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Anamorphosis, or the secret perspective, was not so secret in William Shakespeare's time. There is evidence throughout Hamlet, for example, of an anamorphic sensibility, noticeable most obviously in the form of the haunting "thing" that arrives on stage from outside the "living" world of the play, at an angle as it were, but also in the way the covert is centrally embedded in the play's action and meaning – how much of the play remains distorted or hidden from both the characters in the play and from readers/audience beyond it, obliging them to "re-form" the world anew. In this article, I will explore anamorphosis in Hamlet in two separate but connected areas: (1) the Ghost as a "tangential clairvoyant" – Maurice Molhollo's term in the context of Miguel Cervantes – which denotes a spectral figure that exposes what has been hidden from sight (though that object may have been visible (that is, "suspected") all along and, in the added sense I am suggesting, sets in motion the main action of the play even though it is not a central actor itself), and (2) the secret perspective of intuited, repressed, verbal, or off-stage material beyond the immediate sight or consciousness of characters and readers/audience. In both cases – of the Ghost as tangential clairvoyant and of the wider intuited, repressed material in the play – anamorphosis in Hamlet involves a new perception of a previously distorted object or situation, which leads to two similar yet opposed responses: either one of complete surprise ("I would never have guessed") or astonished confirmation ("I knew it all along"). [ABSTRACT FROM AUTHOR]

Perspective dominates the writing on colonial art. Conceptualized as a way of seeing that inherently supports the processes of colonial conquest and control, its use in colonial art is routinely linked to an overseeing and all-powerful 'colonial gaze'. It is surprising, then, that upon return to the supposed source of this idea, the work of French psychoanalyst Jacques Lacan, you will find that he continually associates the 'gaze' not with perspective but anamorphosis. Undertaking a close study of several inter-related Australian works by the British travel artist, Augustus Earle, in this article I seek to look again at colonial art by placing perspective to one side. In shifting the focus from perspective to anamorphosis, I will be arguing for the need to consider another, often neglected and overlooked aspect to the ideology of the colonial encounter, one based on what Slavoj Žižek paradoxically refers to as a 'pre-ideological enjoyment structured in fantasy'. [ABSTRACT FROM AUTHOR]

In terms of its dramatic effectiveness, its technique of classical citation, and its use of non-normative male roles as performers, the show presented by Nano, Androgyno and Castrone in Volpone 1.2 falls outside the traditions of performance at the Globe theatre where the play was first performed. Though its affinities are closer to the drama of the boy companies, it is here argued that Jonson most likely introduced the episode when preparing the play for publication in print. The article further develops this argument for a cultural divide within the text as a means to describe the play published in 1607 as an exercise in textual anamorphosis. [ABSTRACT FROM AUTHOR]

Self as an existing truth or a constructed notion has time and again been questioned and investigated but never reached a consensus front. What is Self? What is Other? How do we know who we are? How do we see ourselves? Or others? How does 'The Self' affect our Identity? Are 'Self' and 'Personal Identity' one and the same? Let's unfurl these existential questions of all times through varied theories of experiential, narrative and spiritual self from the standpoints of Dan Zahavi and other philosophers. The idea of Self is what we think of ourselves, how we experience everything and make sense of it whereas the idea of our Identity is how we want ourselves to be perceived by others which becomes a way to define ourselves. Identity is multifaceted. It can be our own, but it can also be a way to recognize someone else's identity. The paper aims to explore together the ideas of self, identity, and alterity in a way that it gives rise to a theory of multidimensional self. [ABSTRACT FROM AUTHOR]

Gabriel Garcia Marquez has often been regarded as a postmodernist writer in lieu of his works that pertain to the realm of magic realism. This paper, by means of close reading, is an attempt to situate his short novel The Chronicle of a Death Foretold, a story of the premeditated murder of a young Arab that takes place in a small Colombian coastal town, in postmodernism, by exploring the alternate avenues of objective truth and initial conditions, through parallel readings of the movies Vantage Point and The Butterfly Effect (director's cut). Furthermore, the exploration of anamorphosis, journalistic narration, Baudrillard's third-order simulation, and Chaos theory in the texts discussed helps delineate the postmodern poetics present in the works. [ABSTRACT FROM AUTHOR]

