Relevant bibliographies by topics / Shape-from-shadows

Contents

  1. Journal articles
  2. Dissertations / Theses
  3. Books
  4. Book chapters
  5. Conference papers

Academic literature on the topic 'Shape-from-shadows'

Author: Grafiati
Published: 24 July 2022
Last updated: 8 August 2022

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Journal articles on the topic "Shape-from-shadows"

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Cavanagh, Patrick, and Yvan G. Leclerc. "Shape from shadows." Journal of Experimental Psychology: Human Perception and Performance 15, no. 1 (1989): 3–27. http://dx.doi.org/10.1037/0096-1523.15.1.3.

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Hatzitheodorou, Michael. "Shape from Shadows." Journal of Complexity 14, no. 1 (March 1998): 63–84. http://dx.doi.org/10.1006/jcom.1997.0448.

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Chappelow, J. E. "Simple impact crater shape determination from shadows." Meteoritics & Planetary Science 48, no. 10 (September 24, 2013): 1863–72. http://dx.doi.org/10.1111/maps.12201.

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Cavanagh, Patrick, and Yvan G. Leclerc. ""Shape from shadows": Correction to Cavanagh and Leclerc (1989)." Journal of Experimental Psychology: Human Perception and Performance 16, no. 4 (1990): 910. http://dx.doi.org/10.1037/0096-1523.16.4.910.

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Yamashita, Yukihiro, Fumihiko Sakaue, and Jun Sato. "Fast 3D Shape Recovery from Shadows Projected on Arbitrary Curved Surfaces." International Journal of Virtual Reality 9, no. 1 (January 1, 2010): 1–6. http://dx.doi.org/10.20870/ijvr.2010.9.1.2754.

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The shadow based 3D surface reconstruction methods usually assume that shadows are projected on planar surfaces. However, shadows are often projected on curved surfaces in the real scene. Recently, the shadow graph has been proposed for representing shadow information efficiently, and for recovering 3D shapes from shadows projected on curved surfaces. Unfortunately, the method requires a large computational cost and is weak to the image intensity noises. In this paper, we introduce 1D shadow graphs which can represent shadow information quite efficiently, and can be used for recovering 3D shapes with much smaller computational costs than before. We also extend our method, so that we can recover 3D shape quite accurately by using shading information as well as shadow information. The proposed method is tested by using the real and synthetic images.
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Norman, J. Farley, Thomas E. Dawson, and Shane R. Raines. "The Perception and Recognition of Natural Object Shape from Deforming and Static Shadows." Perception 29, no. 2 (February 2000): 135–48. http://dx.doi.org/10.1068/p2994.

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In this study of the informativeness of shadows for the perception of object shape, observers viewed shadows cast by a set of natural solid objects and were required to discriminate between them. In some conditions the objects underwent rotation in depth while in other conditions they remained stationary, thus producing both deforming and static shadows. The orientation of the light source casting the shadows was also varied, leading to further alterations in the shape of the shadows. When deformations in the shadow boundary were present, the observers were able to reliably recognize and discriminate between the objects, invariant over the shadow distortions produced by movements of the light source. The recognition performance for the static shadows depended critically upon the content of the specific views that were shown. These results support the idea that there are invariant features of shadow boundaries that permit the recognition of shape (cf Koenderink, 1984 Perception13 321–330).
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Castiello, Umberto, Dean Lusher, Carol Burton, and Peter Disler. "Shadows in the Brain." Journal of Cognitive Neuroscience 15, no. 6 (August 1, 2003): 862–72. http://dx.doi.org/10.1162/089892903322370780.

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The aims of the present study were to investigate whether the processing of an object shadow occurs implicitly, that is without conscious awareness, and where physically within the human brain shadows are processed. Here we present neurological evidence, obtained from studies of brain-injured patients with visual neglect, that shadows are implicitly processed and that this processing may take place within the temporal lobe. Neglect patients with lesions that do not involve the right temporal lobe were still able to process shadows to optimize object shape perception. In contrast, shadow processing was not found to be as efficient in neglect patients with lesions that involve the right temporal lobe.
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Norman, J. F., Y. l. Lee, F. Phillips, H. F. Norman, L. R. Jennings, and T. R. McBride. "The perception of 3-D shape from shadows cast onto curved surfaces." Journal of Vision 9, no. 8 (March 24, 2010): 60. http://dx.doi.org/10.1167/9.8.60.

