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This introductory article presents the act of editing an issue of a scientific journal as a kind of interface through which the act of writing and reading is entangled, a process that produces a theory in a performative way. The author considers anamorphosis, synaesthesia and entanglement (which she considers with reference to the category of a secret) to be the basis of contemporary literary and literary discourses. [ABSTRACT FROM AUTHOR]

The paper provides an analysis of ways to measure and value the contemporary artworks. In this regard, the paper proposes a dual perspective approach, namely: reporting of some criteria against which may be assessed a work of art, on the one hand and, on the other side, recognizing the importance of a complex hermeneutical approach that has in the valorization. The context is of the evolution forms of expression, techniques, and artistic means, determined mostly by the evolving technology, which led to breaking the traditional specific boundaries of art and to the development of an artistic syncretism. Thus, the artistic object becomes as difficult to define as it is difficult to assess and artwork can be seen as a symbol or a system of signs that serves an aesthetic purpose. The interpretation involves the establishment of a syncretic stylistics and the evaluation becomes a semiosis. [ABSTRACT FROM AUTHOR]

In an optical anamorphosis, an object is seen distorted unless the viewer is positioned at a specific point, where the object appears normal. We describe how to endow a rational Free-Form Deformation with an anamorphic character in a simple manner, obtaining an AFFD (Anamorphic Free-Form Deformation). Given a (planar or 3D) initial object, which will appear normal from the desired viewpoint, we deform the object with a rational Bézier surface or volume as deformation tool. To achieve the desired deformation, the user input amounts to displacing the control points of the deformation tool along radial directions through the viewpoint, whereas the weights come as a byproduct. Mathematically, the deformation means changing the last homogeneous coordinate of the control points. An AFFD defined by a linear Bézier tetrahedron can be regarded as a user-friendly way to construct a perspective collineation. In this case, or when the deformation tool is a Bézier triangle of degree one, the AFFD transforms NURBS to NURBS keeping the original degree. With a deformation tool of higher degree, the rational composition required to obtain the exact result yields NURBS also of higher degree. For a quadratic Bézier triangle as deformation tool, our AFFD coincides with the inverse of a stereographic projection. [ABSTRACT FROM AUTHOR]

An essay is presented concerning the applications and the importance of anamorphic distortion in the military camouflage of World War I while highlighting the discovery of the concept of anamorphosis by Italian polymath Leonardo da Vinci.

In her discussion of Melanholični snovi grofa Save Vladislavića (The Melancholy Dreams of Count Sava Vladislavić), an opera by Serbian composer Svetislav Božić, the author begins by discussing the composer's operatic allusion to anamorphosis, an architecture and painting technique, in both of its application modes (the perspectival and the catoptric). The trans-media and temporal conversion of this visual tool into the aspect of staged drama is notable in the theatrical procedure of reflective doublings of roles/ characters and production of visual syntactic parallelisms, which deepen semantic relations between otherwise unrelated personages and events from various but important layers of Serbian cultural and intellectual history (Ncmanjic, Nikola Tesla, Count Sava Vladislavić). The logic of unclose similarity and borderline contact relates anamorphosis to a special way of ordering the imagery of dreams, whereby the symbolic interiority of a hidden image, the mysterious pattern of sense, may be penetrated only by finding the correct viewing angle. In its longing for the obscure, anamorphosic Realization counts on the ex-centred spectator's capacity to approximate the remote and relate the unrelated. In that sense, shaping the Count's great dreaming by means of a polyphony of oneiric subjects and states and a heteroglossia of remote contexts and other people's stories and lyrical contemplations suggests Sumatraism as a chronotope, as the idea that there is universal connectedness and harmony in the world. The idea of Sumatraist connections informs both the understanding of the opera libretto's inter-textuality (along the lines of the quotation-collage form of the cento, the literary genre) and the arc of association that the composer draws in harmonic-motivic terms as well, in order to produce a special nexus of music-dramatic narration and presentation. In that Sumatraist inter-textual nexus, other people's stories and lyrical contemplations, qua manifestations of a collective consciousness, are deepened by means of a eollectively unconscious (archetypal) perspective of a mythical, allegorical, and phantasmagorical dance-pantomime procession, as yet another oneiric form, whose typical Dionysian sequence, intoxicatio-phalophoria-sparag-moSy affirms not only the theatrical model of anamorphosic doubling and Sumatraist connections, but also a unique theme in this operatic narrative - transcending sacrifice, tribulation, and death in a foreign land by means of the regenerative power of collective (historical and cultural) memory. [ABSTRACT FROM AUTHOR]

