It is a truth universally acknowledged, that the term camouflage and its ambiguous character has started to draw a lot of attraction among the millennials. Camouflage and its importance in architecture with respect to the various aspects of loose fit contiguity and its unidentified apertures in the digital world and computation as a tool is what the entire blog is all about. Camouflage can be defined as a “visual disguise” ,but on the contradictory it can be interpreted as taking advantage of a human eye’s blind-spot which draws to a conclusion of “Faking the eye” theory. A human eye if provided with a dotted canvas, has the power to join the dots through its power of imagination and striking a boundary by its psychedelic conscience. but when the dots are not placed on a predictable manner and drawn with a complex algorithm then the human brain struggles to connect the dots in a correct way but rather than understanding the original figure or even the what is was meant to portray. you will be forced to understand and link it with something that you have a strong liking to (Unconsciously). Getting into a pragmatic for of creating a digital camo has become a cliche these days with a lot of research light years ahead of the genre of profanity. Camouflage which is tested to be successful in a terrain battle ( An example to explain ) uses the very basic ideology of pixelation . usage of bigger and smaller pixels juxtapositioned in-order to create a camouflage which is really successful with respect to a moving viewer who views the same target with respect to the environment as the ground and the military-wear as the figure. The figure-ground relationship should be really difficult to interpret for a successful camo. Pixelations are used to create a digital camo as they are considered to be the best way to hide an object and blend the object to the environment and sinking itself with the fractal patterns in the background of the object thus making it highly difficult for the object to be located, small and big pixel patterns are juxtapositioned so that the art of camouflage which is movement and distance specific can be mitigate the chances of the object being identified by a moving viewer. The ability or the strong will of an object to hide itself or unwillingness to reveal itself is called ” Crypsis “. My personal take on crypsis would be the objects superpower to fuse and transmutate itself in accordance to the environment.
Motion dazzle can be represented in the form of a figure ground-relationship, where the canvas becomes the ground here. In this the figure the object blends itself with the ground and the directionality of movement of this object cannot be foreseen or predicted. as the probability of striking perfection is mitigated greatly influenced by the usage of contrast colors. and colors make a major role in the art of camouflage of combat. A lot of artists dont prefer or reject the usage of ” black ” and ” Brown ” colors in the camo design. but to be precise black and brown colors give the object a three dimensionality as black acts as the shadows of the fractal patterns thus creating the phenomenon of three-dimensionality.