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Norman, J. Farley, Young-lim Lee, Flip Phillips, Hideko F. Norman, L. RaShae Jennings, and T. Ryan McBride. "The perception of 3-D shape from shadows cast onto curved surfaces." Acta Psychologica 131, no. 1 (May 2009): 1–11. http://dx.doi.org/10.1016/j.actpsy.2009.01.007.

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Koizumi, Tomomi, Hiroyuki Ito, Shoji Sunaga, and Masaki Ogawa. "Directional Bias in the Perception of Cast Shadows." i-Perception 8, no. 1 (January 2017): 204166951668226. http://dx.doi.org/10.1177/2041669516682267.

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Previous studies have demonstrated that the perception of shading is based upon assumptions about lighting direction, for example, light from above. However, it is not clear whether these assumptions are used in the perception of cast shadows. Moreover, it is unclear whether a perceptual interaction exists between shading and cast shadows because until now they have been studied separately. In this study, we investigated through three experiments whether the light-from-above (or another direction) assumption is used in interpreting ambiguous cast shadows, and whether shading information influences the interpretation of cast shadows. Our results indicate the existence of the light-from-above assumption in interpreting cast shadows. Consistent shading information enhanced the interpretation, and judgments of lighting direction were also based on both cast shadow and shading information. However, the perceptual determination of shape from shading was relatively independent of the cast shadow interpretation or the lighting direction judgments of the scene.
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Dissertations / Theses on the topic "Shape-from-shadows"

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Savarese, Silvio Perona Pietro. "Shape reconstruction from shadows and reflections /." Diss., Pasadena, Calif. : California Institute of Technology, 2005. http://resolver.caltech.edu/CaltechETD:etd-05242005-162056.

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Jakobsson, Torbjörn. "Shape from shading, colour constancy, and deutan colour vision deficiencies." Doctoral thesis, Umeå universitet, Institutionen för psykologi, 1996. http://urn.kb.se/resolve?urn=urn:nbn:se:umu:diva-111106.

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Four studies including ten experiments adresses interrelations between some major and classical issues in visual perception: 3-D perception, colour constancy, colour perception and colour vision deficiencies. The main experimental paradigm to investigate the issues is within that of simulated shape from shading. 3-D impressions are induced by projecting space-modulated illuminations onto flat surfaces (displays), varying the colours and layout of the displays and the colour and modulation of the illumination. Study I includes four experiments investigating three types of space- modulated illumination. All experiments confirmed earlier findings that chromatic colour and complex display layout with reflectance edges crossed by illumination edges enhances shape from shading. In Study II the impressions of shape from shading and real 3-D objects were compared between persons with deutan colour vision deficiencies and normals. As predicted, the deutans show fewer and less distinct 3-D impressions in situations with their specific "problem colours" red and green. They also show a generally lower tendency for 3-D impressions, interpreted as a generally weaker colour constancy. Study III presents the AMBEGUJAS phenomenon; a novel twofold ambiguous shape from shading situation, continuously alternating between two different 3-D impressions coupled with different colour attributions. One solution is of an object with two clear surface colours, the other one of an object with greyish (desaturated) colours in coloured illumination which means classical colour constancy. The phenomenon illustrates the visual processes of separating reflectance and illumination characteristics and may provide a useful experimental setting to study colour constancy. In Study IV the AMBEGUJAS phenomenon is found to be robust as to chromaticness and different luminance contrasts for both normals and deutans. However, the deutans show slower shifts between percepts and a less pronounced desaturation of colour, which indicates a weaker colour constancy. The studies add evidence to the contribution of colour to 3-D shape perception, validated in a novel way by the results on "colour-blinds". The AMBEGUJAS phenomenon provides further support that the factors affecting shape from shading and the deutans different impressions are to be understood with reference to colour constancy. The deutans different impressions compared to normals are remarkable per se, but probably with very limited implications to everyday life.

