Apophysis :– an Intermediate User Guide
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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. -
Bachelorarbeit Im Studiengang Audiovisuelle Medien Die
Bachelorarbeit im Studiengang Audiovisuelle Medien Die Nutzbarkeit von Fraktalen in VFX Produktionen vorgelegt von Denise Hauck an der Hochschule der Medien Stuttgart am 29.03.2019 zur Erlangung des akademischen Grades eines Bachelor of Engineering Erst-Prüferin: Prof. Katja Schmid Zweit-Prüfer: Prof. Jan Adamczyk Eidesstattliche Erklärung Name: Vorname: Hauck Denise Matrikel-Nr.: 30394 Studiengang: Audiovisuelle Medien Hiermit versichere ich, Denise Hauck, ehrenwörtlich, dass ich die vorliegende Bachelorarbeit mit dem Titel: „Die Nutzbarkeit von Fraktalen in VFX Produktionen“ selbstständig und ohne fremde Hilfe verfasst und keine anderen als die angegebenen Hilfsmittel benutzt habe. Die Stellen der Arbeit, die dem Wortlaut oder dem Sinn nach anderen Werken entnommen wurden, sind in jedem Fall unter Angabe der Quelle kenntlich gemacht. Die Arbeit ist noch nicht veröffentlicht oder in anderer Form als Prüfungsleistung vorgelegt worden. Ich habe die Bedeutung der ehrenwörtlichen Versicherung und die prüfungsrechtlichen Folgen (§26 Abs. 2 Bachelor-SPO (6 Semester), § 24 Abs. 2 Bachelor-SPO (7 Semester), § 23 Abs. 2 Master-SPO (3 Semester) bzw. § 19 Abs. 2 Master-SPO (4 Semester und berufsbegleitend) der HdM) einer unrichtigen oder unvollständigen ehrenwörtlichen Versicherung zur Kenntnis genommen. Stuttgart, den 29.03.2019 2 Kurzfassung Das Ziel dieser Bachelorarbeit ist es, ein Verständnis für die Generierung und Verwendung von Fraktalen in VFX Produktionen, zu vermitteln. Dabei bildet der Einblick in die Arten und Entstehung der Fraktale -
Michael Angelo Gomez – Exegesis
CCA1103 – Creativity: Theory, Practice, and History 1 CCA1103 – Creativity: Theory, Practice, and History Fractal Imaging: A Mini Exegesis by Michael Angelo Gomez 10445917 CCA1103 – Creativity: Theory, Practice, and History Project Exegesis Christopher Mason 2 CCA1103 – Creativity: Theory, Practice, and History Table of Contents I. Introduction ......................................................................................................................... 4 II. Purpose and Application.................................................................................................... 4 III. Theoretical Context .......................................................................................................... 6 IV. The Creative Process ..................................................................................................... 10 V. Conclusion ....................................................................................................................... 18 VI. Appendices ..................................................................................................................... 19 VII. References .................................................................................................................... 21 3 CCA1103 – Creativity: Theory, Practice, and History I. Introduction Upon the completion of my proposed creative project, a number of insights have been unearthed in light of the perception of my work now that it has reached its final stage of presentation and display. This reflection -
Furniture Design Inspired from Fractals
169 Rania Mosaad Saad Furniture design inspired from fractals. Dr. Rania Mosaad Saad Assistant Professor, Interior Design and Furniture Department, Faculty of Applied Arts, Helwan University, Cairo, Egypt Abstract: Keywords: Fractals are a new branch of mathematics and art. But what are they really?, How Fractals can they affect on Furniture design?, How to benefit from the formation values and Mandelbrot Set properties of fractals in Furniture Design?, these were the research problem . Julia Sets This research consists of two axis .The first axe describes the most famous fractals IFS fractals were created, studies the Fractals structure, explains the most important fractal L-system fractals properties and their reflections on furniture design. The second axe applying Fractal flame functional and aesthetic values of deferent Fractals formations in furniture design Newton fractals inspired from them to achieve the research objectives. Furniture Design The research follows the descriptive methodology to describe the fractals kinds and properties, and applied methodology in furniture design inspired from fractals. Paper received 12th July 2016, Accepted 22th September 2016 , Published 15st of October 2016 nearly identical starting positions, and have real Introduction: world applications in nature and human creations. Nature is the artist's inspiring since the beginning Some architectures and interior designers turn to of creation. Despite the different artistic trends draw inspiration from the decorative formations, across different eras- ancient and modern- and the geometric and dynamic properties of fractals in artists perception of reality, but that all of these their designs which enriched the field of trends were united in the basic inspiration (the architecture and interior design, and benefited nature). -
