Submitted by Douglas Gonçalves Leite (dgllpk@hotmail.com) on 2018-07-12T19:45:59Z No. of bitstreams: 1 Dissertação de Mestrado Douglas Gonçalves Leite.pdf: 3637073 bytes, checksum: 862cfe8465504cabc78dc9fa4b76982f (MD5) / Approved for entry into archive by Adriana Aparecida Puerta null (dripuerta@rc.unesp.br) on 2018-07-13T13:49:00Z (GMT) No. of bitstreams: 1 leite_dg_me_rcla.pdf: 3570557 bytes, checksum: 9797dab228f3bf66569d69ce53ed6b1e (MD5) / Made available in DSpace on 2018-07-13T13:49:00Z (GMT). No. of bitstreams: 1 leite_dg_me_rcla.pdf: 3570557 bytes, checksum: 9797dab228f3bf66569d69ce53ed6b1e (MD5) Previous issue date: 2018-05-23 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior (CAPES) / O presente trabalho discorre a respeito de dois textos do arquiteto e matemático francês Girard Desargues. As obras que aqui chamamos de Método de Perspectiva (1636) e Brouillon Project (1639), foram desenvolvidas em um período com ampla produção teórica relacionada a técnicas de representação. No trabalho de 1636 Desargues descreveu o processo necessário para representar uma gaiola em perspectiva. No trabalho, Brouillon Project, ele trata de propriedades geométricas envolvendo feixe de retas aproximando-se dos conceitos existentes no campo das projeções de figuras, contudo parte das referências utilizadas, como Chasles, Poudra, Taton, entre outros, consideraram que o Brouillon Project foi um trabalho relacionado as seções cônicas. Nosso objetivo é apresentar uma análise envolvendo os conteúdos geométricos explorados nas duas obras citadas com o intuito de relacioná-las com o campo da perspectiva e projeção de figuras. Para isso, desenvolvemos uma pesquisa em história da matemática envolvendo história perspectiva, história da geometria, forma de produção do conhecimento daquele período, em conjunto com teorias que estavam sendo produzidas até o séc. XVII. / The present work deals with two texts of the French architect and mathematician Girard Desargues. The works that we call the Method of Perspective (1636) and Brouillon Project (1639) were developed in a period with a large theoretical production related to representations of figures in perspective. In the work of 1636 Desargues described the process necessary to represent a cage in perspective. At work, Brouillon Project, he dealt with geometric properties involving beam of straight lines approaching the existing concepts in the field of projections of figures. However, some of the references used, such as Chasles, Poudra, Taton, and others, consider that the Brouillon Project was a work related to the conic sections. Our objective is to present a study involving the geometric contents explored in the two works mentioned, seeking to relate them to the field of perspective and projection of figures. For this, we developed a research in history of mathematics involving history, perspective, history of geometry, form of knowledge production of that period, together with theories that were being produced until the century. XVII.

The diploma thesis Geometric Principles of Photogrammetry deals with constructive photogrammetry and geometrical reconstruction of horizon- tal and oblique image. The paper also contains a chapter on photogrammetry as a subject of science and a chapter on three-point perspective. Graphical me- thods for reconstruction of individual images are used. At the end, the thesis deals with the geometric reconstruction of two images and the reconstruction of the image using the computational software. The thesis is intended for students of technical and some of the natural science universities, students of grammar schools and technical high schools and to all who are interested in photogram- metry. The main part of the diploma thesis is elaborated in the form of solved examples and provides instructions for an extension of the descriptive geometry education at high schools and universities. The text of the work is complemented by a number of pictures and spatial visualizations that were created in a modern 3D modeling software and form a substantial contribution of the thesis.

This exegesis details an investigation into the history and evolution of certain technologies, (binary coding, Platonic cosmology, and the linear perspective system) and the extent to which these technologies have distorted or appropriated our perceptions of reality. Special attention is paid to logical inconsistencies in apparently logical systems. The investigation focuses on the purportedly utopian applications of these technologies and the discrepancies that inevitably occurred whenever these ordered systems confronted the chaotic ‘real’ world. Information gleaned from this research then informs an analysis of methods for incorporating these concepts into the author’s installation practice. An explication of recent drawing practice and its reconciliation with installation work will account for and inform a recounting of practical experimentation dealing with form and materials.