Diss. (sammanfattning) Umeå : Umeå university, 1996, härtill 4 uppsatser


digitalisering@umu
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Lee, Young-Lim. "The Perception and Recognition of 3-D Shape from Shadows Cast onto Curved Surfaces." TopSCHOLAR®, 2003. http://digitalcommons.wku.edu/theses/609.

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The informativeness of a cast shadow or silhouette boundary contour for the perception of 3-D object shape has been investigated for a long time. Some researchers have focused on the informativeness of static shadows (Attneave, 1954; Koenderink, 1984; Richards, Koenderink, & Hoffman, 1987; Norman, Phillips, & Ross, 2001; Tse, 2002) while other researchers have focused on the informativeness of moving or deforming shadows (Miles, 1931; Wallach, & O'Connell, 1953; Norman, & Todd, 1994; Norman, Dawson, & Raines, 2000; Norman, & Raines, 2002). Past research has shown that changing the angle of illumination does not affect the perception of 3-D shape from cast shadows (Norman et al., 2000). The current experiment extends the prior experiments by further investigating whether curved background surfaces (with both positive and negative Gaussian curvature) affect the perception and recognition of 3-D object shape from deforming and/or static cast shadows. In this experiment, the observers viewed either deforming or static shadows of naturally shaped objects (bell-peppers) cast onto either flat, hemispherical, or saddle-shaped surfaces. The results revealed significant main effects of motion (deforming vs. static shadows), object, and the type of background surface. The results revealed that there were also a number of significant interactions involving particular objects, the presence or absence of motion, and the type of background surface. The observers' ability to recognize objects from deforming shadows was higher than their ability to recognize objects from static shadows. In addition, the observers' ability to recognize objects from the shadows cast onto the hemisphere background surface was generally as accurate as their ability to recognize objects from the shadows cast onto the flat plane. However, the observers' ability to recognize the objects was reduced when the shadows were cast onto the saddle background surface. The results of the experiment confirm previous findings showing that shadow boundary contours, especially deforming contours, are perceptually informative and help observers to perceive and recognize 3-D object shape. This experiment also extends previous studies by showing how differently curved background surfaces affect the perception and recognition of 3-D object shape.
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Draréni, Jamil. "Exploitation de contraintes photométriques et géométriques en vision : application au suivi, au calibrage et à la reconstruction." Grenoble, 2010. http://www.theses.fr/2010GRENM061.

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Cette thèse s'intéresse à trois problèmes fondamentaux de la vision par ordinateur qui sont le suivi vidéo, le calibrage et la reconstruction 3D. Les approches proposées sont strictement basées sur des contraintes photométriques et géométriques présentent dans des images 2D. Le suivi de mouvement se fait généralement dans un flux vidéo et consiste à suivre un objet d'intérêt identifié par l'usager. Nous reprenons une des méthodes les plus robustes à cet effet et l'améliorons de sorte à prendre en charge, en plus de ses translations, les rotations qu'effectue l'objet d'intérêt. Par la suite nous nous attelons au calibrage de caméras ; un autre problème fondamental en vision. Il s'agit là, d'estimer des paramètres intrinsèques qui décrivent la projection d'entités 3D dans une image plane. Plus précisément, nous proposons des algorithmes de calibrage plan pour les caméras linéaires (pushbroom) et les vidéo projecteurs lesquels étaient, jusque-là, calibrés de façon laborieuse. Le troisième volet de cette thèse sera consacré à la reconstruction 3D par ombres projetée. À moins de connaissance à priori sur le contenu de la scène, cette technique est intrinsèquement ambigüe. Nous proposons une méthode pour réduire cette ambiguïté en exploitant le fait que les spots de lumières sont souvent visibles dans la caméra
The topic of this thesis revolves around three fundamental problems in computer vision; namely, video tracking, camera calibration and shape recovery. The proposed methods are solely based on photometric and geometric constraints found in the images. Video tracking, usually performed on a video sequence, consists in tracking a region of interest, selected manually by an operator. We extend a successful tracking method by adding the ability to estimate the orientation of the tracked object. Furthermore, we consider another fundamental problem in computer vision: calibration. Here we tackle the problem of calibrating linear cameras (a. K. A: pushbroom)and video projectors. For the former one we propose a convenient plane-based calibration algorithm and for the latter, a calibration algorithm that does not require aphysical grid and a planar auto-calibration algorithm. Finally, we pointed our third research direction toward shape reconstruction using coplanar shadows. This technique is known to suffer from a bas-relief ambiguity if no extra information on the scene or light source is provided. We propose a simple method to reduce this ambiguity from four to a single parameter. We achieve this by taking into account the visibility of the light spots in the camera
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Savarese, Silvio. "Shape Reconstruction from Shadows and Reflections." Thesis, 2005. https://thesis.library.caltech.edu/2002/1/savarese_thesis.pdf.

