Investigating Diagonal Differences

Examine diagonal differences: I gave a 10 x 10 grid. I find the diagonal difference of 10 x 10 squares (eg 3 x 3, 4 x 4) different sized boxes, multiply by the relative angle leading to the two answers and subtract 2 to get this size It is the last answer. This is a grid useful for examining the diagonal difference. 1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24 25 26 27 28 29 30 31 32 33 35 36 37 38 39 40

There is a difference between the actual size and the size we know. "Illusion" shown below represents the power of our perception. Our brain gets clues from several diagonals, constructs a virtual space and "computes" it. There, the right person must be higher. This compensation mechanism is very useful for our daily life. However, this makes it difficult for us to estimate and compare the dimensions required for drawings. In order to get the correct size on paper, we need to ignore the dimensions we know and draw the dimensions we see. We know that people in the distance are not small, but we need to draw small on paper.

Yale 's funny tablet shows diagonal squares. Write "30" on one side below the diagonal "42 25 35" and along the same diagonal "1 24 51 10" (ie 1 + 24/60 + 51/602 + 10/60)) third number Is the correct value of the square root of hexadecimal from √ 2 to 4 digits (1.414213 in decimal notation, only one is too small in the 7th digit), the 2nd digit is the 3 rd. When the side length is 30, the product of the number and the first number gives the length of the diagonal. Therefore it seems that the scribe line is known to be equivalent to the well-known long way to find the square root. Another complexity factor is that choosing 30 (or 1/2) for an edge means that the diagonal obtained at the scribe line is the reciprocal of the square root of √ 2 (square root of √ 2/2 = square root of 1 ) / Square root of square), this result is useful for division

On May 25, 1963, the diagonal in 1963 was one of the most important investigations of the formal possibility of Flavin using standard fluorescent light fixtures in commercial colors. An oblique image is an important early topic that the artist plays, a series, and follows a simple mathematical construct. Flavin created numerous oblique "recommendations" in various colors, alternating from right to left. Flavin executed the first diagonal under golden light, then made a diagonal of green, yellow and red. The diagonal of the museum on May 25, 1963 is probably the most conceptual and formal work in the series: pure white, ultraviolet