Picture Plane Research Articles

METHODOLOGY FOR NUMERICAL MODELING OF DETERMINING THE VALUES OF CONDITIONAL PROBABILITIES OF HITTING AIR TARGETS WHEN FIRING A MISSILE WITH A TELEVISION OPTICAL SIGHT OF A COMBAT VEHICLE

The article presents a methodology for numerical modeling of determining the values of conditional probabilities of hitting air targets when firing a missile with a combat vehicle's television optical sight. The conditional probabilities of hitting air targets are associated with the sloping range to the far limit of the kill zone of an anti-aircraft missile system. The effectiveness of the use of an anti-aircraft missile system with a television optical sight depends on the plane of air targets, the picture plane of firing, and the conditions of missile firing. The following factors were taken into account in the modeling: the color of air targets, the meteorological range of atmospheric visibility, the quality of combat performance of the combat vehicle personnel, and sunlight. The calculations take into account the technical characteristics of the stations and systems of the combat vehicle and missile. The values of the first kind of missile firing errors are presented, namely, the systematic components of the first kind of missile firing errors and their standard deviations of errors depending on the far limit of the kill zone of the anti-aircraft missile system. It is shown that the systematic component of the dynamic first-order missile firing errors increases due to the maneuvering of air targets, provided that the standard deviation of the first-order missile firing errors during the maneuvering of air targets remains unchanged. The values of the standard deviations of the first kind of missile firing errors depending on the far limit of the kill zone of the anti-aircraft missile system are given, taking into account the influence of interference on the combat vehicle's reconnaissance radar station and optical interference on the channel of the combat vehicle's television optical sight. The parameters of the first kind of missile firing errors, i.e., the values of the probabilities of the missile passing through the “tube” of the required radius of operation of the missile's radio fuse, were found. The values of the second kind of missile firing errors, namely the conditional probabilities of the missile's radio fuse, are considered. The mathematical expectation of the random value of the radius of the missile's radio fuse, which corresponds to air targets under the specified conditions, is established. The values of conditional probabilities of hitting various air targets under various conditions of firing at the far edge of the kill zone of the anti- aircraft missile system are analyzed and calculated. The obtained analytical expressions for the numerical modeling technique and the corresponding graphical material are presented.

Anisotropies related to representational gravity.

Four experiments examined whether representational gravity, in which memory for the location of a previously-viewed target is displaced in the direction of implied gravitational attraction, occurs uniformly across a target. Participants viewed stationary, vertically-moving, or horizontally-moving targets of different sizes and at different heights within the picture plane. After a target vanished, participants indicated the remembered location of the top edge or bottom edge of that target. Significant anisotropies were found, as the remembered location of the top edge was displaced downward, whereas the remembered location of the bottom edge was not displaced or was displaced upward. Anisotropies along the vertical axis were not influenced by whether participants knew prior to target presentation which edge to remember or by whether targets were stationary or moved vertically, although there was a trend foranisotropies along the vertical axis to be reduced when targets moved horizontally. Larger targets and targets higher in the picture plane resulted in larger displacement when targets were stationary, although effects of size and height were diminished when targets were moving. If the top edge and bottom edge of a target are considered analogous to the trailing edge and leading edge of a moving target, respectively, then anisotropies related to representational gravity are similar to anisotropies previously reported for representational momentum for horizontally-moving targets (as direction of implied gravitational attraction is downward). The existence of such anisotropies has implications for the representation of space and for the localization of and interaction with stimuli in the environment.

Mathematical Modeling of Refraction Characteristics of Electromagnetic Radiation at Stochastic Gravitational Field

Numerical-analytical modeling is used for estimation of gravitational noise influence on propagation of electromagnetic radiation at gravitational field of a group of astrophysical objects. The method bases on numerical integrate of system of light differential equations in the Euler’s form, added differential equations for calculation of statistic moments of side fluctuations of light at a picture plane of observer. The influence of gravitation was taken into account by introducing of the effective refraction index of vacuum, expressed through a gravitational potential. Visions about spatial correlation function of inhomogeneities of effective refraction index of vacuum are used as model. Calculating of gravitation effects of group astrophysical objects are performed under assumption additive contribution of field of every objects in general gravitational field. Modeling of the refraction characteristics of electromagnetic radiation is performed for a various configurations of gravitation field. Results of calculating are shown at a picture plane of observer. The blurring effects of gravitational lensing are investigated at dependence from position of localized area of gravitational noise and astrophysical objects. It’s showed that for case of single-component gravitational field full coverage of object by area of gravitational noise match maximum blurring of lensing effect. The features of gravitational focusing are determined at dependence from position of area noise for asymmetrical twocomponent gravitational field, where one of objects coverage by area of gravitational noise. Offered tool of modeling can be used for both investigation of gravitational lensing of multi-component gravitational field in presence variety of limited area of gravitational noise and under conditions uniform spatial distribution of stochastic gravitational inhomogeneities. Also it can use for recovering of gravitational potentials of non-radiating (hidden) objects by characteristics of received electromagnetic radiation of remote space sources.