Cylindrical mirror surfaces fall into the group of reflecting surfaces that give a distorted image of an object. However, if the object is designed according to the laws of optical geometry, in a way that its mirror image is conceived in advance, then this is anamorphosis. The objective of the present study is to emphasise the potential of cylindrical mirror anamorphosis, in the context of change in the urban-architectural ambience. In this respect it is necessary to obtain a constructive, geometrically correct solution of the 3D model of cylindrical-mirror anamorphosis, whereby the mirror surface is a vertical rotating cylinder. This topic is the primary focus of the present research. In addition, the conditions for change in the anamorphic form were analysed, and its possible functions in architecture were identified. Various examples of existing buildings with cylindrical mirror elements, in respect of which it was possible to construct and apply these types of anamorphoses, were used. The method of constructive perspective and the laws of optical geometry were applied. Analyses were made on the basis of experiments and using AutoCAD 3D methods to analyse the mirror anamorphosis of a cube and octahedron. [ABSTRACT FROM AUTHOR]

Margaret Atwood's most distinguishing novel is The Handmaid's tale. The novel has two narrators. First, the story is told in the first person through the eyes of a protagonist and ostensible narrator called Offred. Atwood describes the course of Offred's daily life under the oppressive regime of a patriarchal theocracy governed by religious fundamentalists. Second, the entire meaning of Offred's story is altered by the thirteen-page appendix 'Historical notes on The Handmaid's Tale' narrated by Professor Pieixoto. He shocks and disorients the reader who encounters it after having spent nearly 300 affecting pages with Offred and her narration. In this regard, two possible worlds are constructed in The Handmaid's Tale as the results of Offred's narration and Pieixoto's narration. This paper aims to study these two worlds from the viewpoint of Slovenian philosopher Slavoj Žižek. Following Lacan, Žižek argues that fantasy provides a framework through which we see reality. They are anamorphic so that they presuppose a point of view, denying us an objective account of the world. Accordingly, there are two anamorphic symbolic orders, or two anamorphic levels, in the novel: the first phase of anamorphic perspective attributes to the handmaids' fantasy and the second phase relates to readers of the novel. [ABSTRACT FROM AUTHOR]

The study presents the first results of a wider research project dealing with the theme of 'anamorphosis', a specific technique of geometric projection of a shape on a surface. Here we investigate how new digital techniques make it possible to simplify the anamorphic applications even in cases of projections on complex surfaces. After a short excursus of the most famous historical and contemporary applications, we propose several possible approaches for managing the geometry of anamorphic curves both in the field of descriptive geometry (by using interactive tools such as Cabrì and GeoGebra) and during the complex surfaces realization process, from concept design to manufacture, through CNC systems (by adopting generative procedural algorithms elaborated in Grasshopper). [ABSTRACT FROM AUTHOR]

The aim of this study was to evaluate the effect of period of the year, year of the birth, sex and age on morphometric indices, such as body capacity, body indices, body side indice, anamorphosis indice, compactness indice and body proportionality indice. The correlation between these characteristics was calculated. Santa Ines sheep offspring from the birth to 12 months-old, at the Estado do Rio de Janeiro were used. Measurements were obtained from animals under an extensive scheme within three years of study totaling 2,601 observations. In this work, the year of birth, sex, animal age and triple interaction between these effects have influenced (P<0.05) morphometric indices. According to body and compactness indices averages also was verified that the animals tended for a more compact conformation. Males were higher than females in all measurements and weight. Correlations between all measures were high and positive. The studied animals show a longilinear conformation, tending to compact. [ABSTRACT FROM AUTHOR]

Background Many arthropods add body segments post-embryonically, including most of the myriapods. However, geophilomorph and scolopendromorph centipedes are epimorphic, i.e. they form all their segments during embryonic time, although this has never been demonstrated directly. Understanding the similarity between embryonic and post-embryonic segmentation is pivotal to understand the possible evolution from anamorphosis to epimorphosis. We have previously demonstrated that in the geophilomorph centipede Strigamia maritima most segments are produced by an oscillatory mechanism operating through waves of expression at double segment periodicity, but that the last-forming (posteriormost) segments are patterned with a different system which might be more similar to post-embryonic segmentation. Results With a careful analysis of a large number of specimens, I show that the first ("embryoid") phase of post-embryonic development is clearly distinct from the following ones. It is characterized by more moults than previously reported, allowing me to define and name new stages. I describe these embryoid stages and the first free-leaving stage in detail, providing data on their duration and useful identification characters. At hatching, the prospective last leg-bearing segment is limbless and the genital segments are added in the following stages, indicating a residual anamorphosis in Strigamia segmentation. I demonstrate directly for the first time that at least the leg-bearing segments are in general produced during embryonic life, although in some individuals the external delineation of the last leg-bearing segment may be delayed to post-embryonic time, a possible further residual of anamorphic development. Additionally, I show that the development of the poison claws during this post-embryonic phase may have some element of recapitulation. Conclusions The data presented in this paper show that the embryoid phase of post-embryonic development of geophilomorph centipedes may represent an extension of embryonic development, possibly in correlation with the evolution of epimorphic development from an anamorphic ancestor, accomplished without completely losing post-embryonic segmentation activity. This continuity in the segmentation process across the embryonic/postembryonic divide may concur to the evolvability of this developmental process. [ABSTRACT FROM AUTHOR]