Copyright of Revue Bossuet is the property of Classiques Garnier and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Novella 32 of Marguerite de Navarre's Heptameron (1559) recounts a French ambassador's macabre tale of adultery and punishment, in which a husband forces his wife to drink from the skull of her dead lover. This study argues that the progressive revelation of the secret behind her punishment hinges on an anamorphic vision inscribed both thematically and structurally within the textual fabric of the tale. When Novella 32 was composed, anamorphic images were circulating throughout Europe. In perhaps the most famous example of anamorphosis, Hans Holbein the Younger's The Ambassadors (1533), a distorted object at the bottom of the canvas resolves itself into a skull when the viewer steps to the side of the portrait and looks across the canvas at an extreme oblique angle. A comparison of Novella 32 with this and other anamorphic paintings reveals a previously unnoticed anamorphic landscape located between secrecy, complicity, and interpretation. [ABSTRACT FROM AUTHOR]

This article will explore anamorphosis in David Lynch's Mulholland Drive (2001). Appearing almost simultaneously with perspective as a mode of organizing sight in visual art and architecture mainly, anamorphosis was a type of perspective, popular in the sixteenth and seventeenth centuries, in which an image that was severely distorted could become suddenly "legible" if looked at from the correct angle. Among the ways that anamorphosis is evident in Mulholland Drive is its two-part design, which forces viewers to detect a hidden perspective in the first part of the film. Anamorphosis is visible also in the distortive imagery and changes in optical registers, such as the stylized jitterbug scene at the start of the film. Anamorphosis, finally, is noticeable in the form of an anamorphic figure like the Cowboy who casts a haunting pall over the action and who seems to exist both in the world of the film and outside, entering mysteriously or obliquely, at an angle as it were, with no clear, determinable place of origin. An analysis of anamorphosis in Mulholland Drive leads me to argue that an anamorphic drive is central to Lynch's work more generally and that Lynch belongs to a very long tradition in the visual arts dating back to the fifteenth century. [ABSTRACT FROM AUTHOR]

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]

This article theorizes the digital humanities (DH) as a speculative art via a media history of anamorphosis. Anamorphosis, an art technique that warps linear perspective, captures the work of DH because it collocates technical apparatus, scientific examination, and artistic endeavor. The workings of anamorphosis show that repetition and retrospection are necessary procedures for DH. Considering DH from the skewed perspective of anamorphosis allows us to recast DH, situating it within a media history that stretches back into the Middle Ages. [ABSTRACT FROM AUTHOR]