Three-Dimensional Visualization Of The Behavior Of Solid Particles Traveling In A Horizontal Gas Pipe Flow By Color PTV Using Discontinuously Changing Hue Illumination

In a gas pipe, a lot of solid particles remained during its construction. They are called dust and gas supply companies have tried to remove them using filters because they cause various problems. To optimize the maintenance period of dust removal filters, it is required to understand the behaviors of particles in the pipe. However, we do not fully understand yet because of their very complex behaviors caused by dune accumulated in the pipe. Furthermore, it is hard to investigate their behaviors with a traditional volumetric PTV using multiple cameras. Normally, its calibration is difficult because of the curvature of the pipe and the plural number of cameras. Therefore, we developed a new volumetric color PTV algorithm with discontinuously changing color illumination in the camera shooting direction, i.e. the depth direction. Color PTV can determine particle positions in three dimensions using a single camera but has low depth accuracy. Our new PTV measures particle positions and velocity vectors in the plane of picture using the same algorithm used in the normal planar PTV. On the other hand, particle positions and velocity vectors in the camera shooting direction are measured by a pattern of color changing on particle scattering light, which is our original method. To adopt the new volumetric PTV in the pipe flow, a volumetric light changing color discontinuously in the flow direction was irradiated and the particles were visualized using a camera installed at the outlet of the pipe. When a dune exists, the particles are thrown to the top of the pipe and their advection velocity is increased by the wakes generated by the dune. As a result, the dune makes more particles to be advected to a longer distance.

Design and analysis of unequal aperture off-axis optical integrator for solar simulators.

The unequal aperture off-axis optical integrator design method is proposed to improve the irradiation uniformity of solar simulators and solve the problem of limited uniformity of optical integrator due to aberrations and uneven distribution of incident radiation. Firstly, the unequal aperture off-axis optical integrator structure is designed based on the scalar diffraction theory to analyze the factors affecting the optical homogenization ability of the optical integrator. Then, the relationship between sub-eye lens aperture and arrangement is explored in combination with Lagrange invariance principle and semi-definite programming theory. Finally, the optimum off-axis amount of sub-eye lens with different ring band is determined from the perspective of geometric optics by using the aberration theory and following the principle of edge light, so as to improve the evenness of optical integrator. The design results are verified by the simulation analysis. The simulation results show that: In the picture plane of optical integrator, the irradiation non-uniformity in the ф 26 mm irradiation plane is 14.87%, which is better than 26.02% in the traditional optical integrator. At the same time, at the effective irradiated surface, the irradiation non-uniformity of 0.53% within the ф 300 mm reaches the irradiation standard of the class A + solar simulator, and the irradiance only decreases by 16.5% compared with the traditional optical integrator, which still meets the index requirement of a solar constant. The goal of improving the evenness of optical integrator is realized without greatly affecting irradiance and without introducing aspherical design.

Arm cooling selectively impacts sensorimotor control.

The benefits of cold have long been recognized in sport and medicine. However, it also brings costs, which have more rarely been investigated, notably in terms of sensorimotor control. We hypothesized that, in addition to peripheral effects, cold slows down the processing of proprioceptive cues, which has an impact on both feedback and feedforward control. We therefore compared the performances of participants whose right arm had been immersed in either cold water (arm temperature: 14°C) or lukewarm water (arm temperature: 34°C). In experiment 1, we administered a Fitts's pointing task and performed a kinematic analysis to determine whether sensorimotor control processes were affected by the cold. Results revealed 1) modifications in late kinematic parameters, suggesting changes in the use of proprioceptive feedback, and 2) modifications in early kinematic parameters, suggesting changes in action representations and/or feedforward processes. To explore our hypothesis further, we ran a second experiment in which no physical movement was involved, and thus no peripheral effects. Participants were administrated a hand laterality task, known to involve implicit motor imagery and assess the internal representation of the hand. They were shown left- and right-hand images randomly displayed in different orientations in the picture plane and had to identify as quickly and as accurately as possible whether each image was of the left hand or the right hand. Results revealed slower responses and more errors when participants had to mentally rotate the cooled hand in the extreme orientation of 160°, further suggesting the impact of cold on action representations.NEW & NOTEWORTHY We investigated how arm cooling modulates sensorimotor representations and sensorimotor control. Arm cooling induced changes in early kinematic parameters of pointing, suggesting an impact on feedforward processes or hand representation. Arm cooling induced changes in late kinematic parameters of pointing, suggesting an impact on feedback processes. Arm cooling also affected performance on a hand laterality task, suggesting that action representations were modified.

