Design and Simulation of Variants of Koch Models for Fractal Antenna Riaz
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Mathematics Is a Gentleman's Art: Analysis and Synthesis in American College Geometry Teaching, 1790-1840 Amy K
Iowa State University Capstones, Theses and Retrospective Theses and Dissertations Dissertations 2000 Mathematics is a gentleman's art: Analysis and synthesis in American college geometry teaching, 1790-1840 Amy K. Ackerberg-Hastings Iowa State University Follow this and additional works at: https://lib.dr.iastate.edu/rtd Part of the Higher Education and Teaching Commons, History of Science, Technology, and Medicine Commons, and the Science and Mathematics Education Commons Recommended Citation Ackerberg-Hastings, Amy K., "Mathematics is a gentleman's art: Analysis and synthesis in American college geometry teaching, 1790-1840 " (2000). Retrospective Theses and Dissertations. 12669. https://lib.dr.iastate.edu/rtd/12669 This Dissertation is brought to you for free and open access by the Iowa State University Capstones, Theses and Dissertations at Iowa State University Digital Repository. It has been accepted for inclusion in Retrospective Theses and Dissertations by an authorized administrator of Iowa State University Digital Repository. For more information, please contact [email protected]. INFORMATION TO USERS This manuscript has been reproduced from the microfilm master. UMI films the text directly from the original or copy submitted. Thus, some thesis and dissertation copies are in typewriter face, while others may be from any type of computer printer. The quality of this reproduction is dependent upon the quality of the copy submitted. Broken or indistinct print, colored or poor quality illustrations and photographs, print bleedthrough, substandard margwis, and improper alignment can adversely affect reproduction. in the unlikely event that the author did not send UMI a complete manuscript and there are missing pages, these will be noted. -
Infinite Perimeter of the Koch Snowflake And
The exact (up to infinitesimals) infinite perimeter of the Koch snowflake and its finite area Yaroslav D. Sergeyev∗ y Abstract The Koch snowflake is one of the first fractals that were mathematically described. It is interesting because it has an infinite perimeter in the limit but its limit area is finite. In this paper, a recently proposed computational methodology allowing one to execute numerical computations with infinities and infinitesimals is applied to study the Koch snowflake at infinity. Nu- merical computations with actual infinite and infinitesimal numbers can be executed on the Infinity Computer being a new supercomputer patented in USA and EU. It is revealed in the paper that at infinity the snowflake is not unique, i.e., different snowflakes can be distinguished for different infinite numbers of steps executed during the process of their generation. It is then shown that for any given infinite number n of steps it becomes possible to calculate the exact infinite number, Nn, of sides of the snowflake, the exact infinitesimal length, Ln, of each side and the exact infinite perimeter, Pn, of the Koch snowflake as the result of multiplication of the infinite Nn by the infinitesimal Ln. It is established that for different infinite n and k the infinite perimeters Pn and Pk are also different and the difference can be in- finite. It is shown that the finite areas An and Ak of the snowflakes can be also calculated exactly (up to infinitesimals) for different infinite n and k and the difference An − Ak results to be infinitesimal. Finally, snowflakes con- structed starting from different initial conditions are also studied and their quantitative characteristics at infinity are computed. -
Pictures of Julia and Mandelbrot Sets
Pictures of Julia and Mandelbrot Sets Wikibooks.org January 12, 2014 On the 28th of April 2012 the contents of the English as well as German Wikibooks and Wikipedia projects were licensed under Cre- ative Commons Attribution-ShareAlike 3.0 Unported license. An URI to this license is given in the list of figures on page 143. If this document is a derived work from the contents of one of these projects and the content was still licensed by the project under this license at the time of derivation this document has to be licensed under the same, a similar or a compatible license, as stated in section 4b of the license. The list of contributors is included in chapter Contributors on page 141. The licenses GPL, LGPL and GFDL are included in chapter Licenses on page 151, since this book and/or parts of it may or may not be licensed under one or more of these licenses, and thus require inclusion of these licenses. The licenses of the figures are given in the list of figures on page 143. This PDF was generated by the LATEX typesetting software. The LATEX source code is included as an attachment (source.7z.txt) in this PDF file. To extract the source from the PDF file, we recommend the use of http://www.pdflabs.com/tools/pdftk-the-pdf-toolkit/ utility or clicking the paper clip attachment symbol on the lower left of your PDF Viewer, selecting Save Attachment. After ex- tracting it from the PDF file you have to rename it to source.7z. -
