標(biāo)題: Titlebook: Art and Illusionists; Nicholas Wade Book 2016 The Editor(s) (if applicable) and The Author(s), under exclusive license to Springer Nature [打印本頁] 作者: 歸納 時間: 2025-3-21 19:01
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書目名稱Art and Illusionists讀者反饋學(xué)科排名
作者: 一條卷發(fā) 時間: 2025-3-21 22:41
Vision, Illusion and Perceptionhttp://image.papertrans.cn/b/image/161826.jpg作者: 開花期女 時間: 2025-3-22 00:59
M. B. King,O. J. Catchpole,T. R. Bottpulating them to produce illusory worlds on flat surfaces. This has proved fascinating to humankind since the dawning of depiction, although we do not know when picture making did begin. Art and Illusionists is also a celebration of the ways we see pictures , and of our ability to distil meaning fro作者: 材料等 時間: 2025-3-22 07:56
M. H. M. Caralp,A. A. Clifford,S. E. Colebys have played with perspective to produce a wide range of pictorial puzzles. Anamorphoses are but one example of perceptual paradoxes and others are shown in this chapter. Perspective can be accelerated and decelerated and this has been a feature of some architectural manipulations, like Borromini’s作者: 云狀 時間: 2025-3-22 12:46
Extraction of Nuclear and Non-ferrous Metalsled trompe l’oeil. The label is much more modern than the method. Paintings in linear perspective have been widespread since the early fifteenth century but they create an impression of depth while at the same time appearing as flat surfaces. They can be called visual allusions because the marks on 作者: ODIUM 時間: 2025-3-22 16:20
Extraction of Nuclear and Non-ferrous Metalsattern has a visual organisation that seems quite different from the elements that make it up. This is seen most clearly in mosaics, which are constructed from tesserae – small cubes of marble, terracotta, or glass. Tiling or tessellation uses larger elements which can take different shapes, but a s作者: labile 時間: 2025-3-22 20:09 作者: 取之不竭 時間: 2025-3-22 22:35
Sujay Kumar Dutta,Dharmesh R. Lodhari stretching the rules of perspective. Their practitioners in art have been referred to as ‘geometricizers’ and they are preoccupied with space and time, trying either to contain or expel them from their works. ‘Geometricizers’ have been contrasted with ‘magicians’ who reacted against the technologic作者: oxidize 時間: 2025-3-23 04:35
https://doi.org/10.1007/978-3-319-91171-7entury in order to restrict them to the relatively small but reliable distortions of visual space, mostly in the domains of size or orientation. Classifying them in this way is too restrictive as some combine both dimensions and others involve different dimensions. Spatial illusions have been groupe作者: 無目標(biāo) 時間: 2025-3-23 06:24
SpringerBriefs in Speech Technologyore than one meaning and ambiguities are usually resolved by the context in which they occur. We play upon linguistic ambiguities to convey subtle distinctions that would be difficult to define precisely. Perceptual ambiguity refers to the alternation over time between differing interpretations of a作者: 進(jìn)取心 時間: 2025-3-23 10:39
Adaptive Wavelet Methods for SPDEs,es. This has long been the aim of certain branches of art. For example, anamorphoses have been used to hide images for political and artistic purposes. Presenting hidden images for visual purposes is a more modern preoccupation, and some of the perceptual processes involved in them will be described作者: Esophagus 時間: 2025-3-23 16:51 作者: Constituent 時間: 2025-3-23 21:50 作者: 四海為家的人 時間: 2025-3-23 22:39 作者: 吹牛大王 時間: 2025-3-24 02:54
https://doi.org/10.1057/9781137291752ascination since the dawn of art. One of the earliest extant pictorial representations of the human face dates from around 27 000 years ago. There are earlier examples of threedimensional models of human faces, but the distillation of depth onto a flat surface was a major achievement of mankind. Art作者: 發(fā)源 時間: 2025-3-24 08:51
SpringerBriefs in Environmental Science geometrical abstraction aimed at producing some striking visual impact on the observer. Op art is an arena in which the visual arts and sciences should be in harmony because they both investigate many of the same phenomena. Alas, in place of harmony we often find discord. This is largely a conseque作者: ASSET 時間: 2025-3-24 13:36