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Measuring automatically the shape of physical objects in order to obtain corresponding digital models has become a useful, often indispensable, tool in design, engineering, art conservation, computer graphics, medicine and science. Machine vision has proven to be more appealing than competing technologies. Ideally, we would like to be able to acquire digital models of generic objects by simply walking around the scene, while filming with a handheld camcorder. Thus, one of the main challenges in modern machine vision is to develop algorithms that: i) are inexpensive, fast and accurate; ii) can handle objects with arbitrary appearance properties and shape; and iii) need little or no user intervention.

In this thesis, we address both issues. In the first part, we present a novel 3D reconstruction technique which makes use of minimal and inexpensive equipment. We call this technique "shadow carving". We explore the information contained in the shadows that an object casts upon itself. An algorithm is provided that makes use of this information. The algorithm iteratively recovers an estimate of the object which i) approximates the object’s shape more and more closely; and ii) is provably an upper bound to the object's shape. Shadow carving is the first technique to incorporate "shadow" information in a multi-view shape recovery framework. We have implemented our approach in a simple table-top system and validated our algorithm by recovering the shape of real objects.

It is well known that vision-based 3D scanning systems handle specular or highly reflective surfaces only poorly. The cause of this deficiency is most likely not intrinsic, but rather due to our lack of understanding of the relevant cues. In the second part of this thesis, we focus on how to promote mirror reflections from "noise" to "signal". We first present a geometrical and algebraic characterization of how a patch of the scene is mapped into an image by a mirror surface of given shape. We then develop solutions to the inverse problem of deriving surface shape from mirror reflections in a single image. We validate our theoretical results with both numerical simulations and experiments with real surfaces.

A third goal of this thesis is advancing our understanding of human perception of shape from reflections. Although the idea of perception of shape from different visual cues (e.g., shading, texture, etc.) has been extensively discussed in the past, little is known to what extent highlights and specular reflections carry useful information for shape perception. We use psychophysics to study this capability. Our goal is to provide a benchmark, as well as inspire possible technical approaches, for our computational work. We find that surprisingly, humans are very poor at judging the shape of mirror surfaces when additional visual cues (i.e., contour, shading, stereo, texture) are not visible.

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Books on the topic "Shape-from-shadows"

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Ruxton, Graeme D., William L. Allen, Thomas N. Sherratt, and Michael P. Speed. Countershading. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780199688678.003.0004.

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Countershading is a coloration pattern where the exterior surfaces most exposed to light, typically dorsal surfaces, are more darkly coloured than those oriented away from light, typically ventral surfaces. Countershading is widely discussed as a camouflage defence, although other functions—such as thermoregulation, abrasion resistance, and protection from ultraviolet light—may also select for countershading. In terms of camouflage, countershading is thought to work by up to six distinct mechanisms. We discuss several key examples of countershading and counterillumination that give insight into some of this complexity, before reviewing the evidence for the effectiveness of each of the six mechanisms. These include relatively simple effects, such as background matching dorsal surfaces against dark oceanic depths when viewed from above and ventral surfaces against downwelling light when viewed from below, but also more complex mechanisms, such as the concealment of cues to three-dimensional shape created by an animal’s self-cast shadows. Following this are sections on the evolution and genetics of countershading, before the chapter concludes with ecological considerations and suggestions for future research.
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Garden, Alison. The Literary Afterlives of Roger Casement, 1899-2016. Liverpool University Press, 2020. http://dx.doi.org/10.3828/liverpool/9781789621815.001.0001.