Fractal 3D Magic Free
FREE FRACTAL 3D MAGIC PDF Clifford A. Pickover | 160 pages | 07 Sep 2014 | Sterling Publishing Co Inc | 9781454912637 | English | New York, United States Fractal 3D Magic | Banyen Books & Sound Option 1 Usually ships in business days. Option 2 - Most Popular! This groundbreaking 3D showcase offers a rare glimpse into the dazzling world of computer-generated fractal art. Prolific polymath Clifford Pickover introduces the collection, which provides background on everything from Fractal 3D Magic classic Mandelbrot set, to the infinitely porous Menger Sponge, to ethereal fractal flames. The following eye-popping gallery displays mathematical formulas transformed into stunning computer-generated 3D anaglyphs. More than intricate designs, visible in three dimensions thanks to Fractal 3D Magic enclosed 3D glasses, will engross math and optical illusions enthusiasts alike. If an item you have purchased from us is not working as expected, please visit one of our in-store Knowledge Experts for free help, where they can solve your problem or even exchange the item for a product that better suits your needs. If you need to return an item, simply bring it back to any Micro Center store for Fractal 3D Magic full refund or exchange. All other products may be returned within 30 days of purchase. Using the software may require the use of a computer or other device that must meet minimum system requirements. It is recommended that you familiarize Fractal 3D Magic with the system requirements before making your purchase. Software system requirements are typically found on the Product information specification page. Aerial Drones Micro Center is happy to honor its customary day return policy for Aerial Drone returns due to product defect or customer dissatisfaction. -
Fractal Expressionism—Where Art Meets Science
Santa Fe Institute. February 14, 2002 9:04 a.m. Taylor page 1 Fractal Expressionism—Where Art Meets Science Richard Taylor 1 INTRODUCTION If the Jackson Pollock story (1912–1956) hadn’t happened, Hollywood would have invented it any way! In a drunken, suicidal state on a stormy night in March 1952, the notorious Abstract Expressionist painter laid down the foundations of his masterpiece Blue Poles: Number 11, 1952 by rolling a large canvas across the oor of his windswept barn and dripping household paint from an old can with a wooden stick. The event represented the climax of a remarkable decade for Pollock, during which he generated a vast body of distinct art work commonly referred to as the “drip and splash” technique. In contrast to the broken lines painted by conventional brush contact with the canvas surface, Pollock poured a constant stream of paint onto his horizontal canvases to produce uniquely contin- uous trajectories. These deceptively simple acts fuelled unprecedented controversy and polarized public opinion around the world. Was this primitive painting style driven by raw genius or was he simply a drunk who mocked artistic traditions? Twenty years later, the Australian government rekindled the controversy by pur- chasing the painting for a spectacular two million (U.S.) dollars. In the history of Western art, only works by Rembrandt, Velazquez, and da Vinci had com- manded more “respect” in the art market. Today, Pollock’s brash and energetic works continue to grab attention, as witnessed by the success of the recent retro- spectives during 1998–1999 (at New York’s Museum of Modern Art and London’s Tate Gallery) where prices of forty million dollars were discussed for Blue Poles: Number 11, 1952. -
4.3 Discovering Fractal Geometry in CAAD
4.3 Discovering Fractal Geometry in CAAD Francisco Garcia, Angel Fernandez*, Javier Barrallo* Facultad de Informatica. Universidad de Deusto Bilbao. SPAIN E.T.S. de Arquitectura. Universidad del Pais Vasco. San Sebastian. SPAIN * Fractal geometry provides a powerful tool to explore the world of non-integer dimensions. Very short programs, easily comprehensible, can generate an extensive range of shapes and colors that can help us to understand the world we are living. This shapes are specially interesting in the simulation of plants, mountains, clouds and any kind of landscape, from deserts to rain-forests. The environment design, aleatory or conditioned, is one of the most important contributions of fractal geometry to CAAD. On a small scale, the design of fractal textures makes possible the simulation, in a very concise way, of wood, vegetation, water, minerals and a long list of materials very useful in photorealistic modeling. Introduction Fractal Geometry constitutes today one of the most fertile areas of investigation nowadays. Practically all the branches of scientific knowledge, like biology, mathematics, geology, chemistry, engineering, medicine, etc. have applied fractals to simulate and explain behaviors difficult to understand through traditional methods. Also in the world of computer aided design, fractal sets have shown up with strength, with numerous software applications using design tools based on fractal techniques. These techniques basically allow the effective and realistic reproduction of any kind of forms and textures that appear in nature: trees and plants, rocks and minerals, clouds, water, etc. For modern computer graphics, the access to these techniques, combined with ray tracing allow to create incredible landscapes and effects. -