Copyright of Revue d'Ètudes Proustiennes is the property of Classiques Garnier and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Chip makers are actively working on the adoption of 0.33 numerical aperture (NA) EUV scanners for the 7-nm and 5-nm nodes (B. Turko, S. L. Carson, A. Lio, T. Liang, M. Phillips, et al., in 'Proc. SPIE9776, Extreme Ultraviolet (EUV) Lithography VII', vol. 977602 (2016) doi: 10.1117/12.2225014; A. Lio, in 'Proc. SPIE9776, Extreme Ultraviolet (EUV) Lithography VII', vol. 97760V (2016) doi: 10.1117/12.2225017). In the meantime, leading foundries and integrated device manufacturers are starting to investigate patterning options beyond the 5-nm node (O. Wood, S. Raghunathan, P. Mangat, V. Philipsen, V. Luong, et al., in 'Proc. SPIE. 9422, Extreme Ultraviolet (EUV) Lithography VI', vol. 94220I (2015) doi: 10.1117/12.2085022). To minimize the cost and process complexity of multiple patterning beyond the 5-nm node, EUV high-NA singleexposure patterning is a preferred method over EUV double patterning (O. Wood, S. Raghunathan, P. Mangat, V. Philipsen, V. Luong, et al., in 'Proc. SPIE. 9422, Extreme Ultraviolet (EUV) Lithography VI', vol. 94220I (2015) doi: 10.1117/12.2085022; J. van Schoot, K. van Ingen Schenau, G. Bottiglieri, K. Troost, J. Zimmerman, et al., 'Proc. SPIE. 9776, Extreme Ultraviolet (EUV) Lithography VII', vol. 97761I (2016) doi: 10.1117/12.2220150). The EUV high-NA scanner equipped with a projection lens of 0.55 NA is designed to support resolutions below 10 nm. The high-NA system is beneficial for enhancing resolution, minimizing mask proximity correction bias, improving normalized image log slope (NILS), and controlling CD uniformity (CDU). However, increasing NA from 0.33 to 0.55 reduces the depth of focus (DOF) significantly. Therefore, the source mask optimization (SMO) with sub-resolution assist features (SRAFs) are needed to increase DOF to meet the demanding full chip process control requirements (S. Hsu, R. Howell, J. Jia, H.-Y. Liu, K. Gronlund, et al., EUV 'Proc. SPIE9048, Extreme Ultraviolet (EUV) Lithography VI', (2015) doi: 10.1117/12.2086074). To ensure no assist feature printing, the assist feature sizes need to be scaled with λ/NA. The extremely small SRAF width (below 25 nm on the reticle) is difficult to fabricate across the full reticle. In this paper, we introduce an innovative 'attenuated SRAF' to improve SRAF manufacturability and still maintain the process window benefit. A new mask fabrication process is proposed to use existing mask-making capability to manufacture the attenuated SRAFs. The high-NA EUV system utilizes anamorphic reduction; 4× in the horizontal (slit) direction and 8× in the vertical (scanning) direction (J. van Schoot, K. van Ingen Schenau, G. Bottiglieri, K. Troost, J. Zimmerman, et al., 'Proc. SPIE. 9776, Extreme Ultraviolet (EUV) Lithography VII', vol. 97761I (2016) doi: 10.1117/12.2220150; B. Kneer, S. Migura, W. Kaiser, J. T. Neumann, J. van Schoot, in 'Proc. SPIE9422, Extreme Ultraviolet (EUV) Lithography VI', vol. 94221G (2015) doi: 10.1117/12.2175488). For an anamorphic system, the magnification has an angular dependency, and thus, familiar mask specifications such as mask error factor (MEF) need to be redefined. Similarly, mask-manufacturing rule check (MRC) needs to consider feature orientation. [ABSTRACT FROM AUTHOR]

The geostatistical treatment of continuous variables often includes a transformation to normal scores. In the case of analysing a composition, it has been suggested that standard methods can be applied to (isometric) logratio transformed compositions. Several logratio transformations are available and invariance of the final results under the choice of logratio transform is desirable. However, a geostatistical procedure which includes marginal normal scores transformations of the individual logratio scores via quantile matching will not have this invariance property, nor will the resulting vectors of scores show a joint multivariate normal distribution. In this paper an affine-equivariant normal score transform is proposed. The method is based on a continuous deformation of the underlying logratio space to a Gaussian space. The properties and performance of this method are illustrated and compared with existing alternatives using a simulated setting and a case study from a banded iron formation ore mining operation from Western Australia. The proposed method is also suitable for the study of other multivariate non-compositional cases. [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.

