CS87 Project Report: Ray Marching 3-Dimensional Fractals on GPU Clusters
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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. -
The Fractal Dimension of Islamic and Persian Four-Folding Gardens
Edinburgh Research Explorer The fractal dimension of Islamic and Persian four-folding gardens Citation for published version: Patuano, A & Lima, MF 2021, 'The fractal dimension of Islamic and Persian four-folding gardens', Humanities and Social Sciences Communications, vol. 8, 86. https://doi.org/10.1057/s41599-021-00766-1 Digital Object Identifier (DOI): 10.1057/s41599-021-00766-1 Link: Link to publication record in Edinburgh Research Explorer Document Version: Publisher's PDF, also known as Version of record Published In: Humanities and Social Sciences Communications General rights Copyright for the publications made accessible via the Edinburgh Research Explorer is retained by the author(s) and / or other copyright owners and it is a condition of accessing these publications that users recognise and abide by the legal requirements associated with these rights. Take down policy The University of Edinburgh has made every reasonable effort to ensure that Edinburgh Research Explorer content complies with UK legislation. If you believe that the public display of this file breaches copyright please contact [email protected] providing details, and we will remove access to the work immediately and investigate your claim. Download date: 06. Oct. 2021 ARTICLE https://doi.org/10.1057/s41599-021-00766-1 OPEN The fractal dimension of Islamic and Persian four- folding gardens ✉ Agnès Patuano 1 & M. Francisca Lima 2 Since Benoit Mandelbrot (1924–2010) coined the term “fractal” in 1975, mathematical the- ories of fractal geometry have deeply influenced the fields of landscape perception, archi- tecture, and technology. Indeed, their ability to describe complex forms nested within each fi 1234567890():,; other, and repeated towards in nity, has allowed the modeling of chaotic phenomena such as weather patterns or plant growth. -
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. -
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, -
Harmonic and Fractal Image Analysis (2001), Pp. 3 - 5 3
O. Zmeskal et al. / HarFA - Harmonic and Fractal Image Analysis (2001), pp. 3 - 5 3 Fractal Analysis of Image Structures Oldřich Zmeškal, Michal Veselý, Martin Nežádal, Miroslav Buchníček Institute of Physical and Applied Chemistry, Brno University of Technology Purkynova 118, 612 00 Brno, Czech Republic [email protected] Introduction of terms Fractals − Fractals are of rough or fragmented geometric shape that can be subdivided in parts, each of which is (at least approximately) a reduced copy of the whole. − They are crinkly objects that defy conventional measures, such as length and are most often characterised by their fractal dimension − They are mathematical sets with a high degree of geometrical complexity that can model many natural phenomena. Almost all natural objects can be observed as fractals (coastlines, trees, mountains, and clouds). − Their fractal dimension strictly exceeds topological dimension Fractal dimension − The number, very often non-integer, often the only one measure of fractals − It measures the degree of fractal boundary fragmentation or irregularity over multiple scales − It determines how fractal differs from Euclidean objects (point, line, plane, circle etc.) Monofractals / Multifractals − Just a small group of fractals have one certain fractal dimension, which is scale invariant. These fractals are monofractals − The most of natural fractals have different fractal dimensions depending on the scale. They are composed of many fractals with the different fractal dimension. They are called „multifractals“ − To characterise set of multifractals (e.g. set of the different coastlines) we do not have to establish all their fractal dimensions, it is enough to evaluate their fractal dimension at the same scale Self-similarity/ Semi-self similarity − Fractal is strictly self-similar if it can be expressed as a union of sets, each of which is an exactly reduced copy (is geometrically similar to) of the full set (Sierpinski triangle, Koch flake). -
LOCKDOWN Maths Inspired Art No Longer an Etching but a Multi Medium Artwork A3 Size