Announcement
Announcement 24 articles, 2016-06-12 12:02 1 Live Then, Live Now — Magazine — Walker Art Center August 15, 1981 was a Saturday with temperatures in the 70s—on (0.01/1) the cool side for the height of summer in Minneapolis. Diana Ross... 2016-06-12 06:54 11KB www.walkerart.org 2 Jorge Cavelier|Colombia|Special Project Art Santa Fe|Horizon Jorge Cavelier, “Special Project at Art Santa Fe” entitled “Horizon” (0.01/1) curated by Silvia Medina, Chief Curator of Contemporary Art Projects and Linda Mariano... 2016-06-12 07:17 2KB contemporaryartprojectsusa.com 3 They Are Wearing: London Men’s Fashion Week Spring 2017 WWD went off the runways and onto the streets and sidewalks for (0.01/1) the best looks from London Collections: Men. 2016-06-11 16:02 1KB wwd.com 4 Maria Fernanda Lairet, Inaugurates the 2016 Winter Season at MDC-West|Art + Design Museum Miami, Florida Jan. 5, 2016 – The Miami Dade College (MDC) Campus Galleries of Art + Design presents several campus exhibitions... 2016-06-12 10:59 1KB contemporaryartprojectsusa.com 5 Rosaria “AESTUS” Vigorito|Italy-USA Artist’s Statement: … most events are inexpressible, taking place in a realm where no word has ever entered, and more inexpressible than... 2016-06-12 10:59 2KB contemporaryartprojectsusa.com 6 Hippie Modernism: The Struggle for Utopia exhibition catalogue - by Walker Art Center design studio / Design Awards While the turbulent social history of the 1960s is well known, its cultural production remains comparatively under-examined. In this substantial volume,... 2016-06-11 18:52 6KB designawards.core77.com 7 Audition Announcement! Choreographers’ Evening 2016 The Walker Art Center and Guest Curator Rosy Simas are seeking dance makers of all forms to be presented in the 44th Annual Choreographers’ Evening. -
Fractales: La Belleza De La Naturaleza
FRACTALES: LA BELLEZA DE LA NATURALEZA (y su relación con la pintura expresionista) 1/12 J. Palacián y C. Martínez (UPNa e IES Alhama) B. Mandelbrot #1 B. Mandelbrot (1967): “How long is the British coastline?” 2/12 J. Palacián y C. Martínez (UPNa e IES Alhama) B. Mandelbrot #2 Es el principal exponente del interés por la Geometría fractal. Mostró cómo los fractales aparecen en muchos campos, tanto en las Matemáticas como, sobre todo, en la Naturaleza. Fractal viene del latín fractus, que significa roto o fracturado. 3/12 J. Palacián y C. Martínez (UPNa e IES Alhama) 4/12 J. Palacián y C. Martínez (UPNa e IES Alhama) Características de los Fractales 1. Estructura que se repite en escalas cada vez más pequeñas. 2. Es demasiado irregular para ser descrita por la Geometría Euclídea. 3. Estructura geométrica que es dividida en partes, cada una de las cuales es (al menos aproximadamente) una copia de tamaño reducido de la estructura original. 4. Se forma por iteración: La definición es recursiva. 5/12 J. Palacián y C. Martínez (UPNa e IES Alhama) Dimensión fractal #3 Dimensión fractal Tenemos un objeto para el que necesitamos ensamblar N copias para construir una versión más grande con un factor de escala S. La dimensión fractal del objeto se define como el número real positivo d, que cumple: Sd=N 6/12 J. Palacián y C. Martínez (UPNa e IES Alhama) Ejemplo: Curva de Koch #1 7/12 J. Palacián y C. Martínez (UPNa e IES Alhama) Ejemplo: Curva de Koch #2 • ¿Cuántas copias de la curva original son necesarias para construir una versión más grande? 4. -
Final Program
2014 ANNUAL MEETING Welcome UPCOMING MEETINGS 11th Annual International Pediatric Orthopaedic Symposium December 3-6, 2014 – Orlando, FL Presented by POSNA and AAOS POSNA Specialty Day March 28, 2015 – Las Vegas, Nevada POSNA 2015 Annual Meeting and Pre-Course April 29 – May 2, 2015 Marriott Marquis – Atlanta, Georgia Acknowledgments The Pediatric Orthopaedic Society of North America gratefully acknowledges the following for their generous financial support during 2014: Howard Steel Foundation St. Giles Foundation Angela S.M. Kuo Memorial Fund Double Diamond Level K2M* Medtronic* OrthoPediatrics* Diamond Level DePuy Synthes* Stryker* Platinum Level Biomet Spine/Trauma* Shriners Hospitals for Children Gold Level Arthrex, Inc. BioMarin Pharmaceutical Inc. Globus Medical Medicrea, USA* Pega Medical* Wright Medical Silver Level Alphatec Spine* Ellipse Technologies, Inc. Orthofix* *Provided financial support for the 2014 Annual Meeting Thank-2- You On behalf of our local host, David Skaggs and his wife Val Ulene, we welcome