic artist, professor of Kharkiv Art Institute Hryhoriy Bondarenko connected today’s artistic practice with the great traditions of art, to which he belonged. In the 1910s, H. Bondarenko studied at the Odessa Art School, with K. Kostandi; in 1915–1917 – at the Academy of Arts; and in 1923–1927 at Leningrad VKhUTEIN with K. S. Petrov-Vodkin and V. M. Konashevich. A chain of artistic tradition was formed in VKhUTEIN: K. Petrov-Vodkin – V. Serov – I. Repin – P. Chistyakov. With his pedagogical activity Chistyakov poses the problem of the creative method, and Repin – of the art form. Serov approaches its solution in the idea of projection drawing. Petrov-Vodkin supplemented it with an understanding of picture plane as space. Bondarenko synthesized all these aspects. His creative method is considered on the example of a number of his graphic works. It is based on three main points. The first is a double understanding of the picture plane on which the image is made. It is thought of, on the one hand, as a projection plane and, on the other hand, as space. The second is a combination of projections. The third is the understanding of the image as a way of processing the surface of the sheet. Among the students of H. Bondarenko, perceived this creative method, there were such well-known masters as V. Kulikov, V. Lenchin, V. Nenado. Each of them developed those aspects of the method that were organic to them. The universality, harmony and consistency of the analyzed creative method are shown in the article. It is based on a holistic worldview. Two great traditions, the successor, contemporary and continuer of which he was, merged together in H. Bondarenko’s creative activity and pedagogical work: the classical art of the 19th century, and new art of the 20th century, which itself has become a new classic and a new tradition.


2021 ◽  
Vol 13 (2) ◽  
Author(s):  
Arthur Crucq

Linear perspective has long been used to create the illusion of three-dimensional space on the picture plane. One of its central axioms comes from Euclidean geometry and holds that all parallel lines converge in a single vanishing point. Although linear perspective provided the painter with a means to organize the painting, the question is whether the gaze of the beholder is also affected by the underlying structure of linear perspective: for instance, in such a way that the orthogonals leading to the vanishing point also automatically guides the beholder’s gaze. This was researched during a pilot study by means of an eye-tracking experiment at the Lab for Cognitive Research in Art History (CReA) of the University of Vienna. It appears that in some compositions the vanishing point attracts the view of the participant. This effect is more significant when the vanishing point coincides with the central vertical axis of the painting, but is even stronger when the vanishing point also coincides with a major visual feature such as an object or figure. The latter calls into question what exactly attracts the gaze of the viewer, i.e., what comes first: the geometrical construct of the vanishing point or the visual feature?


i-Perception ◽  
2021 ◽  
Vol 12 (3) ◽  
pp. 204166952110071
Author(s):  
Nicholas J. Wade

Pictorial art is typically viewed with two eyes, but it is not binocular in the sense that it requires two eyes to appreciate the art. Two-dimensional representational art works allude to depth that they do not contain, and a variety of stratagems is enlisted to convey the impression that surfaces on the picture plane are at different distances from the viewer. With the invention of the stereoscope by Wheatstone in the 1830s, it was possible to produce two pictures with defined horizontal disparities between them to create a novel impression of depth. Stereoscopy and photography were made public at about the same time and their marriage was soon cemented; most stereoscopic art is now photographic. Wheatstone sought to examine stereoscopic depth without monocular pictorial cues. He was unable to do this, but it was achieved a century later by Julesz with random-dot stereograms The early history of non-photographic stereoscopic art is described as well as reference to some contemporary works. Novel stereograms employing a wider variety of carrier patterns than random dots are presented as anaglyphs; they show modulations of pictorial surface depths as well as inclusions within a binocular picture.


Author(s):  
Victor Debelov ◽  
Nikita Dolgov

Newton's rings are an interference pattern related to fringes of equal thickness. This image can be obtained on a simple experimental optical setup. Modern common renderers, based on zerothickness ray tracing, calculate highly realistic images of complex 3D scenes, which are computer models of scenes from the real world. However, they do not allow you to reproduce such phenomena as interference, because they ignore even the polarization of light. Interference is studied by physical optics, and it is natural to assume that if the calculation is based on the "tracing" of waves in the scene, this problem can be solved. An algorithm is known when a solid beam of light is used instead of a light wave. The results of the calculations show images of the interference effects; Newton's rings are also calculated. This is an acceptable solution for simple scenes involving a few objects. It is also good for optical design systems, when the result is important, and not the time spent. But not practical for universal renderers, which must calculate the image in an acceptable time for very complex scenes. In this paper, we propose an algorithm based on the traditional method of tracing paths consisting of zero-thickness rays. Only on the last ray of a path that crosses the picture plane is the modification made. It is assumed that these rays characterize spherical wavelets. In this paper, we consider the results of applying the mentioned heuristics to classical optical experiments.


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