With their large field of view, anamorphosis, and areas of enhanced magnification, panomorph lenses are an interesting choice for navigation systems for mobile robotics in which knowledge of the surroundings is mandatory. However, panomorph lenses special characteristics can be challenging during the calibration process. This study focuses on the calibration of two panomorph stereoscopic systems with a model and technique developed for narrow-angle lenses, the “Camera Calibration Toolbox for MATLAB.” In order to assess the performance of the systems, the mean reprojection error (MRE) related to the calibration and the reconstruction error of control points of an object of interest at various locations in the field of view are used. The calibrations were successful and exhibit MREs of less than one pixel in all cases. However, some poorly reconstructed control points illustrate that an acceptable MRE guarantees neither the quality of 3-D reconstruction nor its uniformity in the field of view. In addition, the nonuniformity in the 3-D reconstruction quality indicates that panomorph lenses require a more accurate estimation of the principal point (center of distortion) coordinates to improve the calibration and therefore the 3-D reconstruction. [ABSTRACT FROM AUTHOR]

The postembryonic development of millipedes includes a series of stadia separated by moults, a process known as anamorphosis. The moulting process and especially the moulting into maturity, i.e., with fully developed copulatory organs, remains unknown for most millipede species. We have kept specimens of Lusitanipus alternans (Verhoeff, 1893) in the laboratory for one year and studied its moulting process, including the first study of the maturation moult in the order Callipodida. Unlike the typical silk cocoon reported for other callipodidans, this species builds a new type of solid moulting chamber, using the available substrate reinforced by a silken web. We present the detailed ultrastructure of the moulting chamber and silk. It takes five days to build the moulting chamber and between 29 (female) and 35 (male) days to shed the exuviae. The male maturation moult is preceded by an evagination of a gonopodal sac between the 6th and 7th body rings, in which the gonopods are developed. Females evaginated completely their vulval sacs, retracting them after shedding the exuviae. Vulval sac size seems to increase with the progressive reduction of the second pair of legs. [ABSTRACT FROM AUTHOR]

This paper analyzes the transformation from the human zygote to the implanted embryo under the prism of substantial change. After a brief introduction, it vindicates the Aristotelian ideas of substance and accident, and those of substantial and accidental change. It then claims that the transformation from the multicelled zygote to the implanted embryo amounts to a substantial change. Pushing further, it contends that this substantial change cannot be explained following patterns of genetic reductionism, emergence, and self-organization, and proposes Gustavo Bueno's idea of anamorphosis as a means to encapsulate criticism against such positions. [ABSTRACT FROM AUTHOR]

This paper analyzes the phenomenon of spatial functionalities for garden cultural heritage design and the relationships between the sizes of the sections and elements of the baroque garden of Vaux-le-Vicomte and the specific visual phenomenon, anamorphosis abscondita, that was used in the design of this garden. The interpretation of the optical illusions in the garden of Vaux-le-Vicomte was achieved by using geometrical analysis of the rules of linear perspective. The anamorphosis abscondita was examined through the viewpoints of the garden using the ground plan and longitudinal section of the garden, photographs and a virtual 3D model. The visual impression of the phenomenon anamorphosis abscondita formed in the eye of the observer, in relation to the reality of the garden, is confirmed through the geometrical analysis. Anamorphosis abscondita introduces a compulsory perceptual path to the observer of the garden. This pattern of deformation in certain parts of the garden creates in the viewer's eye a sense of infinity in space. The 3D scene of the garden is characterised by a large amount of spatial and visual information, which is located at different distances from the observer. The quality of visual information in such a space leads to a change of the object of interest. Perspectives and optical illusions influence the design of the garden at Vaux-le-Vicomte, and the terraces and axes of symmetry are important tools in its spatial organization. The axis of symmetry contributes to the clarity, depth and order of composition. The parameters that influence the phenomenon of anamorphosis (distortion): the height of the eye point and the distance both affect the visual illusion of the change in size (depth of scene). [ABSTRACT FROM AUTHOR]

Image description and annotation is an active research topic in content-based image retrieval. How to utilize human visual perception is a key approach to intelligent image feature extraction and representation. This paper has proposed an image feature descriptor called the local structure co-occurrence pattern (LSCP). LSCP extracts the whole visual perception for an image by building a local binary structure, and it is represented by a color-shape co-occurrence matrix which explores the relationship of multivisual feature spaces according to visual attention mechanism. As a result, LSCP not only describes low-level visual features integrated with texture feature, color feature, and shape feature but also bridges high-level semantic comprehension. Extensive experimental results on an image retrieval task on the benchmark datasets, corel-10,000, MIT VisTex, and INRIA Holidays, have demonstrated the usefulness, effectiveness, and robustness of the proposed LSCP. [ABSTRACT FROM AUTHOR]