AR EXPLORATION OF THE PERSPECTIVE/ARCHITECTURAL SPACE PAINTED BY PERUGINO

Abstract. The perspective study of one of the panels from the cycle of San Bernardino attributed to Perugino has revealed a contracted space in depth, represented three-dimensionally by the objective model. In contrast, the ideal model eliminates the contraction and maintains the proportions dictated by the architectural interpretation. The contribution presents an advancement in the perspective study aimed at developing an augmented reality (AR) application. It is designed to be experienced at the museum housing the artwork, serving as an in-depth exploration that explains to visitors the nature of the perspective space and the architectural space represented. The case study of the painting by Perugino becomes an opportunity to define and experiment with a workflow aimed at creating AR applications focused on the visualisation of architectural models derived from the perspective restitution of pictorial works. The description of the adopted method focuses on the following aspects: the use of the pictorial image as an AR marker and the relationship between the perspective picture plane and the 3D model; the optimisation of 3D models for AR visualisation purposes; the issue of the landscape; scene lighting; and the user interface for multilayer interaction.

ПОСТРОЕНИЕ ПЕРСПЕКТИВЫ ПРЯМОЙ ПО КАРТИННОМУ СЛЕДУ И ТОЧКЕ СХОДА

The article is exclusively applied and methodical in nature and is intended for the study of constructions in the section "Perspective". The paper considers the construction of the perspective of a straight line of the general position with the help of a picture trace and a vanishing point. In perspective, the traces of a straight line are the points of intersection with the picture and subject planes. Vanishing point – the perspective of an improper point of a straight line. The article discusses the picture trail, the vanishing point and the construction of a straight line segment by means of these perspective points. In textbooks for builders, such a task is not set at all and is not considered. Three authors have solutions in textbooks for architects: A.G. Klimukhin, Yu.I. Koroev and T.S. Timrot. However, they also have some disadvantages, which are discussed in this article. In the work proposed to the reader, such an arrangement of geometric components is performed that there is neither parallelism nor perpendicularity between them, that is, they are all located at acute angles to each other, which means that a general case of construction is proposed for consideration. So, we have a right angle only between the horizontal and frontal planes of projections, as well as between the picture and object (horizontal plane of projections) planes. The angles between the other geometric components are exceptionally sharp: a straight line of general position in the P1/P2 system is taken, it is also a straight line of general position in the P1/K system. Thus, the article considers, unlike other textbooks, the general case of a direct task.

Spatial Semantics: Tafereel, Einder and El Lissitzky

Abstract In visual awareness the expanse of pictorial space fills a slab of finite depth between a frontal plane and a backdrop at infinity. It paradoxically coexists with the flatness of a picture. The constructivist El Lissitzky (1890–1941) suggested that a formal account would therefore require paradoxical notions such as non-Euclidean geometry and imaginary numbers. Perhaps so, for pictorial and physical spaces have distinct ontological roots so they are incommensurable. Alberti’s perspective discards the third dimension. Depth is a mental quality that cannot be represented. Since the picture plane is flat, ‘depth’ has to be imaginary. Imaginary dimensions capture the ‘enchantment’ of pictorial vision. Pictures and Alberti’s perspective address the disenchanted (flat), objective aspect. Only arcane geometries with imaginary dimensions might possibly account for the phenomenology — as they indeed are found to do. Linguistic terms that refer to such imaginary objects — such as ‘tafereel’ and ‘einder’ in Dutch — are scarce.