Iterated Function System Quasiarcs
CONFORMAL GEOMETRY AND DYNAMICS An Electronic Journal of the American Mathematical Society Volume 21, Pages 78–100 (February 3, 2017) http://dx.doi.org/10.1090/ecgd/305 ITERATED FUNCTION SYSTEM QUASIARCS ANNINA ISELI AND KEVIN WILDRICK Abstract. We consider a class of iterated function systems (IFSs) of contract- ing similarities of Rn, introduced by Hutchinson, for which the invariant set possesses a natural H¨older continuous parameterization by the unit interval. When such an invariant set is homeomorphic to an interval, we give necessary conditions in terms of the similarities alone for it to possess a quasisymmetric (and as a corollary, bi-H¨older) parameterization. We also give a related nec- essary condition for the invariant set of such an IFS to be homeomorphic to an interval. 1. Introduction Consider an iterated function system (IFS) of contracting similarities S = n {S1,...,SN } of R , N ≥ 2, n ≥ 1. For i =1,...,N, we will denote the scal- n n ing ratio of Si : R → R by 0 <ri < 1. In a brief remark in his influential work [18], Hutchinson introduced a class of such IFSs for which the invariant set is a Peano continuum, i.e., it possesses a continuous parameterization by the unit interval. There is a natural choice for this parameterization, which we call the Hutchinson parameterization. Definition 1.1 (Hutchinson, 1981). The pair (S,γ), where γ is the invariant set of an IFS S = {S1,...,SN } with scaling ratio list {r1,...,rN } is said to be an IFS path, if there exist points a, b ∈ Rn such that (i) S1(a)=a and SN (b)=b, (ii) Si(b)=Si+1(a), for any i ∈{1,...,N − 1}. -
Introduction to Ultra Fractal
Introduction to Ultra Fractal Text and images © 2001 Kerry Mitchell Table of Contents Introduction ..................................................................................................................................... 2 Assumptions ........................................................................................................................ 2 Conventions ........................................................................................................................ 2 What Are Fractals? ......................................................................................................................... 3 Shapes with Infinite Detail .................................................................................................. 3 Defined By Iteration ........................................................................................................... 4 Approximating Infinity ....................................................................................................... 4 Using Ultra Fractal .......................................................................................................................... 6 Starting Ultra Fractal ........................................................................................................... 6 Formula ............................................................................................................................... 6 Size ..................................................................................................................................... -
Transformations in Sirigu Wall Painting and Fractal Art
TRANSFORMATIONS IN SIRIGU WALL PAINTING AND FRACTAL ART SIMULATIONS By Michael Nyarkoh, BFA, MFA (Painting) A Thesis Submitted to the School of Graduate Studies, Kwame Nkrumah University of Science and Technology in partial fulfilment of the requirements for the degree of DOCTOR OF PHILOSOPHY Faculty of Fine Art, College of Art and Social Sciences © September 2009, Department of Painting and Sculpture DECLARATION I hereby declare that this submission is my own work towards the PhD and that, to the best of my knowledge, it contains no material previously published by another person nor material which has been accepted for the award of any other degree of the University, except where due acknowledgement has been made in the text. Michael Nyarkoh (PG9130006) .................................... .......................... (Student’s Name and ID Number) Signature Date Certified by: Dr. Prof. Richmond Teye Ackam ................................. .......................... (Supervisor’s Name) Signature Date Certified by: K. B. Kissiedu .............................. ........................ (Head of Department) Signature Date CHAPTER ONE INTRODUCTION Background to the study Traditional wall painting is an old art practiced in many different parts of the world. This art form has existed since pre-historic times according to (Skira, 1950) and (Kissick, 1993). In Africa, cave paintings exist in many countries such as “Egypt, Algeria, Libya, Zimbabwe and South Africa”, (Wilcox, 1984). Traditional wall painting mostly by women can be found in many parts of Africa including Ghana, Southern Africa and Nigeria. These paintings are done mostly to enhance the appearance of the buildings and also serve other purposes as well. “Wall painting has been practiced in Northern Ghana for centuries after the collapse of the Songhai Empire,” (Ross and Cole, 1977). -