LOCKDOWN Maths Inspired Art No Longer an Etching but a Multi Medium Artwork A3 size Gr11 /// PMM /// Term 2 /// 2020 Term 2’s theme has been inspired by the http://www.mathart.co.za/ competition initiated by the education department. We want to explore the link between making art and understanding maths principles. Each learner is to find a connection between a visual composition and being able to explain this using a mathematical explanation. Patterns, tessellations, fractals, proportion and perspective are all themes one could explore in this term 2 project. I suggest learners keep their final compositions simple and clean. Simple black line work as we are producing hard ground etchings in class. Due to the lockdown situation I would like each learner to produce their final practical at home. We will stick to the same theme as you have all done much work in your SB. What I would like is a final artwork, No smaller than A3 in whatever and whichever materials you have in your space at home. Please don't forget that stationary shops including art shops are open. I understand money is tight however pens, pencils, food colouring, coffee we should be able to work with easier. You will take your final composition and produce a final artwork with your ideas and creativity around “Maths in Art”. Suggestions for paper - cardboard boxes, old cereal boxes, collaging paper together. Please explore the format of the canvas - square, rectangular, oval are all options. [Each learn has already been given a brass etching plate and therefore has the size (39com x18cm) of the final composition. -
Analyse D'un Modèle De Représentations En N Dimensions De
Analyse d’un modèle de représentations en n dimensions de l’ensemble de Mandelbrot, exploration de formes fractales particulières en architecture. Jean-Baptiste Hardy 1 Département d’architecture de l’INSA Strasbourg ont contribués à la réalisation de ce mémoire Pierre Pellegrino Directeur de mémoire Emmanuelle P. Jeanneret Docteur en architecture Francis Le Guen Fractaliste, journaliste, explorateur Serge Salat Directeur du laboratoire des morphologies urbaines Novembre 2013 2 Sommaire Avant-propos .................................................................................................. 4 Introduction .................................................................................................... 5 1 Introduction aux fractales : .................................................... 6 1-1 Présentation des fractales �������������������������������������������������������������������� 6 1-1-1 Les fractales en architecture ������������������������������������������������������������� 7 1-1-2 Les fractales déterministes ................................................................ 8 1-2 Benoit Mandelbrot .................................................................................. 8 1-2-1 L’ensemble de Mandelbrot ................................................................ 8 1-2-2 Mandelbrot en architecture .............................................................. 9 Illustrations ................................................................................................... 10 2 Un modèle en n dimensions : -
Fractal Analysis of the Vascular Tree in the Human Retina
3 Jun 2004 22:39 AR AR220-BE06-17.tex AR220-BE06-17.sgm LaTeX2e(2002/01/18) P1: IKH 10.1146/annurev.bioeng.6.040803.140100 Annu. Rev. Biomed. Eng. 2004. 6:427–52 doi: 10.1146/annurev.bioeng.6.040803.140100 Copyright c 2004 by Annual Reviews. All rights reserved First published online as a Review in Advance on April 13, 2004 FRACTAL ANALYSIS OF THE VASCULAR TREE IN THE HUMAN RETINA BarryR.Masters Formerly, Gast Professor, Department of Ophthalmology, University of Bern, 3010 Bern, Switzerland; email: [email protected] Key Words fractals, fractal structures, eye, bronchial tree, retinal circulation, retinal blood vessel patterns, Murray Principle, optimal vascular tree, human lung, human bronchial tree I Abstract The retinal circulation of the normal human retinal vasculature is statis- tically self-similar and fractal. Studies from several groups present strong evidence that the fractal dimension of the blood vessels in the normal human retina is approximately 1.7. This is the same fractal dimension that is found for a diffusion-limited growth process, and it may have implications for the embryological development of the retinal vascular system. The methods of determining the fractal dimension for branching trees are reviewed together with proposed models for the optimal formation (Murray Princi- ple) of the branching vascular tree in the human retina and the branching pattern of the human bronchial tree. The limitations of fractal analysis of branching biological struc- tures are evaluated. Understanding the design principles of branching vascular systems and the human bronchial tree may find applications in tissue and organ engineering, i.e., bioartificial organs for both liver and kidney. -
Fractals: a Resonance Between Art and Nature