Computer Vision Techniques for Military Surveillance Drones

Commercial unmanned aerial vehicles (UAVs), also referred to as drones, have proliferated recently, raising concerns about security threats and the need for effective countermeasures. To address these concerns, various technologies have been explored, including radar, acoustics, and RF signal analysis. However, computer vision, particularly deep learning approaches, has emerged as a robust and widely used method for autonomous drone identification. The goal of this research is to create an autonomous drone identification and surveillance system that makes use of a mix of static wide-angle cameras and a lower-angle camera placed on a revolving turret. To optimize memory and processing time, we suggested a novel multi-frame DL identification model. In this approach, the frames captured by the turret's magnified camera are stacked on top of the frames from the wide-angle still camera. Utilizing this technique, we can create an efficient pipeline that conducts initial identification of small-sized aerial invaders on the primary picture plane and identification on the expanded image plane at the same time. This approach significantly reduces the computational burden associated with detection algorithms, making it more resource-efficient. Furthermore, we present the complete system architecture, which includes DL classification frameworks, tracking algorithms, and other essential components. By integrating these elements, we create a comprehensive solution for drone identification and tracking. The system leverages the power of deep learning to accurately classify and track drones in real-time, enabling prompt response and mitigating potential security threats. Overall, this research offers a novel and effective approach to autonomously identify and track drones using computer vision and deep learning techniques. By combining static and dynamic camera perspectives and employing a multi-frame detection method, we provide a resource-efficient solution for drone identification. This work contributes to the ongoing efforts in enhancing security measures against potential drone-related risks

Between the Retina and the Celestial Dome: Challenging the scaffolding of spatial imagination

Taking as a starting point French artist Marcel Duchamp’s preoccupation with a poetic portrayal of stereoscopic vision and the red and blue expansion of depth in the technique of the anaglyph, Between the Retina and the Celestial Dome playfully challenges the disciplinary constraints and conventions of spatial thinking. The text takes the form of shorter or lengthier annotations on a twin ‘essayist drawing’ that exists in two versions: a hand-drawn gilding on parchment and a digital film. It proposes that our understanding of visual perception in combination with the perceived immediate environment and its expansion in the cosmos creates an underlying matrix that shapes our scientific and philosophical thinking and projects itself onto built form: an intellectual ‘scaffolding’ on which spatial thought is erected. This scaffolding is not one or constant, but shape-shifts historically, geographically and sociopolitically, affecting not only how we see but also how we conceive, design and construct spatial structures. Since the invention of perspective during the Renaissance, orthographic projection became a potent and often unquestioned scaffolding for architectural thought and representation. Between the Retina and the Celestial Dome uses the drawing’s playful character, which does not follow the rules of normative architectural representation, to question the forgotten, implicit or taken-for-granted aspects of orthographic projection: the curvilinear image created on each retina; stereopsis, how depth is formed by the combination of images on two eyes; and the existence of the flat picture plane. In search of an alternative scaffolding of architectural representation, the collection of drawn figures on the parchment and the digital film refers to the physiology of vision and stereoscopy; the picturing of the celestial dome in religion and popular astronomy; and specific instances of domed structures in architectural history.

CONSTRUCTIVE GEOMETRY IN IMPLEMENTATIONS OF MODERN 3D GRAPHICS

3D graphics are one of the crucial development trends of modern digital technologies. Engineering and manufacturing, architecture, design, cinematography, education, and the game industry are an incomplete list of industries where it is actively used. Specialists in 3D graphics are in high demand in the labor market. Their proper training presupposes high-quality knowledge of geometrical sciences, in particular – constructive geometry. Note that constructive geometry is an integral part of modern school mathematics education. That is why, even in the conditions of the school, the teacher should skillfully apply the demonstration capabilities of three-dimensional graphics. It will also encourage students of a comprehensive school to apply knowledge of constructive geometry in practice in the area of 3D modeling. This approach will make it possible to demonstrate the importance and interconnectedness of knowledge in geometry and computer science. Therefore, the article reveals the importance of interdisciplinary connections between the specified disciplines in the context of research, demonstration, and application aspects. In particular, the nuances of using the GeoGebra dynamic geometry complex for conducting computational experiments and creating spatial models based on tasks from a school spatial geometry course are described. After all, modern capabilities of software tools make it possible to demonstrate in real time all the transformations that took place during drawing modeling on the picture plane. The importance of the applied value of constructive geometry for 3D modeling reveals based on examples of solid and polygonal modeling of virtual spatial objects. In particular, the steps of creating a solid model of a pyramid, which is formed by cutting it off with a plane from a regular quadrangular pyramid, are illustrated by the basis of calculations and constructions, which are performed using techniques of constructive geometry. All stages are described and done using the TinkerCAD online modeling service tools. An example of using the Blender program for creating polygonal 3D models is also provided. In particular, the significant aspects of the part modeling process are presented in the example of a task from a drawing textbook. The importance of planimetric constructions in the process of performing high-precision polygonal modeling is also emphasized. The article contains many figures that illustrate the essential stages of modeling. The materials presented can be used to prepare lessons in either mathematics or computer science and can be used to conduct integrated classes that draw on both subjects. Possible prospects for further research on this topic are also presented.

