Analysis of information sources in references of the Wikipedia article "Matemáticas e arte" in Galician language version.
Pollock died in 1956, before chaos and fractals were discovered. It is highly unlikely, therefore, that Pollock consciously understood the fractals he was painting. Nevertheless, his introduction of fractals was deliberate. For example, the colour of the anchor layer was chosen to produce the sharpest contrast against the canvas background and this layer also occupies more canvas space than the other layers, suggesting that Pollock wanted this highly fractal anchor layer to visually dominate the painting. Furthermore, after the paintings were completed, he would dock the canvas to remove regions near the canvas edge where the pattern density was less uniform
que ilustran la fascinación de Uccello por la perspectiva. Los combatientes se amoldan a un campo de batalla lleno de lanzas rotas caídas sobre una cuadrícula virtual cercana y apuntan hacia un punto de fuga en algún lugar en la distancia.
10.1.1.108.4594
over the course [of] the early 1980s, Riley's patterns moved from more regular to more random (as characterised by global entropy), without losing their rhythmic structure (as characterised by local entropy). This reflects Kudielka's description of her artistic development.
La técnica geométrica de construcción de la sección áurea parece haber determinado las principales decisiones de la organización espacial. La sección áurea aparece repetidamente en algunas partes de las medidas del edificio. Se encuentra en la proporción general de la planta y en el dimensionamiento del espacio de oración, el patio y el minarete. La existencia de la sección áurea en algunas partes de la mezquita de Kairouan indica que los elementos diseñados y generados con este principio pueden haberse realizado en el mismo período.
10.1.1.100.4844
10.1.1.108.4594
Pollock died in 1956, before chaos and fractals were discovered. It is highly unlikely, therefore, that Pollock consciously understood the fractals he was painting. Nevertheless, his introduction of fractals was deliberate. For example, the colour of the anchor layer was chosen to produce the sharpest contrast against the canvas background and this layer also occupies more canvas space than the other layers, suggesting that Pollock wanted this highly fractal anchor layer to visually dominate the painting. Furthermore, after the paintings were completed, he would dock the canvas to remove regions near the canvas edge where the pattern density was less uniform
over the course [of] the early 1980s, Riley's patterns moved from more regular to more random (as characterised by global entropy), without losing their rhythmic structure (as characterised by local entropy). This reflects Kudielka's description of her artistic development.
after some elementary constructions to introduce the idea of the apparent size of an object being actually its angle subtended at the eye, and referring to Euclid's Elements Books I and VI, and Euclid's Optics, he turns, in Proposition 13, to the representation of a square lying flat on the ground in front of the viewer. What should the artist actually draw? After this, objects are constructed in the square (tilings, for example, to represent a tiled floor), and corresponding objects are constructed in perspective; in Book II prisms are erected over these planar objects, to represent houses, columns etc.; but the basis of the method is the original square, from which everything else follows
La técnica geométrica de construcción de la sección áurea parece haber determinado las principales decisiones de la organización espacial. La sección áurea aparece repetidamente en algunas partes de las medidas del edificio. Se encuentra en la proporción general de la planta y en el dimensionamiento del espacio de oración, el patio y el minarete. La existencia de la sección áurea en algunas partes de la mezquita de Kairouan indica que los elementos diseñados y generados con este principio pueden haberse realizado en el mismo período.
A figura base é un cadrado da lonxitude e largura da falanxe distal do dedo pequeno. As súas diagonais viradas cara un lado transforman o cadrado nun rectángulo <math>1:\sqrt{2}</mathZ. Na figura 5, esta figura rectangular marca o largo e a lonxitude da falanxe medial adxacente. A lonxitude da falanxe medial xírase en diagonal para obter a falanxe proximal e, de xeito semellante, dende alí ata o pulso, dende o pulso ata o cóbado e dende o cóbado ata a parte superior do ombreiro. Cada novo paso avanza o punto de pivote da diagonal.
Pollock died in 1956, before chaos and fractals were discovered. It is highly unlikely, therefore, that Pollock consciously understood the fractals he was painting. Nevertheless, his introduction of fractals was deliberate. For example, the colour of the anchor layer was chosen to produce the sharpest contrast against the canvas background and this layer also occupies more canvas space than the other layers, suggesting that Pollock wanted this highly fractal anchor layer to visually dominate the painting. Furthermore, after the paintings were completed, he would dock the canvas to remove regions near the canvas edge where the pattern density was less uniform
<ref> non válida; o nome "Salingaros" está definido varias veces con contidos diferentesafter some elementary constructions to introduce the idea of the apparent size of an object being actually its angle subtended at the eye, and referring to Euclid's Elements Books I and VI, and Euclid's Optics, he turns, in Proposition 13, to the representation of a square lying flat on the ground in front of the viewer. What should the artist actually draw? After this, objects are constructed in the square (tilings, for example, to represent a tiled floor), and corresponding objects are constructed in perspective; in Book II prisms are erected over these planar objects, to represent houses, columns etc.; but the basis of the method is the original square, from which everything else follows
La técnica geométrica de construcción de la sección áurea parece haber determinado las principales decisiones de la organización espacial. La sección áurea aparece repetidamente en algunas partes de las medidas del edificio. Se encuentra en la proporción general de la planta y en el dimensionamiento del espacio de oración, el patio y el minarete. La existencia de la sección áurea en algunas partes de la mezquita de Kairouan indica que los elementos diseñados y generados con este principio pueden haberse realizado en el mismo período.
10.1.1.108.4594