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Keywords = cloudscapes

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12 pages, 7133 KB  
Communication
Deterministic Global 3D Fractal Cloud Model for Synthetic Scene Generation
by Aaron M. Schinder, Shannon R. Young, Bryan J. Steward, Michael Dexter, Andrew Kondrath, Stephen Hinton and Ricardo Davila
Remote Sens. 2024, 16(9), 1622; https://doi.org/10.3390/rs16091622 - 30 Apr 2024
Cited by 2 | Viewed by 2527
Abstract
This paper describes the creation of a fast, deterministic, 3D fractal cloud renderer for the AFIT Sensor and Scene Emulation Tool (ASSET). The renderer generates 3D clouds by ray marching through a volume and sampling the level-set of a fractal function. The fractal [...] Read more.
This paper describes the creation of a fast, deterministic, 3D fractal cloud renderer for the AFIT Sensor and Scene Emulation Tool (ASSET). The renderer generates 3D clouds by ray marching through a volume and sampling the level-set of a fractal function. The fractal function is distorted by a displacement map, which is generated using horizontal wind data from a Global Forecast System (GFS) weather file. The vertical windspeed and relative humidity are used to mask the creation of clouds to match realistic large-scale weather patterns over the Earth. Small-scale detail is provided by the fractal functions which are tuned to match natural cloud shapes. This model is intended to run quickly, and it can run in about 700 ms per cloud type. This model generates clouds that appear to match large-scale satellite imagery, and it reproduces natural small-scale shapes. This should enable future versions of ASSET to generate scenarios where the same scene is consistently viewed from both GEO and LEO satellites from multiple perspectives. Full article
(This article belongs to the Section Atmospheric Remote Sensing)
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14 pages, 2177 KB  
Article
Cloudscapes over the Baltic Sea–Cloud Motifs in Finnish, Swedish, German, Russian, Polish, Lithuanian, and Latvian Symbolic Landscape Painting around 1900
by Emiliana Konopka
Arts 2023, 12(5), 193; https://doi.org/10.3390/arts12050193 - 7 Sep 2023
Viewed by 5235
Abstract
The cloud motif, a significant one in the landscape painting of the 1890s and early 1900s, has been usually marginalized by scholars despite the fact that during this (Symbolist) period clouds became independent subjects of landscape painting in many European countries, especially in [...] Read more.
The cloud motif, a significant one in the landscape painting of the 1890s and early 1900s, has been usually marginalized by scholars despite the fact that during this (Symbolist) period clouds became independent subjects of landscape painting in many European countries, especially in the Baltic Sea Region. Cloud imagery makes a robust appearance in Scandinavian, Russian, Polish, Lithuanian, and Latvian art during the decades around 1900. The variety of symbolic meanings and possible interpretations of cloudscapes was impacted by cultural and literary associations that emerged with European Symbolism. There is a surprising resemblance of cloudscapes executed within the Baltic Sea Region, an examination of which reveals the complexity of artistic influence and the presence and wandering of motifs among artists. Full article
(This article belongs to the Special Issue Visual Culture Exchange Across the Baltic Sea Region during the Long 19th Century)
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13 pages, 9903 KB  
Article
Animal Imagery in Eastern Han Tomb Reliefs from Shanbei 陝北
by Leslie V. Wallace
Arts 2023, 12(1), 26; https://doi.org/10.3390/arts12010026 - 30 Jan 2023
Cited by 1 | Viewed by 5361
Abstract
Wild and fantastical animals climb, fly, scamper, and prance across pictorial stone carvings decorating Eastern Han tomb doors in northern Shaanxi. Alongside dragons and other mythical animals, bears felicitously dance, tigers grin opening their mouths to roar, and other wild animals frolic in [...] Read more.
Wild and fantastical animals climb, fly, scamper, and prance across pictorial stone carvings decorating Eastern Han tomb doors in northern Shaanxi. Alongside dragons and other mythical animals, bears felicitously dance, tigers grin opening their mouths to roar, and other wild animals frolic in swirling cloudscapes. While the same animals can be found in Eastern Han tomb reliefs and mortuary art in other regions, their frequency, emphasis on plasticity and movement, and combination with the yunqi 雲氣 motif are unique to the region. Originating in a hybrid style of art that was created during the Mid-Western Han Dynasty (206 BCE–9 CE), their significance was dependent not so much on any individual creature but on their display as an assemblage of shared forms, behaviors, and habitats. This paper explores how Eastern Han patrons and artists in Shanbei reinvigorated such imagery. It argues that on tomb doors through the region, these same wild and fantastical animals have become a key element of compositions meant to pacify the potentially dangerous realms that awaited the deceased in their postmortem ascension to Heaven (tian 天). Full article
(This article belongs to the Special Issue The Zoomorphic Arts of Ancient Central Eurasia)
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