‘Foundations of Still-Life Painting’ – Colour Application, Textural Effects and Development of Holistic Composition. Analysis of Selected Still-Life Paintings by Second Year Students at Kenyatta University, Nairobi, Kenya

Still-life painting as a formative painting unit is important in enabling students to interact with elements of art in the arrangement of specific static objects that form a precise composition. This arrangement of objects in composition is essential in helping students to comprehend the concept of composition in creative work. Since they are dealing with arranged, static objects as opposed to flowing figures and other fluid or gestural forms that suggest movement as would be the case in regular painted pictorial compositions, a still-life composition provides an opportunity to apply the principles of art in a concise way. This in turn underscores the compositional essence of each element as it relates to any principle, the interrelation of which formulates the composition itself. It is envisaged that the execution of a good still-live composition shall assist students to apply the same compositional tenets in regular paintings. For instance, students are henceforth aware of the application of comparative proportions, the use of textural effects, illumination, shadows, balance, and placement of objects on the picture plane, as well as colour contrasts, harmony, and tones. This paper examines how students engage with still-life painting, arrangement of objects and the wider notion of composition. Since this unit provides the first opportunity for this engagement, the paper specifically seeks to determine the extent to which students internalize and subsequently apply, through visual depiction, the interrelationships between objects, their proportions, the use of perspective to create depth, textural effects, application of colours and colour tones, shadows, the effect of light and its sources, drapery, compositional base as well as the usefulness of backgrounds. In order to attract their interest, sustain their attention and enhance their creativity, the students were allowed to choose, assemble, and arrange their own objects in creating their still-life compositions. Unlike the traditional approach where students draw or paint a similar set of objects arranged before them, this alternative approach of painting objects of their choice eliminated the possibility of unnecessary comparison of work at this stage and instead provided the students with the opportunity to paint objects that actually fascinated them and spurred their imagination. Students’ attention was drawn to the visual difference between a regular, painted pictorial composition and a still-life composition. A regular pictorial composition comprises of undulating features that show movement or is expressive of a phenomenon be it the study of nature and the environment or an aspect of personal expression or social commentary. A still-life composition is static and shows only interrelationships between objects. Students were free to use watercolours, oils or acrylics and their respective materials and tools. The researcher then selected paintings that best demonstrated this internalization and suggested indicators of artistic skill at this formative level.

Typical viewpoints of objects are better detected than atypical ones.

Previous work has claimed that canonical viewpoints of objects are more readily perceived than noncanonical viewpoints. However, all of these studies required participants to identify the object, a late perceptual process at best and arguably a cognitive process (Pylyshyn, 1999). Here, we extend this work to early vision by removing the explicit need to identify the objects. In particular, we asked participants to make an intact/scrambled discrimination of briefly presented objects that were viewed from either typical or atypical viewpoints. Notably, participants did not have to identify the object; only discriminate it from noise (scrambled). Participants were more sensitive in discriminating objects presented in typically encountered orientations than when objects were presented in atypical depth rotations (Experiment 1). However, the same effect for objects presented in atypical picture plane rotations (as opposed to typical ones) did not reach statistical significance (Experiments 2 and 3), suggesting that particular informative views may play a critical role in this effect. We interpret this enhanced perceptibility, for both these items and good exemplars and probable scenes, as deriving from their high real-world statistical regularity.