The illusionist painting has always fascinated human beings. The art of trompe l'oeil has been generally considered as an anamorphosis if it is painted over curved or flat surfaces, oblique with respect to the viewer, so it is correctly seen only from a certain point of view, out of which it is seen distorted and the illusory effect is lost. This article summarizes the history of anamorphosis, its different kinds and techniques, described by writers of the Baroque. Several examples, made by the main figures of this discipline throughout history, are analysed to see the evolution up to the present day, where technological advances allow new applications such as those of virtual and augmented reality, as well as stereoscopic anamorphosis. [ABSTRACT FROM AUTHOR]

The illusionist painting has always fascinated human beings. The art of trompe l’oeil has been generally considered as an anamorphosis if it is painted over curved or flat surfaces, oblique with respect to the viewer, so it is correctly seen only from a certain point of view, out of which it is seen distorted and the illusory effect is lost. This article summarizes the history of anamorphosis, its different kinds and techniques, described by writers of the Baroque. Several examples, made by the main figures of this discipline throughout history, are analysed to see the evolution up to the present day, where technological advances allow new applications such as those of virtual and augmented reality, as well as stereoscopic anamorphosis. [ABSTRACT FROM AUTHOR]

A classical or static anamorphic image requires a specific, usually a highly oblique view direction, from which the observer can see the anamorphosis in its correct form. This paper explains dynamic anamorphosis which adapts itself to the changing position of the observer so that wherever the observer moves, he sees the same undeformed image. This dynamic changing of the anamorphic deformation in concert with the movement of the observer requires from the system to track the 3D position of the observer’s eyes and the re-computation of the anamorphic deformation in real time. This is achieved using computer vision methods which consist of face detection and tracking the 3D position of the selected observer. An application of this system of dynamic anamorphosis in the context of an interactive art installation is described. We show that anamorphic deformation is also useful for improving eye contact in videoconferencing. Other possible applications involve novel user interfaces where the user can freely move and observe perspectively undeformed images. [ABSTRACT FROM PUBLISHER]

Past attempts to assimilate precipitation by nudging or variational methods have succeeded in forcing the model precipitation to be close to the observed values. However, the model forecasts tend to lose their additional skill after a few forecast hours. In this study, a local ensemble transform Kalman filter (LETKF) is used to effectively assimilate precipitation by allowing ensemble members with better precipitation to receive higher weights in the analysis. In addition, two other changes in the precipitation assimilation process are found to alleviate the problems related to the non-Gaussianity of the precipitation variable: (a) transform the precipitation variable into a Gaussian distribution based on its climatological distribution (an approach that could also be used in the assimilation of other non-Gaussian observations) and (b) only assimilate precipitation at the location where at least some ensemble members have precipitation. Unlike many current approaches, both positive and zero rain observations are assimilated effectively. Observing system simulation experiments (OSSEs) are conducted using the Simplified Parametrisations, primitivE-Equation DYnamics (SPEEDY) model, a simplified but realistic general circulation model. When uniformly and globally distributed observations of precipitation are assimilated in addition to rawinsonde observations, both the analyses and the medium-range forecasts of all model variables, including precipitation, are significantly improved as compared to only assimilating rawinsonde observations. The effect of precipitation assimilation on the analyses is retained on the medium-range forecasts and is larger in the Southern Hemisphere (SH) than that in the Northern Hemisphere (NH) because the NH analyses are already made more accurate by the denser rawinsonde stations. These improvements are much reduced when only the moisture field is modified by the precipitation observations. Both the Gaussian transformation and the new observation selection criterion are shown to be beneficial to the precipitation assimilation especially in the case of larger observation errors. Assigning smaller horizontal localisation length scales for precipitation observations further improves the LETKF analysis. [ABSTRACT FROM AUTHOR]