The Implications of Fractal Fluency for Biophilic Architecture
JBU Manuscript TEMPLATE The Implications of Fractal Fluency for Biophilic Architecture a b b a c b R.P. Taylor, A.W. Juliani, A. J. Bies, C. Boydston, B. Spehar and M.E. Sereno aDepartment of Physics, University of Oregon, Eugene, OR 97403, USA bDepartment of Psychology, University of Oregon, Eugene, OR 97403, USA cSchool of Psychology, UNSW Australia, Sydney, NSW, 2052, Australia Abstract Fractals are prevalent throughout natural scenery. Examples include trees, clouds and coastlines. Their repetition of patterns at different size scales generates a rich visual complexity. Fractals with mid-range complexity are particularly prevalent. Consequently, the ‘fractal fluency’ model of the human visual system states that it has adapted to these mid-range fractals through exposure and can process their visual characteristics with relative ease. We first review examples of fractal art and architecture. Then we review fractal fluency and its optimization of observers’ capabilities, focusing on our recent experiments which have important practical consequences for architectural design. We describe how people can navigate easily through environments featuring mid-range fractals. Viewing these patterns also generates an aesthetic experience accompanied by a reduction in the observer’s physiological stress-levels. These two favorable responses to fractals can be exploited by incorporating these natural patterns into buildings, representing a highly practical example of biophilic design Keywords: Fractals, biophilia, architecture, stress-reduction, -
An Introduction to Apophysis © Clive Haynes MMXX
Apophysis Fractal Generator An Introduction Clive Haynes Fractal ‘Flames’ The type of fractals generated are known as ‘Flame Fractals’ and for the curious, I append a note about their structure, gleaned from the internet, at the end of this piece. Please don’t ask me to explain it! Where to download Apophysis: go to https://sourceforge.net/projects/apophysis/ Sorry Mac users but it’s only available for Windows. To see examples of fractal images I’ve generated using Apophysis, I’ve made an Issuu e-book and here’s the URL. https://issuu.com/fotopix/docs/ordering_kaos Getting Started There’s not a defined ‘follow this method workflow’ for generating interesting fractals. It’s really a matter of considerable experimentation and the accumulation of a knowledge-base about general principles: what the numerous presets tend to do and what various options allow. Infinite combinations of variables ensure there’s also a huge serendipity factor. I’ve included a few screen-grabs to help you. The screen-grabs are detailed and you may need to enlarge them for better viewing. Once Apophysis has loaded, it will provide a Random Batch of fractal patterns. Some will be appealing whilst many others will be less favourable. To generate another set, go to File > Random Batch (shortcut Ctrl+B). Screen-grab 1 Choose a fractal pattern from the batch and it will appear in the main window (Screen-grab 1). Depending upon the complexity of the fractal and the processing power of your computer, there will be a ‘wait time’ every time you change a parameter. -
Rendering Hypercomplex Fractals Anthony Atella [email protected]
Rhode Island College Digital Commons @ RIC Honors Projects Overview Honors Projects 2018 Rendering Hypercomplex Fractals Anthony Atella [email protected] Follow this and additional works at: https://digitalcommons.ric.edu/honors_projects Part of the Computer Sciences Commons, and the Other Mathematics Commons Recommended Citation Atella, Anthony, "Rendering Hypercomplex Fractals" (2018). Honors Projects Overview. 136. https://digitalcommons.ric.edu/honors_projects/136 This Honors is brought to you for free and open access by the Honors Projects at Digital Commons @ RIC. It has been accepted for inclusion in Honors Projects Overview by an authorized administrator of Digital Commons @ RIC. For more information, please contact [email protected]. Rendering Hypercomplex Fractals by Anthony Atella An Honors Project Submitted in Partial Fulfillment of the Requirements for Honors in The Department of Mathematics and Computer Science The School of Arts and Sciences Rhode Island College 2018 Abstract Fractal mathematics and geometry are useful for applications in science, engineering, and art, but acquiring the tools to explore and graph fractals can be frustrating. Tools available online have limited fractals, rendering methods, and shaders. They often fail to abstract these concepts in a reusable way. This means that multiple programs and interfaces must be learned and used to fully explore the topic. Chaos is an abstract fractal geometry rendering program created to solve this problem. This application builds off previous work done by myself and others [1] to create an extensible, abstract solution to rendering fractals. This paper covers what fractals are, how they are rendered and colored, implementation, issues that were encountered, and finally planned future improvements.