Apparent counter-rotation in the torus of NGC 1068: influence of an asymmetric wind

ABSTRACT The recent ALMA maps together with observations of H2O maser emission seem to suggest the presence of a counter-rotation in the obscuring torus of NGC 1068. We propose to explain this phenomenon as due to the influence of a wind, considered as radiation pressure, and the effects of torus orientation. In order to test this idea: 1. we make N-body simulation of a clumpy torus taking into account mutual forces between particles (clouds); 2. we apply ray-tracing algorithm with the beams from the central engine to choose the clouds in the torus throat that can be under direct influence of the accretion disk emission; 3. we use semi-analytical model to simulate the influence of the asymmetrical radiation pressure (wind) forced on the clouds in the torus throat. An axis of such a wind is tilted with respect to the torus symmetry axis; 4. we orient the torus relative to an observer and again apply ray-tracing algorithm. In this step the beams go from an observer to the optically thick clouds that allows us to take into account the mutual obscuration of clouds; 5. after projecting on the picture plane, we impose a grid on the resulting cloud distribution and find the mean velocity of clouds in each cells to mimic the ALMA observational maps. By choosing the parameters corresponding to NGC 1068 we obtain the model velocity maps that emulate the effect of an apparent counter-rotation and can explain the discovery made by ALMA.

Visual Perception of Photographs of Rotated 3D Objects in Goldfish (Carassius auratus).

Simple SummaryThe ability to visually recognize objects at different viewpoints is known as object constancy and is very important to animals, including humans. By presenting six goldfish with photographs of plastic turtles and frogs at different viewing angles, we were able to better understand object constancy abilities in goldfish. All the fish had successful performance, showing that they were able to distinguish between the turtle and frog photographs, which is evidence of object constancy. This study was the first to look at fish’s ability to identify photographs of objects they had previously seen, known as object-picture recognition.This study examined goldfishes’ ability to recognize photographs of rotated 3D objects. Six goldfish were presented with color photographs of a plastic model turtle and frog at 0° in a two-alternative forced-choice task. Fish were tested with stimuli at 0°, 90°, 180°, and 270° rotated in the picture plane and two depth planes. All six fish performed significantly above chance at all orientations in the three rotation planes tested. There was no significant difference in performance as a function of aspect angle, which supported viewpoint independence. However, fish were significantly faster at 180° than at +/−90°, so there is also evidence for viewpoint-dependent representations. These fish subjects performed worse overall in the current study with 2D color photographs (M = 88.0%) than they did in our previous study with 3D versions of the same turtle and frog stimuli (M = 92.6%), although they performed significantly better than goldfish in our two past studies presented with black and white 2D stimuli (M = 67.6% and 69.0%). The fish may have relied on color as a salient cue. This study was a first attempt at examining picture-object recognition in fish. More work is needed to determine the conditions under which fish succeed at object constancy tasks, as well as whether they are capable of perceiving photographs as representations of real-world objects.

REALISTIC AND CONDITIONAL SPACE PAINTING IN THE CONTEXT OF AN ARTISTIC IMAGE

The purpose of the article is to analyze, identify the general and particular in the organization of the compositional space of painting in order to most accurately display the artistic image. The object of the study is the three-dimensional space in the visual arts. The subject is the basic laws of the organization and construction of realistic and conditional space in the visual arts. The analysis of the main types of space in the composition of painting is given. A fundamental division into realistic and conditional space in the solution of the artistic image of fine art is proposed. The concept of an artistic image is defined and the main means of conveying its expressiveness in a composition are identified, namely: format, space, compositional center, symmetry and asymmetry, balance, rhythm, dynamics and statics, color, texture, and so on. The article deals with the basic concepts, techniques and principles of the organization of space on the picture plane in the visual arts. It is determined that the compositional features of the organization of three-dimensional space are due to the use of linear, inverse, perceptual, spherical and light-air perspectives in the construction of both individual elements and the entire structure of the composition of a work of art. The role of different types of space in creating an artistic image within the framework of realistic and conventional painting is analyzed. The results of the work can be used in the educational and creative processes of creating works of fine art, in educational and methodological work, art studies. The proposed systematization of the spatial solution of the image allows us to consider the possibilities of realistic and conventional painting in order to fully reflect the idea and ideological position of the author of the work of art. In the process of analyzing and comparing the organization of the space of realistic and conventional images of the artistic image, the authors of the article came to the conclusion that the principles and techniques of working on the composition have a general and particular. The basic laws of composition, such as the organization of the center, balance, rhythm, movement and static, nuance and identity, from perspective – light-air, work equally for realistic and conventional images. The difference is marked by the use of the laws of different types of perspective (for the realistic solution of the artistic image and the space of the composition, linear, perceptual and light-air perspectives are used; for the conditional solution of the composition, the inverse, spherical perspective and axonometric methods of constructing a shape in space are used), as well as different ways of working with color and shape.