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The article seeks to understand how the concept of place projected by the Europeans in America became a real utopia for its new inhabitants. Place in America has undergone an anamorphosis that transforms spatiotemporal reality into a postmodern simulation. First of all, the article defines the process of place anamorphosis from a theoretical perspective. Secondly, it enquires into the process of transformation of an increasingly fictional reality into a realized fiction. Lastly, the article discusses how the spatiotemporal dissociation of space has been considered a new form of identity in America, understood as postcolonial and postmodern form of liberation. [ABSTRACT FROM AUTHOR]

The number of stadia during post-embryonic development is supposed to be fixed in most species of the millipede order Polydesmida. For the first time since 1928, additional moults were observed in two males of Polydesmus angustus Latzel, 1884 reared in the laboratory. These 'elongatus' males sensu Verhoeff reached stadium IX instead of stadium VIII, with addition of a further podous ring (32 pairs of legs). One male had well-developed gonopods at stadium VIII, which regressed at stadium IX; the other had no gonopods at stadium VIII, which developed at stadium IX. The two cases correspond to the 'regressionis' and 'progressionis' forms described by Verhoeff in Polydesmus complanatus (Linnaeus, 1761), which confirms entirely his results. Additional moults appear to be associated with small body sizes and possible underlying mechanisms are discussed. Comparisons between millipede orders indicate that post-embryonic development is less strictly canalized in Polydesmida than in Chordeumatida. This implies that the adult number of body rings is of limited taxonomic value in Polydesmida and should not be viewed as a character of generic importance. [ABSTRACT FROM AUTHOR]

The article presents the author's insights on the use of the elaboration of anamorphosis given by Jacques Lacan in offering conceptual resources, which capture the tensile structuration manifesting the experience of the uncanny. The author relates the efforts of Sigmund Freud to clarify the uncanny which leads the people away from the clarity. She adds that the traditional Western notion of a stable subjectivity is undermined in the anamorphosis of Lacan.

During a 1-year study, the visual journal of a preservice teacher was explored as an image sphere, or bildraum, in relation to teacher culture. Artworks created in the visual journal offered an anamorphic perspective on the materiality of teacher culture, tracing the lived experiences of a student of art in the process of becoming an art teacher during her university program and field experiences. Such visual expressions increase transparency of learning experiences and awareness of evolving teacher identities, communicating through art the social practices of teacher culture and how artworks are pedagogic encounters that inform teacher education in particular ways. [ABSTRACT FROM AUTHOR]

In biogeochemical models coupled to ocean circulation models, vertical mixing is an important physical process which governs the nutrient supply and the plankton residence in the euphotic layer. However, vertical mixing is often poorly represented in numerical simulations because of approximate parameterizations of sub-grid scale turbulence, wind forcing errors and other mis-represented processes such as restratification by mesoscale eddies. Getting a sufficient knowledge of the nature and structure of these errors is necessary to implement appropriate data assimilation methods and to evaluate if they can be controlled by a given observation system. In this paper, Monte Carlo simulations are conducted to study mixing errors induced by approximate wind forcings in a three-dimensional coupled physical-biogeochemical model of the North Atlantic with a 1/4° horizontal resolution. An ensemble forecast involving 200 members is performed during the 1998 spring bloom, by prescribing perturbations of the wind forcing to generate mixing errors. The biogeochemical response is shown to be rather complex because of nonlinearities and threshold effects in the coupled model. The response of the surface phytoplankton depends on the region of interest and is particularly sensitive to the local stratification. In addition, the statistical relationships computed between the various physical and biogeochemical variables reflect the signature of the non-Gaussian behaviour of the system. It is shown that significant information on the ecosystem can be retrieved from observations of chlorophyll concentration or sea surface temperature if a simple nonlinear change of variables (anamorphosis) is performed by mapping separately and locally the ensemble percentiles of the distributions of each state variable on the Gaussian percentiles. The results of idealized observational updates (performed with perfect observations and neglecting horizontal correlations) indicate that the implementation of this anamorphosis method into sequential assimilation schemes can substantially improve the accuracy of the estimation with respect to classical computations based on the Gaussian assumption. [ABSTRACT FROM AUTHOR]

This paper carries on the study of the functions of four variables in order to find the canonical forms (analogous to those of three variables) as well as nomograms in space with coplanar points on which the functions can be nomographically represented. We also build the nomograms in space for the canonical forms found out by Kazangapov respectively Wojtowicz. The factors of anamorphosis are examined. [ABSTRACT FROM AUTHOR]

The article discusses anamorphoses and rhetoric. The anamorphic shapes of language are characterized in terms of art, technical common sense, and rhetorical culture. Topics include: the intrinsic and extrinsic goals in the work of Thomas B. Farrell; the concept of resistance in the cause-object of a rhetorician's melancholy; rhetorical practice related to the sports business, ethos, and athletic performance; the 1984 Winter Olympic Games; the 1988 apology for the Jewish genocide that was delivered by the German Federal Diet president Philipp Jenninger; and Farrell's perspective on paradoxes.

