# 电子工程代写|虚拟现实代写Virtual Reality代考|ISMAR2022

## 电子工程代写|虚拟现实代写Virtual Reality代考|The Epicyclic Hypothesis—Epicycle and Deferent

According to Ptolemy’s theory, the planets should move in circular orbits around the Earth. However, more precise astronomical observations showed a clear deviation from this ideal conception. Thus, in the “Amalgest” [18], Ptolemy used the epicyclic hypothesis of two simultaneous circular motions to describe a planetary orbit around the Earth. The planet rotates around a small circular orbit (epicycle) whose center moves on a larger circular orbit (deferent). Copernicus in his revolutionary work “De revolutionibus orbium coelestium” (“On the Revolutions of the Heavenly Spheres”)[19], moved the sun into the center of the system, but still used the epicyclic hypothesis to describe the track of the stars. With opposite directions of rotation on epicycle and deferent, an ellipse can thus also be represented with some effort. Only with Kepler’s 1609 in the “Astronomia Nova” [20, 21] presented idea of an elliptical planetary orbit could be dispensed with the epicycle theory.

In the following, Gershon develops a detailed description of the darkroom, of which only the “main sentence” is reproduced here: (from [17], pp. 226-227) When rays from the sun, moon, or other sources of light enter through any window or hole and strike an object behind the aforesaid opening, the image of the same is on all sides wider than the aperture according to the angle formed by the radius of the luminous body at the entrance.
A little later in the text follow two observations worth mentioning:
…and the smaller the vpening in the window, the mone atcurate will be the result of the measurement Further, it follows that when the eclipse appears on one side of the luminous body, the arch is on the opposite side of the image on the screen. For it is clear from the foregoing proof that the lower half of the celestial body sends light to the upper part of the image, and always the opposite side of the celestial body gives rise to the opposite part of the image.

## 电子工程代写|虚拟现实代写Virtual Reality代考|Magic Lantern and Fright Lamp

The reversal of the light path turns the darkroom into a magic lamp. The difficulty is really only due to the fact that the image to be projected must have a very high brightness in order to still be seen with the naked eye after a pinhole. It is not surprising that projection lanterns only came into the limelight when the manufacture of lenses and mirrors also reached a quality sufficient to focus the light and bright lamps could be produced. Equally unsurprising is the fact that those researchers who were engaged in the study of optics and the camera obscura were also among the fathers of the magic lantern.

An early depiction of the magic lantern (ca. 1420) is found in a manuscript by Johannes de Fontana in his collection Bellicorum instrumentorum liber cum figuris [51]. On the last page, a lady is depicted holding a lantern (Fig. 3.15). In the original to the right, the projection of the small drawing from inside the lantern is shown and probably represents an inhabitant of Hell. The title of the drawing is therefore “Nocturnal Apparition to the Horror of the Beholder” (Apparentia nocturna ad terrorem videntium). To this the coded text says: “You know the method with the lantern and have seen with your own eyes [the lantern, author’s note] made by myself according to my own idea.,”20 The lantern is shown again enlarged in greyscale on the left side of the picture in Fig. 3.15. It is easy to see in the enlargement that Johannes de Fontana has correctly reproduced the projected motif inside the lantern at a smaller scale. This could indicate that Fontana had practical experience in using the lantern and had actually made it himself.

The “Uomo universale”21 Alberti described in 1436 in his work “Della pittura” [54] not only the use of perspective. As Tiraboschi tells us in his monumental work “Storia della Letteratura Italiana” $\lfloor 55\rfloor$, he possibly used something similar to a peep-box (“Camera ottica”, an optical chamber) to represent his perspective pictures. One looked through a small hole in this box at the painted image of a scene, which must have seemed very realistic in perception (from [55], p. 368, own translation):
He wrote (Alberti) some books on the art of painting, and with this art he created unheard-of works that were incredible to those who saw them. He had enclosed them in a small box and showed them through a small hole. You would have seen there high mountains, vast provinces around the sea, and more from distant lands that you can hardly see with your own eyes. These things were shown by him, and they were such that simple men and scholars thought they saw real things, not painted picturss.

## 电子工程代写|虚拟现实代写Virtual Reality代考|The Epicyclic Hypothesis—Epicycle and Deferent

…而且窗口中的 vpening 越小，测量结果就越精确 此外，当日食出现在发光体的一侧时，拱形在屏幕上图像的另一侧. 因为从前面的证明可以清楚地看出，天体的下半部分向图像的上半部分发出光线，而天体的另一侧总是会产生图像的对面部分。

## 电子工程代写|虚拟现实代写Virtual Reality代考|Magic Lantern and Fright Lamp

Johannes de Fontana 在他的收藏 Bellicorum instrumentorum liber cum figuris [51] 的手稿中发现了对魔法灯笼（约 1420 年）的早期描述。最后一页描绘了一位女士手持灯笼（图 3.15）。在右边的原图中，显示了从灯笼内部投影的小图，可能代表地狱的居民。因此，这幅画的标题是“对旁观者的恐惧的夜幻影”（Apparentia nocturna ad trereem videntium）。对此，编码文本说：“你知道灯笼的方法，并且亲眼看到了我按照自己的想法制作的[灯笼，作者注]。”20 灯笼再次以灰度放大显示图 3.15 中图片的左侧。从放大图中很容易看出，约翰内斯·德·丰塔纳以较小的比例正确地再现了灯笼内的投影图案。这可能表明丰塔纳有使用灯笼的实际经验，并且实际上是自己制作的。

1436 年阿尔贝蒂在他的作品“绘画”[54] 中描述的“普世人”21 不仅使用了透视。正如蒂拉博斯基在他的巨著《意大利文学史》中告诉我们的⌊55⌋，他可能使用类似于窥视盒（“Camera ottica”，光学室）的东西来表示他的透视图。一个人通过这个盒子上的一个小洞看到了一个场景的绘画图像，这在感知上一定看起来非常逼真（来自 [55]，第 368 页，自己的翻译）：

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