A Visual and Tactile Experience of Fractals
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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. -
Fractal (Mandelbrot and Julia) Zero-Knowledge Proof of Identity
Journal of Computer Science 4 (5): 408-414, 2008 ISSN 1549-3636 © 2008 Science Publications Fractal (Mandelbrot and Julia) Zero-Knowledge Proof of Identity Mohammad Ahmad Alia and Azman Bin Samsudin School of Computer Sciences, University Sains Malaysia, 11800 Penang, Malaysia Abstract: We proposed a new zero-knowledge proof of identity protocol based on Mandelbrot and Julia Fractal sets. The Fractal based zero-knowledge protocol was possible because of the intrinsic connection between the Mandelbrot and Julia Fractal sets. In the proposed protocol, the private key was used as an input parameter for Mandelbrot Fractal function to generate the corresponding public key. Julia Fractal function was then used to calculate the verified value based on the existing private key and the received public key. The proposed protocol was designed to be resistant against attacks. Fractal based zero-knowledge protocol was an attractive alternative to the traditional number theory zero-knowledge protocol. Key words: Zero-knowledge, cryptography, fractal, mandelbrot fractal set and julia fractal set INTRODUCTION Zero-knowledge proof of identity system is a cryptographic protocol between two parties. Whereby, the first party wants to prove that he/she has the identity (secret word) to the second party, without revealing anything about his/her secret to the second party. Following are the three main properties of zero- knowledge proof of identity[1]: Completeness: The honest prover convinces the honest verifier that the secret statement is true. Soundness: Cheating prover can’t convince the honest verifier that a statement is true (if the statement is really false). Fig. 1: Zero-knowledge cave Zero-knowledge: Cheating verifier can’t get anything Zero-knowledge cave: Zero-Knowledge Cave is a other than prover’s public data sent from the honest well-known scenario used to describe the idea of zero- prover. -
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. -
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, -
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. -
Lecture 9: Newton Method 9.1 Motivation 9.2 History
10-725: Convex Optimization Fall 2013 Lecture 9: Newton Method Lecturer: Barnabas Poczos/Ryan Tibshirani Scribes: Wen-Sheng Chu, Shu-Hao Yu Note: LaTeX template courtesy of UC Berkeley EECS dept. 9.1 Motivation Newton method is originally developed for finding a root of a function. It is also known as Newton- Raphson method. The problem can be formulated as, given a function f : R ! R, finding the point x? such that f(x?) = 0. Figure 9.1 illustrates another motivation of Newton method. Given a function f, we want to approximate it at point x with a quadratic function fb(x). We move our the next step determined by the optimum of fb. Figure 9.1: Motivation for quadratic approximation of a function. 9.2 History Babylonian people first applied the Newton method to find the square root of a positive number S 2 R+. The problem can be posed as solving the equation f(x) = x2 − S = 0. They realized the solution can be achieved by applying the iterative update rule: 2 1 S f(xk) xk − S xn+1 = (xk + ) = xk − 0 = xk − : (9.1) 2 xk f (xk) 2xk This update rule converges to the square root of S, which turns out to be a special case of Newton method. This could be the first application of Newton method. The starting point affects the convergence of the Babylonian's method for finding the square root. Figure 9.2 shows an example of solving the square root for S = 100. x- and y-axes represent the number of iterations and the variable, respectively. -
Newton.Indd | Sander Pinkse Boekproductie | 16-11-12 / 14:45 | Pag