Fractals: A Resonance between Art and Nature Richard Taylor, Ben Newell, Branka Spehar and Colin Clifford Physics and Psychology Reveal the Fractal Secrets of Jackson Pollock’s Drip Paintings The discovery of fractal patterns was an interesting advance in the understanding of nature [1, 2]. Since the 1970s many natural scenes have been shown to be com- posed of fractal patterns. Examples include coastlines, clouds, lightning, trees, rivers and mountains. Fractal patterns are referred to as a new geometry because they look nothing like the more traditional shapes such as triangles and squares known within mathematics as Euclidean geometry. Whereas these shapes are composed of smooth lines, fractals are built from patterns that recur at finer and finer magnifications, generating shapes of immense complexity. Even the most common of nature’s fractal objects, such as the tree shown in Figure 1, contrast 53 sharply with the simplicity of artificially constructed objects such as buildings. But do people find such complexity visually appealing? In particular, given peo- ple’s continuous visual exposure to nature’s fractals, do we possess a fundamental appreciation of these patterns – an affinity independent of conscious delibera- tion? The study of human aesthetic judgement of fractal patterns constitutes a rela- tively new research field within perception psychology. Only recently has research started to quantify people’s visual preferences for (or against) fractal content. A useful starting point in assessing people’s ability to recognize and create visual pat- ternsistoexaminethemethodsusedbyartists to generate aesthetically pleasing images on their canvases. More specifically, in terms of exploring an intrinsic ap- preciation of certain patterns, it seems appropriate to examine the Surrealists and their desire to paint images which are free of conscious consideration. -
Math Morphing Proximate and Evolutionary Mechanisms
Curriculum Units by Fellows of the Yale-New Haven Teachers Institute 2009 Volume V: Evolutionary Medicine Math Morphing Proximate and Evolutionary Mechanisms Curriculum Unit 09.05.09 by Kenneth William Spinka Introduction Background Essential Questions Lesson Plans Website Student Resources Glossary Of Terms Bibliography Appendix Introduction An important theoretical development was Nikolaas Tinbergen's distinction made originally in ethology between evolutionary and proximate mechanisms; Randolph M. Nesse and George C. Williams summarize its relevance to medicine: All biological traits need two kinds of explanation: proximate and evolutionary. The proximate explanation for a disease describes what is wrong in the bodily mechanism of individuals affected Curriculum Unit 09.05.09 1 of 27 by it. An evolutionary explanation is completely different. Instead of explaining why people are different, it explains why we are all the same in ways that leave us vulnerable to disease. Why do we all have wisdom teeth, an appendix, and cells that if triggered can rampantly multiply out of control? [1] A fractal is generally "a rough or fragmented geometric shape that can be split into parts, each of which is (at least approximately) a reduced-size copy of the whole," a property called self-similarity. The term was coined by Beno?t Mandelbrot in 1975 and was derived from the Latin fractus meaning "broken" or "fractured." A mathematical fractal is based on an equation that undergoes iteration, a form of feedback based on recursion. http://www.kwsi.com/ynhti2009/image01.html A fractal often has the following features: 1. It has a fine structure at arbitrarily small scales. -
Fractal Art Using Variations on Escape Time Algorithms in the Complex Plane
Fractal art using variations on escape time algorithms in the complex plane P. D. SISSON Louisiana State University in Shreveport, USA One University Place Shreveport LA 71115 USA Email: [email protected] The creation of fractal art is easily accomplished through the use of widely- available software, and little mathematical knowledge is required for its use. But such an approach is inherently limiting and obscures many possible avenues of investigation. This paper explores the use of orbit traps together with a simple escape time algorithm for creating fractal art based on nontrivial complex-valued functions. The purpose is to promote a more direct hands-on approach to exploring fractal artistic expressions. The article includes a gallery of images illustrating the visual effects of function, colour palette, and orbit trap choices, and concludes with suggestions for further experimentation. Keywords: Escape time algorithm; fractal; fractal art; dynamical system; orbit trap AMS Subject Classification: 28A80; 37F10; 37F45 1 Introduction The variety of work currently being created and classified as fractal art is pleasantly immense, and the mathematical knowledge required by artists to participate in the creative process is now essentially nil. Many software packages have been written that allow artists to explore fractal creations on purely aesthetic terms, and the beauty of much of the resulting work is undeniable (see http://en.wikipedia.org/wiki/Fractal for an up-to-date collection of fractal software, and http://www.fractalartcontests.com/2006/ for a nice collection of recent fractal art). But a reliance on existing software and a reluctance to delve into the mathematics of fractal art is inherently limiting and holds the threat of stagnation.