Extractive Sector Infrastructureratings of the same spatial frequency are inclined slightly with respect to one another broad moiré fringes, bisecting the two component gratings, are seen. Alternatively, when two gratings in the same orientation, but with slightly different spatial frequencies are superimposed the moiré patterns a作者: 咽下 時間: 2025-3-24 18:12 作者: dragon 時間: 2025-3-24 22:33
https://doi.org/10.1007/978-3-319-25229-2Cognition; Illusion Arts; Illusionists; Illusions; Optical Illusions; Perception; Trompe l’oeil作者: 蕨類 時間: 2025-3-25 01:28 作者: Triglyceride 時間: 2025-3-25 06:17
Art and Illusionists978-3-319-25229-2Series ISSN 2365-7472 Series E-ISSN 2365-7480 作者: 防御 時間: 2025-3-25 07:38
Book 2016 manipulating them to produce illusory worlds on flat surfaces. This has proved fascinating to humankind since the dawning of depiction. .Art and illusionists. is also a celebration of the ways we see pictures, and of our ability to distil meaning from arrays of contours and colours. Pictures are no作者: coalition 時間: 2025-3-25 14:27 作者: 施魔法 時間: 2025-3-25 16:56
M. B. King,O. J. Catchpole,T. R. Bott know when picture making did begin. Art and Illusionists is also a celebration of the ways we see pictures , and of our ability to distil meaning from arrays of contours and colours . Pictures are not only a source of fascination for artists , who produce them, but also for scientists , who analyse the perceptual effects they produce.作者: 模仿 時間: 2025-3-25 20:15
Introduction, know when picture making did begin. Art and Illusionists is also a celebration of the ways we see pictures , and of our ability to distil meaning from arrays of contours and colours . Pictures are not only a source of fascination for artists , who produce them, but also for scientists , who analyse the perceptual effects they produce.作者: Infraction 時間: 2025-3-26 03:00 作者: 抱負(fù) 時間: 2025-3-26 05:00
Extraction of Semiconductor Diode Parametershe influence of one colour on others as well as the colour illusions that could be represented and controlled. The range of colour illusions has been greatly extended by visual scientists and many examples will be presented.作者: 潛移默化 時間: 2025-3-26 11:00 作者: BOAST 時間: 2025-3-26 14:18
Colour,he influence of one colour on others as well as the colour illusions that could be represented and controlled. The range of colour illusions has been greatly extended by visual scientists and many examples will be presented.作者: 手銬 時間: 2025-3-26 17:44 作者: dermatomyositis 時間: 2025-3-26 22:12 作者: 寬度 時間: 2025-3-27 02:04 作者: uncertain 時間: 2025-3-27 07:45 作者: 輕信 時間: 2025-3-27 09:26 作者: single 時間: 2025-3-27 15:03
Surrealism,constructed long before ‘surrealists’ were given this title, and this chapter presents illustrations of two from the seventeenth century: the features of the countryside can be represented in ways that are at once recognizable and then perplexing.作者: 蚊子 時間: 2025-3-27 21:30
Contrast,ck and white patterns. Contrast effects are readily produced with black and white grid patterns and they were used extensively by Victor Vasarely. Another basic aspect of contrast occurs at the sharp boundaries between regions of different luminance. These effects are more subtle and have long been a part of the artist’s armoury.作者: orient 時間: 2025-3-27 22:31
Impossible Figures,spective provide a consistent way of treating the spatial dimension that the picture itself lacks – depth or distance . When three dimensions are reduced to two it is possible to create worlds on paper that could not exist in three-dimensional space . Artists and scientists have revelled in the licence provided by representing the impossible.作者: Confound 時間: 2025-3-28 05:56
Faces,ists have long been aware of our facility at seeing faces in the oddest arrangements of objects, and many examples of these will be shown in the following pages. Faces have become a major topic of research in vision and novel techniques for presenting and modifying facial features have been devised.作者: 隼鷹 時間: 2025-3-28 10:10