omslag Newton.indd | Sander Pinkse Boekproductie | 16-11-12 / 14:45 | Pag. 1 e Dutch Republic proved ‘A new light on several to be extremely receptive to major gures involved in the groundbreaking ideas of Newton Isaac Newton (–). the reception of Newton’s Dutch scholars such as Willem work.’ and the Netherlands Jacob ’s Gravesande and Petrus Prof. Bert Theunissen, Newton the Netherlands and van Musschenbroek played a Utrecht University crucial role in the adaption and How Isaac Newton was Fashioned dissemination of Newton’s work, ‘is book provides an in the Dutch Republic not only in the Netherlands important contribution to but also in the rest of Europe. EDITED BY ERIC JORINK In the course of the eighteenth the study of the European AND AD MAAS century, Newton’s ideas (in Enlightenment with new dierent guises and interpre- insights in the circulation tations) became a veritable hype in Dutch society. In Newton of knowledge.’ and the Netherlands Newton’s Prof. Frans van Lunteren, sudden success is analyzed in Leiden University great depth and put into a new perspective. Ad Maas is curator at the Museum Boerhaave, Leiden, the Netherlands. Eric Jorink is researcher at the Huygens Institute for Netherlands History (Royal Dutch Academy of Arts and Sciences). / www.lup.nl LUP Newton and the Netherlands.indd | Sander Pinkse Boekproductie | 16-11-12 / 16:47 | Pag. 1 Newton and the Netherlands Newton and the Netherlands.indd | Sander Pinkse Boekproductie | 16-11-12 / 16:47 | Pag. 2 Newton and the Netherlands.indd | Sander Pinkse Boekproductie | 16-11-12 / 16:47 | Pag. -
Generating Fractals Using Complex Functions
Generating Fractals Using Complex Functions Avery Wengler and Eric Wasser What is a Fractal? ● Fractals are infinitely complex patterns that are self-similar across different scales. ● Created by repeating simple processes over and over in a feedback loop. ● Often represented on the complex plane as 2-dimensional images Where do we find fractals? Fractals in Nature Lungs Neurons from the Oak Tree human cortex Regardless of scale, these patterns are all formed by repeating a simple branching process. Geometric Fractals “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.” Mandelbrot (1983) The Sierpinski Triangle Algebraic Fractals ● Fractals created by repeatedly calculating a simple equation over and over. ● Were discovered later because computers were needed to explore them ● Examples: ○ Mandelbrot Set ○ Julia Set ○ Burning Ship Fractal Mandelbrot Set ● Benoit Mandelbrot discovered this set in 1980, shortly after the invention of the personal computer 2 ● zn+1=zn + c ● That is, a complex number c is part of the Mandelbrot set if, when starting with z0 = 0 and applying the iteration repeatedly, the absolute value of zn remains bounded however large n gets. Animation based on a static number of iterations per pixel. The Mandelbrot set is the complex numbers c for which the sequence ( c, c² + c, (c²+c)² + c, ((c²+c)²+c)² + c, (((c²+c)²+c)²+c)² + c, ...) does not approach infinity. Julia Set ● Closely related to the Mandelbrot fractal ● Complementary to the Fatou Set Featherino Fractal Newton’s method for the roots of a real valued function Burning Ship Fractal z2 Mandelbrot Render Generic Mandelbrot set. -
Writing the History of Dynamical Systems and Chaos
Historia Mathematica 29 (2002), 273–339 doi:10.1006/hmat.2002.2351 Writing the History of Dynamical Systems and Chaos: View metadata, citation and similar papersLongue at core.ac.uk Dur´ee and Revolution, Disciplines and Cultures1 brought to you by CORE provided by Elsevier - Publisher Connector David Aubin Max-Planck Institut fur¨ Wissenschaftsgeschichte, Berlin, Germany E-mail: [email protected] and Amy Dahan Dalmedico Centre national de la recherche scientifique and Centre Alexandre-Koyre,´ Paris, France E-mail: [email protected] Between the late 1960s and the beginning of the 1980s, the wide recognition that simple dynamical laws could give rise to complex behaviors was sometimes hailed as a true scientific revolution impacting several disciplines, for which a striking label was coined—“chaos.” Mathematicians quickly pointed out that the purported revolution was relying on the abstract theory of dynamical systems founded in the late 19th century by Henri Poincar´e who had already reached a similar conclusion. In this paper, we flesh out the historiographical tensions arising from these confrontations: longue-duree´ history and revolution; abstract mathematics and the use of mathematical techniques in various other domains. After reviewing the historiography of dynamical systems theory from Poincar´e to the 1960s, we highlight the pioneering work of a few individuals (Steve Smale, Edward Lorenz, David Ruelle). We then go on to discuss the nature of the chaos phenomenon, which, we argue, was a conceptual reconfiguration as