Changes in thoracic form morphology in healthy young adults to middle-aged people at numerous thoracic vertebral levels

Introduction- The Haller index is a thoracic breadth to height ratio. This was previously only at one unknown vertebral level in the thorax. Method- A total of 108 patients were enrolled. Measurements were taken in the axial plane picture at each vertebral level, beginning with T3 and ending with T12. The internal radiographic transverse and minimum anteroposterior diameters were measured using a CT machine and a GE PACS. Both diameters are measured so that they cross each other at a straight angle. Result: - 108 HRCT pictures were evaluated in total. The research included 73 males and 35 females. Patients range in age from 20 to 45 years. The male group's mean age was 38.89 years, with a standard deviation of ±6.11 years. The female group's mean age was 38.83 years, with a standard deviation of ±8.47 years. The overall mean (male + female) Haller index was 2.46 with a standard deviation of ±0.62. Males had a mean Haller index of 2.42 with a standard deviation of ±0.58. Females had to have a mean Haller index of 2.55 with a standard deviation of ±0.66.

Determination of coordinates of unmanned aircrafts by means of kinematic projection

A methodology for determining the mechanical trajectory and spatial coordinates of unmanned aircrafts by means of kinematic projection is described. The suggested methodology consists in the formation of two moving independent centers of kinematic projection by launching intercepting drones into space. Electromagnetic radio waves emitted by unmanned aircrafts pierce an unknown flying object and generate two independent projecting rays intersecting at the place of searching a flying object. At that, the instantaneous (at a certain moment) projection of the point of spatial location of the searched object will be located in an imaginary `picture plane' on the line connecting the projections of the points created by projecting rays of the intercepting drones. Since all the objects of projection are mobile in this case, the whole projection of the trajectory of the searched object will be displayed on the operator's monitor. The formation of a `more picture-like plan' perpendicular to the main one will allow us to build an axonometric view not only for the projection, but directly for the aircraft spatial movement trajectory. Every point of this trajectory gives us information about `instant' coordinates of the location of the aircraft in space. Velocity is calculated as the ratio of spatial displacement of a flying object to the duration of movement. The scientific novelty of the method of determining the trajectories, velocities, and coordinates of an unmanned aircraft consists in the combination of radar detection of a moving object with kinematic design used for its implementation in order to calculate instantaneous coordinates of the object. This methodology solves the problem of determining more accurately the coordinates of flying objects that are not clearly and qualitatively displayed on radar monitors due to small size, mass, and specific materials used in manufacture. At the same time, the influence on the accuracy of determining the coordinates of unmanned aircrafts reflected from the fixed obstacles placed on the relief surface of earth was established. The results of this study can be used in practice in military science, for example, during the anti-terrorist operation in the occupied territories of Ukraine, with the aim to detect and neutralize enemy reconnaissance unmanned aircrafts. The use of this method in aerial photography for clear fixation of drone coordinates during aerial surveys for terrain topography is also promising.

РЕАЛИСТИЧЕСКОЕ И УСЛОВНОЕ ПРОСТРАНСТВО ЖИВОПИСИ В КОНТЕКСТЕ ХУДОЖЕСТВЕННОГО ОБРАЗА

The purpose of the article is to analyze, identify the general and particular in the organization of the compositional space of painting for the most accurate display of the artistic image in the visual arts. The analysis of the main types of space in the composition is given; a fundamental division into realistic and conditional space is proposed in solving the artistic image of fine art; the concept of an artistic image is defined and the main means of conveying its expressiveness in composition are identified. The article discusses the basic concepts, techniques and principles of organizing space on the picture plane in the visual arts. It is determined that the compositional features of the organization of threedimensional space are due to the use of linear, inverse, perceptual, spherical and light-air perspectives of building both its individual elements and the entire structure of the composition of a work of art. The role of space in the creation of an artistic image within the framework of realistic and conditional painting is analyzed. The authors of the article came to the conclusion that the principles and methods of working on realistic and conditional composition have both common and particular. The general techniques for creating a compositional space include the basic laws of composition, such as the organization of the center, balance, rhythm, movement, statics, nuance and identity, as well as the stethoair perspective. The use of the laws of various types of perspective differs (for a realistic solution of an artistic image and space of a composition, linear, perceptual perspectives are used; for a conditional solution of a composition, reverse, spherical perspectives and axonometric methods of constructing a form in space are used). The ways of working with color and shape also differ.