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This groundbreaking study explores the literary afterlives of Ireland’s most enigmatic, shape-shifting and controversial son: Roger Casement. A seminal human rights activist, a key figure in the struggle for Irish independence, a traitor to British imperialism and an enthusiastic recorder of a sexual life lived in the shadows, Casement has endured as a symbol of ambivalence and multiplicity. Casement can be found in the most curious of places: from the imperial horrors of Heart of Darkness (1899) to the gay club culture of 1980s London in Alan Hollinghurst’s The Swimming-Pool Library (1998); from George Bernard Shaw’s play Saint Joan (1923) to a love affair between spies in Elizabeth Bowen’s The Heat of the Day (1948); from the post-Easter Rising elegies of Eva Gore-Booth and Alice Milligan to the beguiling, opaque poetry of Medbh McGuckian. Drawing upon a variety of literary and cultural texts, alongside significant archival research, this book establishes dialogues between modernist and contemporary works to argue that Casement’s ghost animates issues of historical pertinence and pressing contemporary relevance. It positions Casement as a vital and fascinating figure in the compromised and contradictory terrain of Anglo-Irish history.
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Matiazzi, Estevam. O Desvelar da Poesia. Brazil Publishing, 2021. http://dx.doi.org/10.31012/978-65-5861-754-9.

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Estevam Matiazzi’s poetics are memorably reflected in the title of his colorful poem collection, most of which are written in poetic prose, with singular didacticism. “Life Seen Through Windows: before and beyond them” is a work marked by movements and approaches in a mutating world view, that established relations with its time. ‘Drunken times’, actually, pandemic times, Covid-19 times. In a cathartic process, the poetic persona gazes outside his window, a narrow spaces’ view that creates an egregore of love. Engaged in the notion of roughness within the historical moment, he creates poems, comforting hearts in distress and full of uncertainties. The title has a direct connection with the works’ poetry; it brings relations in constant change, a shape still undetermined, a state beyond any mold, any casted matter. Beyond anything pre-fixed, anything pre-established. Thus, in a language of light and shadows, “Life Seen Through Windows: before and beyond them” is a beacon in the darkness of these pandemic times (Márcia Lembrança). Life Seen Through Windows – behind and in front of them are 40 poems from quarantine, written in 2020, in the context of Covid-19 pandemic. The view from the windows in the apartment where I live in Belo Horizonte, side by side with the song “Window’s Scenery” – written by Lô Borges and Fernando Brant for the album Corner Club, released in 1972, year in which I was born –, are the inspiration for these poems. Nearly 50 years after this masterpiece, between the slot that remains between buildings, I watch, beyond the windows, the mountain ranges that still encircle the capitol of Minas Gerais, either under blue, open skies or under thick grey clouds… From behind windows, I listen to radios, watch screens and see continued ailments; deforested, burned Amazon, slighted traditional cultures; inflation on the rise, democracy under threat; drama and mire, plots and fire…
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Book chapters on the topic "Shape-from-shadows"

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Mamassian, Pascal. "Shape from Shadows." In Computer Vision, 724–25. Boston, MA: Springer US, 2014. http://dx.doi.org/10.1007/978-0-387-31439-6_260.

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Mamassian, Pascal. "Shape from Shadows." In Computer Vision, 1148–50. Cham: Springer International Publishing, 2021. http://dx.doi.org/10.1007/978-3-030-63416-2_260.

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Falcone, M., M. Sagona, and A. Seghini. "A scheme for the shape-from-shading model with “black shadows”." In Numerical Mathematics and Advanced Applications, 503–12. Milano: Springer Milan, 2003. http://dx.doi.org/10.1007/978-88-470-2089-4_47.