This essay focuses on the concept of anamorphosis in realist fiction. It comments on the painting "The Ambassadors" by Hans Holbein and the literature "The Magic Skin" by Balzac, "The Meek One" by Fyodor Dostoevsky, and "The Beast in the Jungle" by Henry James. The ambition and need for social acceptance of the characters in the literature are explored and their relationships with other people in the writing are examined.

This article discusses the existence of metaphor and metonymy in the Cave of Montesinos episode of the book "Don Quixote." The meaning of the episode's images based on similarity is countered when these are associated with Erasmia reference. The unstable nature of these references is in response to the anamorphosis that influenced artistic development in the creation of the novel.

Explores the basic principles of anamorphic filmmaking. Division of the frame into a grid of equal partners; Continuity of the quartered frame in an edited sequence; Quartered frame in camera reframing; Quartered frame in lap dissolves.

Explores the creation of Henri Chretien's hypergonar and its application in widescreen cinema. Patents filed by Chretien for an anamorphic optical system for a colored and three-dimensional cinema; Principle of the hypergonar; Influence of Abel Gance's film "Napoleon" on the application of an anamorphic system; Creation of the Societe Technique d'Optique et de Photographie for the exploitation of hypergonar.

Recently there has been a revival of anamorphic imagery, notably in its use as a metaphor by postmodern theorists. But often, discussions of anamorphosis are confused, and even wrong. In this article, the author not only focuses upon correcting these errors, but also analyzes our perception of anamorphic images, since there is a dearth of such in the literature. The resulting discussion points out aspects of how we see anamorphs that have never been pointed out before. [ABSTRACT FROM AUTHOR]

The article presents an analysis on the sublimity rendered in the grimace of reality in art images. The sublime beauty which is the image elevated to the level of a thing in mind, evokes fascination within a particular culture. The anamorphotic grimace separates the beauty from disgust because the authenticity of desire is contingent on a specific culture. The emergence of monster figure such as "Frankenstein," The Elephant Man," The Phantom of the Opera," and "Living Dead," has a social impact in the deterritorialization, radical ambiguity in the transformation of certain era such as capitalism into imperialism and emergence of postindustrial society.

In the first part of this two-part article, published in Leonardo, Vol. 25, No. 1 (1992), the author reviewed the discovery of anamorphic projection in the late fifteenth century and traced its oblique relationship to problems of subjective viewing', semiotics and psychoanalytic theory. Particular attention was given to a discussion of the viewing subject, an eccentric observer who, the author argued, must take an active role in the observation of anamorphic projections. In this second part of the article, the author discusses various technical applications as well as current use of anamorphosis in the works of several contemporary artists, including himself. [ABSTRACT FROM AUTHOR]

The process known in art as anamorphosis or anamorphic projection is at once a confirmation of and a challenge to the rules of linear perspective and the conventions of representation. In this first part of a two-part series of articles, the author discusses art-historical and psychoanalytic literature in regard to a role for anamorphosis beyond that of perspective theory. In this discussion, particular emphasis is placed upon the viewer actively observing the anamorphosis, introducing what the author describes as the 'eccentric observer'. The second part of this article, to follow in the next regular issue of Leonardo, will detail modern uses of anamorphosis, with emphasis on contemporary artworks. [ABSTRACT FROM AUTHOR]

A pyrenomycete featuring uniperitheciate stromata embedded in a subiculum and asci with iodine-positive apical ascal rings that bear scolecosporous ascospores is described as new. The fungus, Ophiorosellinia costaricensis, is known only from the type location in Costa Rica. It has been cultured, but no anamorph was discovered. [ABSTRACT FROM AUTHOR]

Asserts that the arts often contribute to modern scientific advances. How artists often invent new structures that scientists then discover in nature; Origins of scientific techniques, including Anamorphosis; Manufacturing of computer chips using methods adapted from silk screening and etching; Mention of artists, including Wallace Walker and Kenneth Snelson.