James Coleman's audio-visual work Box (AHHARETURNABOUT) (1977) has two parallel effects on the viewer: on the one hand, it destabilises him or her, since it is installed in a pitch-dark Black Box, where the visitor is overwhelmed by audio-visual stimuli.1 On the other, his or her sensory perception and act of interpretation are constantly attacked by the nervousness of the fragmented audio-visual stimuli, and a complete immersion in the installation is hindered. In my text, I will elaborate on how Coleman is able to create a space that oscillates between the illusionary and the real and between the here and there. As I will show, the display of the Black Box is crucial, as are the visual and acoustic stimuli used by him. The artist not only is destabilising the spectator's physical and psychological consciousness of being present, but also is able to link the body directly to the work. In my analysis, I will focus on the specific display of Box (AHARETURNABOUT) and its relation to the viewer in conjunction with Boris Groys's theory of the aesthetics of video installations of 2001, as well as Michel Foucault's Heterotopia (1984), working out the limits of these theories. Finally, I will present the concept of anamorphosis, referring to which such works as Box (AHARETURNABOUT) can - in my view - be explored more extensively. [ABSTRACT FROM AUTHOR]

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]

Copyright of Revue Bossuet is the property of Classiques Garnier and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

The article critiques the video-film entitled "Chats Perchés" of French filmmaker and author Chris Marker. Topics include the director's comedic style and interplay, a look into the modality shift of the images in the film, and the utilization of the aesthetic potential of anamorphosis by Marker. It also discusses the concept of heterotopia, the mysterious nature of cats, and the study of historian Robert Darnton of the Great Cat Massacre in France.

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]

Images can be transformed in many ways. Some ways, such as conformal mappings, allow the image to maintain its integrity and keep the original image identifiable. This paper analyzes different uses for these types of functions in the visual arts and utilizes neuroscience to underline their importance. [ABSTRACT FROM AUTHOR]

In 1990 Jacques Derrida curated an exhibition at the Louvre, entitled Mémoires d’aveugle: L’autoportrait et autres ruines [Memoirs of the Blind: The Self-Portrait and Other Ruins], inaugurating the museum’s Partis Pris series. The catalogue is an autobiographical self-portrait that explores the theme of blindness through, mostly, drawings from the Louvre’s collection. The unnamed subtexts of his discussion in the catalogue are sceptical philosophy (Montaigne’s Pyrrhonism as opposed to Cartesian rationalism), and anamorphosis (as the logical undoing of Albertian perspective). This essay examines Derrida’s ‘double hypothesis’ and how these philosophical and artistic discourses operate within Derrida’s analysis of what Derrida calls ‘the thought of drawing, a certain pensive pose’. Memoirs demonstrates that drawing thinks through perspective, but this thought makes a movement to revelation and painting as an act of faith. The elliptical structure of the catalogue, a dialogue, suggests the broken law of Derrida’s Judaism and a movement to a personal position of faith figured as a kind of anamorphic fideism and supplement to monocular Enlightenment thought. What emerges is an autobiographical vision blinded by tears, a sacrifice of one type of sight for another. Derrida draws a complex outline of the structure of faith itself and what it means for figures who grapple with the epistemological ramifications of failures of representation and perception. [ABSTRACT FROM AUTHOR]

This paper presents a new geometry of the western Pacific based on an analysis of the time necessary for canoes to sail to islands around Samoa. Using methods proposed by Francis Galton in 1866 and 1881, updated by a computer simulation of sailing trajectories, the author demonstrates the existence of a navigational threshold east of Samoa through systematic 'displacement' of islands according to sailing time in winter and summer - a threshold that helps explain the ca 2000 year pause between the Lapita era settlement of Melanesia- West Polynesia and the settlement of East Polynesia. [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]