A segmented Faraday cup for two‐dimensional representation of the current distribution of an ion beam

1996 ◽  
Vol 67 (9) ◽  
pp. 3082-3084 ◽  
Author(s):  
D. Knolle ◽  
D. Ratschko ◽  
M. Gläser
2019 ◽  
Vol 682 ◽  
pp. 109-120 ◽  
Author(s):  
Wjatscheslaw Sakiew ◽  
Stefan Schrameyer ◽  
Marco Jupé ◽  
Philippe Schwerdtner ◽  
Nick Erhart ◽  
...  

1998 ◽  
Vol 55 (spe) ◽  
pp. 39-45 ◽  
Author(s):  
Y. Sako ◽  
K. Fujimura ◽  
M.B. McDonald ◽  
D. James

Seed analysts need to identify seeds, and seed catalogs are used as a reference to accomplish this task. Conventional seed catalogs supply two-dimensional photographs and hand-drawn diagrams. In this study, a new, three-dimensional representation of seeds is developed to supplement these traditional photographs and drawings. QuickTime VR is a promising method for viewing three-dimensional objects on a computer screen. It permits manipulation of an object by rotating and viewing it from any pre-specified angle at an interactive speed, allowing the viewer the sense of examining a hand-held object. In this study, QuickTime VR object movies of seeds were created as interactive "movies" of seeds that can be rotated and scaled to give the viewer the sensation of examining actual seeds. This approach allows the examination of virtual seeds from any angle, permitting more accurate identification of seeds by seed analysts.


2021 ◽  
Author(s):  
◽  
Jessica Wright

<p>This research investigates a correspondence between the architectural representational tool of drawing, and the translations of these into something recognised as ‘built’. It is fundamentally concerned around representation in architecture driven by the principles that our entire engagement with architecture is via representation. Architects do not produce buildings but produce images of buildings, and the role of two-dimensional representation plays a principal part in architecture. Architecture is always representational, and the more we engage with representation the more we might push the envelope with what we understand architecture to be.   This thesis aims to establish within the contemporary discipline, what we understand about the responsibility of linear perspective as a representational tool. By understanding what lies behind the canon of perspective in architecture, this thesis questions whether the representation of conventional architecture could benefit from a new way of drawing linear perspective?   The discovery of perspective during the Renaissance has influenced not only our way of representing architecture but also how we view, and therefore design it. It has become integrated with our understanding of architecture at an unconscious level. Architects no longer need control of projective geometry, and due to this cannot be critical of the system of representation or control its limits. This leads to mediate a shift in perspective, with the intention to generate a representation of new form.   The motivation for this thesis was that from linear perspective, as it has done so for centuries, we can produce evocative and meaningful vocabularies that attempt to enrich architecture.</p>


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