you to Hollywood and the 2014 POSNA Annual Meeting. Many POSNA volunteers and staff Welcomehave been working hard to make our experience in Hollywood spectacular. The meeting opens on Wednesday morning with the pre-course entitled “Quality, Safety, Value: From Theory to Practice Management.” Min Kocher has enlisted experts both inside and outside of POSNA to help all of us understand how the changing healthcare environment and a focus on quality and value will affect our practice. The scientific sessions begin Wednesday afternoon: Todd Milbrandt and his program committee have assembled some of the high- est rated papers submitted into an outstanding quality and value session that will help your patients. The opening ceremony on Wednesday evening allows us to recognize our industry spon- sors and the outstanding achievement of several of our members. -
SIGEVO Newsletter
June 2006 SIGEVOlution Volume 1 Issue 2 newsletter of the ACM Special Interest Group on Genetic and Evolutionary Computation in this issue The Network of EC Authors Carlos Cotta & Juan-Julián Merelo The Electric Sheep Scott Draves A Survey of μGP Massimiliano Schillaci & Ernesto Sánchez The Columns GECCO-2006 highlights events reports letters forthcoming papers new books calls & calendar EDITORIAL SIGEVOlution June 2006, Volume 1, Issue 2 Newsletter of the ACM Special Interest Group Editorial on Genetic and Evolutionary Computation. ECCO is just a few days away, it is time to pack things up and leave for Seattle! I SIGEVO Officers am always happy when this time of the year comes. Not only GECCO has always a Erik Goodman, Chair terrific technical program and gives access to several, exciting, EC related events (nine John Koza, Vice Chair G workshops and tens of tutorials this year!). GECCO is also the time when I am able Erick Cantu-Paz, Secretary to meet with long time friends and to catch up with state-of-the-art research in the field. So, just Wolfgang Banzhaf, Treasurer before I leave, let me introduce you to the new issue of SIGEVOlution. SIGEVOlution Board This issue brings you two contributed papers, the software corner with an overview of µGP, and several columns. At first, Carlos Cotta and Juan-Julián Merelo take us inside our community with an Pier Luca Lanzi (EIC) analysis of the co-authorship network that arises from a major EC bibliography. Then, Scott Draves Lawrence "David" Davis (a.k.a. Spot) overviews his famous creature, the Electric Sheep, a distributed screen-saver which Martin Pelikan exploits users’ votes to evolve animated artificial “sheep”. -
Accelerated Rendering of Fractal Flames
Accelerated rendering of fractal flames Michael Semeniuk, Mahew Znoj, Nicolas Mejia, and Steven Robertson November 28, 2011 1 Executive Summary 1.1 Description ............................................ 1 1.2 Significance ............................................ 1 1.3 Motivation ............................................ 1 1.4 Goals and Objectives ....................................... 2 1.5 Usage Requirements ....................................... 2 1.6 Research ............................................. 3 1.7 Design ............................................... 3 2 Fractal Background 2.1 Purpose of Section ........................................ 4 2.2 Origins: Euclidean Geometry vs. Fractal Geometry ........................ 5 2.3 Fractal Geometry and Its Properties ............................... 5 2.4 Fractal Types ........................................... 9 2.5 Visual Appeal ........................................... 11 2.6 Limitations of Classical Fractal Algorithms ............................ 12 3 The Fractal Flame Algorithm 3.1 Section Outline .......................................... 14 3.2 Iterated Function System Primer ................................. 14 3.3 Fractal Flame Algorithm ..................................... 23 3.4 Filtering .............................................. 30 4 Existing implementations 4.1 flam3 ............................................... 34 4.2 Apophysis ............................................. 34 4.3 flam4 ............................................... 35 4.4 Fractron -
Fractal Art(Ists)