,Moiré and Motion,re in the same orientation but of a much lower spatial frequency than either of the components. Examples of moiré art works are shown but the reader can produce their own moiré fringes with the transparency supplied with the book.作者: 全部逛商店 時間: 2025-3-28 12:52 作者: 匍匐前進(jìn) 時間: 2025-3-28 17:54 作者: 流動性 時間: 2025-3-28 18:46
,Trompe l’?il,led trompe l’oeil. The label is much more modern than the method. Paintings in linear perspective have been widespread since the early fifteenth century but they create an impression of depth while at the same time appearing as flat surfaces. They can be called visual allusions because the marks on 作者: 厭煩 時間: 2025-3-29 02:56 作者: Indict 時間: 2025-3-29 04:01 作者: 人充滿活力 時間: 2025-3-29 11:08 作者: Tdd526 時間: 2025-3-29 15:10
Geometrical Optical Illusions,entury in order to restrict them to the relatively small but reliable distortions of visual space, mostly in the domains of size or orientation. Classifying them in this way is too restrictive as some combine both dimensions and others involve different dimensions. Spatial illusions have been groupe作者: reptile 時間: 2025-3-29 15:40 作者: 落葉劑 時間: 2025-3-29 21:30
Hidden Images,es. This has long been the aim of certain branches of art. For example, anamorphoses have been used to hide images for political and artistic purposes. Presenting hidden images for visual purposes is a more modern preoccupation, and some of the perceptual processes involved in them will be described作者: ABASH 時間: 2025-3-30 02:50 作者: Blood-Clot 時間: 2025-3-30 06:27
Colour,ill seem mysterious. We have all marvelled at the rainbow, mixed coloured pigments to produce new combinations, and observed the changing appearance of objects under different lighting conditions. Until the seventeenth century artists were practitioners of colour vision, but thereafter scientists ha作者: 飛來飛去真休 時間: 2025-3-30 09:42
Contrast,e very powerful with high contrast black and white patterns as well as coloured ones, and they have been used by artists. A feature of afterimages is that they are fixed to the eye and so move with every eye movement. Afterimages fade quite quickly, but they can last for many seconds if the inducing作者: Canary 時間: 2025-3-30 14:23 作者: electrolyte 時間: 2025-3-30 19:27 作者: 情節(jié)劇 時間: 2025-3-30 23:47 作者: 評論者 時間: 2025-3-31 02:28
Stereoscopic Vision,reograms in which the left and right eye images are superimposed, but printed in different colours, such as red and cyan. When seen with a red filter over one eye and a cyan one over the other, the combined image is separated into a red and black image to one eye with a cyan and black image to the o作者: heart-murmur 時間: 2025-3-31 07:36
Book 2016.. Art and illusionists. presents these two poles of pictorial representation as well as presenting novel ‘perceptual portraits’ of the artists and scientists who have augmented the art of illusion. The reader can experience the paradoxes of pictures as well as producing their own by using the stere作者: 才能 時間: 2025-3-31 09:32
Extraction of Nuclear and Non-ferrous Metals long before the formalization of rules for linear perspective. Successful examples of trompe l’oeil usually place constraints on the viewer either by defining a location from which they should be observed or by painting on surfaces that are at great distances from the observer.作者: 健壯 時間: 2025-3-31 15:45 作者: 最小 時間: 2025-3-31 19:51
https://doi.org/10.1007/978-3-319-91171-7ers to the phenomena seen in the natural environment, like mirages or sticks appearing to bend in water, which can be interpreted in terms of physical optics. Many novel forms of geometrical optical illusions were devised and depicted in the final decades of the nineteenth century, and they often be作者: 獸皮 時間: 2025-4-1 00:21
SpringerBriefs in Speech Technologyuivalent contours. The alternatives appear successively rather than simultaneously and their perception is referred to as multistable. Ambiguities seldom arise when relatively near solid objects are viewed, and so there is the danger of basing their investigation on artificial stimuli that do not re