Discovery of the linear perspective of the Renaissance is momentous in terms of the appearance of a new &ldquo / way of seeing&rdquo / that is central to the &ldquo / subject&rdquo / and emergence of a &ldquo / subjective&rdquo / &ldquo / way of representing&rdquo / the world. With the assumption that &ldquo / perspective&rdquo / is a cultural constituent of the &ldquo / Renaissance paradigm&rdquo / that generates the representational notions of art and architecture, perspective is considered as a &ldquo / convention&rdquo / and a &ldquo / mode of representation&rdquo / that has been influential until the &ldquo / paradigm shifts&rdquo / in the nineteenth and twentieth century. With the influx of the modernist avant-gardes, &ldquo / subjective&rdquo / linear perspective is replaced with the &ldquo / instruments&rdquo / of the new paradigm, and &ldquo / parallel projection&rdquo / becomes the mere tool for the representation and production of art and architecture introducing a new &ldquo / objective&rdquo / structure. The aim of this study is to reawaken and reconsider perspective through the &ldquo / conventions&rdquo / and the &ldquo / aberrations&rdquo / it reproduces. In this context, the course in the curriculum of METU Department of Architecture entitled Arch524 Architecture and Different Modes of Representation is covered as a &ldquo / pretext&rdquo / for this study. The theoretical framework and the structure of the course has a great impact on this study, since the course reconsider Renaissance perspective and its architectural production in a new context / within the modern architectural space of METU Faculty of Architecture Building. Following the traces of the selective works from the final exhibitions of the course, creating &ldquo / illusionistic spaces,&rdquo / and recalling the subject &ldquo / participation,&rdquo / it is questioned how perspective is &ldquo / exhibited&rdquo / and how the architectural space is reproduced.

This dissertation focuses on the problematic of the use of specific virtual representational methods and their influence on the construction of the new visuality. The aim of this dissertation is to show how computer simulations and visualizations used in medical imaging change the way of our apprehension of the world. Nowadays, within academic circles we witness both optimistic and sceptic theories concerning the effects of integration of computer technology and human apprehension. In this work we would like to answer the question about the type of knowledge we gain through virtual visualizations and we would like to prove that virtual simulations don't necessarily have to be a threat but, on the contrary, by developing visual imagination they can support new, creative apprehension of reality. Key words Linear perspective, logic of database, narrative, rhizome, scopic regime, simulation, simulacrum, virtuality, vision, visuality, visualization

This exploration is one artist's view of visual reasoning through the study of depth perception. The experiment searched for pre-architectural forms through an investigation of geometric rectangular shapes and planar figures in anticipation of finding architectural volumes, that is, three-dimensional objects. I used three parameters to observe: the expected or planned, the anticipated, and the unforeseen. The pre-architectural sketching style used the disciplines of painting, sculpture, graphic arts, color theory, optics, and photography to formulate an architectural language. First, as artist (painter), I selected the medium of light as the brushstroke, color as the pigment, and photographic film plane as the canvas to capture image abstractions. Second, I used one-point perspective as the viewer's line of sight. Finally, I employed a series of shape abstractions to form a succession of transparent sections that composed the subject matter. This experiment sought to analyze visual perception by capturing the spatial depth of images, that is, a reproduction of something sculptural in likeness. The challenge was to reintegrate the abstracted Rectangular Shapes and Planar Figures. In order to achieve this physical abstraction, I created a modified camera obscura. This exploration produced clearly defined images-as-products that were interpreted as pre-architectural forms, which allowed me to translate color abstractions into architectural form studies, or models-as-products. Thus, the experiment created architectural volumes using light and color in order to draw points, lines, planes, and spatial depth. / Master of Architecture