FRACTAL ART(ISTS) Marco Abate and Beatrice Possidente 1 Introduction “Fractals are everywhere.” This has been a sort of advertising line for fractal geometry (and for mathematics in general) since the Eighties, when Benoît Mandelbrot discovered the set now known as Mandelbrot set, and brought fractals to the general attention (see, e.g., [1, 2] for the story of his discovery, and [3] for an introduction to fractal geometry). As most good advertising lines, though not completely true, it is not too far from the truth. Possibly they are not exactly everywhere, but fractals are frequent enough to guarantee you will meet at least one as soon as you leave your full-of-straight-lines man-made-only office space and take a short walk in a natural environment. When you start thinking about it, this is not surprising. Fractals are easy to generate: it suffices to repeat over and over (infinitely many times in the mathematical world, but in the real world ten times is often close enough to infinity) the same simple process to create a complicated object; and tinkering with just a few parameters allows to obtain an amazingly wide range of different shapes, that can be easily adapted to specific requirements. It is quite an efficient scheme, and nature loves efficiency; complex structures can be created starting just from simple (but nonlinear!) tools. Coastlines and mountain lines; leaves arrangements and lightning; fractures and clouds; all examples of fractally generated shapes. And fractals are beautiful, there is no denying that. Something in their intricate shapes, in their repeating of similar forms at different scales, resonates deeply into our (fractal-shaped) brain, evokes our aesthetic senses, let us admire infinity easing our painfully perceived finiteness. -
Architecture of the Margins: the Topological Space of Ornamental Monsters and Prosthetic Skins
The topological space of ornamental monsters and prosthetic skins ! ! ! ! !"#$%&'#&("')*+)&$'),-".%/01) )*%!+(,(-(&'./-!0,/.%!(1!(2#/3%#+/-!3(#0+%20!/#4!,2(0+*%+'.!0$'#0! ! ! ! "#$%!"&&'(! ! ! ! ! ! ! ! ! ! ! ! iii ! ! ! ! A Thesis submitted in fulfillment of the requirements for the degree of ! Doctor of Philosophy ! University of Canberra ! July 2018 ! ! ! ! ! ! ! ! ! ! ! ! v Abstract ‘Monsters’ and ‘prostheses’ emerge graphically and metaphorically from the margins and gaps in discourse. This is significant, for ancient charts and texts harnessed graphic forms to make meaningful comment on related content. The placement of these borderline figures signaled difference but also, and more profoundly, marked out sites of transformation. Although monstrous and prosthetic figures have touched, intersected, and even become synonymous with one another over the course of history, for the most part they have remained split and embedded within contested disciplines. Nevertheless, the prosthetic trope, like the monstrous metaphor, stands for a problematic hybrid interface that has been heavily exploited within diverse disciplines, often reductively. Still, as with its monstrous counterpart, there remains a sense in which the prosthetic figure is also constitutive. This thesis draws on the ancient figure of the monster and its sensual inscription of the communicative space of architecture in order to re-frame the contemporary figure of the prosthesis. The aim is to open the space of architecture to the possibility of a shared reading that holds relevance for a plural and fragmented world. The process of re-reading and re-framing monsters and prostheses aligns with the way meaning and knowing is enacted by the figures themselves, as they disclose new understanding through shifts in perceptual orientation. -
Fractint Formula for Overlaying Fractals
Journal of Information Systems and Communication ISSN: 0976-8742 & E-ISSN: 0976-8750, Volume 3, Issue 1, 2012, pp.-347-352. Available online at http://www.bioinfo.in/contents.php?id=45 FRACTINT FORMULA FOR OVERLAYING FRACTALS SATYENDRA KUMAR PANDEY1, MUNSHI YADAV2 AND ARUNIMA1 1Institute of Technology & Management, Gorakhpur, U.P., India. 2Guru Tegh Bahadur Institute of Technology, New Delhi, India. *Corresponding Author: Email- [email protected], [email protected] Received: January 12, 2012; Accepted: February 15, 2012 Abstract- A fractal is generally a rough or fragmented geometric shape that can be split into parts, each of which is a reduced-size copy of the whole a property called self-similarity. Because they appear similar at all levels of magnification, fractals are often considered to be infi- nitely complex approximate fractals are easily found in nature. These objects display self-similar structure over an extended, but finite, scale range. Fractal analysis is the modelling of data by fractals. In general, fractals can be any type of infinitely scaled and repeated pattern. It is possible to combine two fractals in one image. Keywords- Fractal, Mandelbrot Set, Julia Set, Newton Set, Self-similarity Citation: Satyendra Kumar Pandey, Munshi Yadav and Arunima (2012) Fractint Formula for Overlaying Fractals. Journal of Information Systems and Communication, ISSN: 0976-8742 & E-ISSN: 0976-8750, Volume 3, Issue 1, pp.-347-352. Copyright: Copyright©2012 Satyendra Kumar Pandey, et al. This is an open-access article distributed under the terms of the Creative Commons Attribution License, which permits unrestricted use, distribution, and reproduction in any medium, provided the original author and source are credited.