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"Shape Recovery from Shadows." In Physics-Based Vision: Principles and Practice, 363–404. A K Peters/CRC Press, 1993. http://dx.doi.org/10.1201/9781439865880-11.

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Sorensen, Roy. "Parmenides." In Nothing, 77–89. Oxford University Press, 2022. http://dx.doi.org/10.1093/oso/9780199742837.003.0006.

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Despite isolation from China and India, the Greeks simultaneously switch attention from what is to what is not. This suggests that the switch from positive to negative philosophy is a scale phenomenon. When the Chinese and Indians achieved critical mass, they viewed the vista of nothingness as an opportunity. Extra room! The Greeks are instead horrified by the void. They look down at the abyss. The abyss looks back with the l'appel du vide. Parmenides inaugurates a twenty-five-hundred-year project to close our eyes to absences in all their chameleonic guises: shadows, motion, plurality. Logicians, mathematicians, and contemporary physicists continue their effort to prove that reality is entirely positive. ‘The pail has a hole’ is just a misleading way of describing the shape of the container. Or it expresses disappointment with the pail or conveys a warning. Once a metaphysician completes an inventory of all the positive things, he is done characterizing the nature of the universe.
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Zallen, Jeremy. "Piney Lights." In American Lucifers, 57–93. University of North Carolina Press, 2019. http://dx.doi.org/10.5149/northcarolina/9781469653327.003.0003.

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In the urban peripheral spaces of antebellum tenements, domestic workers and outworking seamstresses labored late into the night with cheap, explosive turpentine lamps. Using newspaper accounts, travel narratives, and letters between turpentine camp overseers and slaveholders, this chapter explores how the gendered politics of space and time in the ready-made clothing revolution were made through a new slave-produced illuminant called “camphene.” A volatile mixture of spirits of turpentine and high-proof alcohol, camphene connected outworking seamstresses in New York with the enslaved woodsmen laboring in remote North Carolina turpentine camps to accumulate nearly every drop of turpentine in the United States. Reading against the grain, the chapter reconstructs how seamstresses and slaves attempted to navigate, shape, and sometimes escape from spaces and work processes dominated by slaveholders, clothiers, and husbands. Through the antebellum making and using of this piney light, white women working in the home and black men tapping pines far from plantations endured terrible violence and danger, rendered spatially, temporally, and culturally invisible, to underwrite the worlds of Northern and Southern white men. The chapter attempts to pull this antebellum relation out of the shadows by exploring the worlds of freedom, slavery, and gender made through piney light.
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Conference papers on the topic "Shape-from-shadows"

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Mecca, Roberto, Aaron Wetzler, Ron Kimmel, and Alfred Marcel Bruckstein. "Direct Shape Recovery from Photometric Stereo with Shadows." In 2013 International Conference on 3D Vision (3DV). IEEE, 2013. http://dx.doi.org/10.1109/3dv.2013.57.

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Dickey, F. M., and A. W. Doerry. "Recovering shape from shadows in synthetic aperture radar imagery." In SPIE Defense and Security Symposium, edited by Kenneth I. Ranney and Armin W. Doerry. SPIE, 2008. http://dx.doi.org/10.1117/12.775610.

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Presles, B., J. Debayle, and J. C. Pinoli. "Shape recognition from shadows of 3-D convex geometrical objects." In 2012 19th IEEE International Conference on Image Processing (ICIP 2012). IEEE, 2012. http://dx.doi.org/10.1109/icip.2012.6466908.

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Yamashita, Yukihiro, Fumihiko Sakaue, and Jun Sato. "Recovering 3D Shape and Light Source Positions from Non-planar Shadows." In 2010 20th International Conference on Pattern Recognition (ICPR). IEEE, 2010. http://dx.doi.org/10.1109/icpr.2010.1153.

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Tyler, Christopher W. "Diffuse illumination as a default assumption for shape-from-shading in the absence of shadows." In Electronic Imaging '97, edited by Bernice E. Rogowitz and Thrasyvoulos N. Pappas. SPIE, 1997. http://dx.doi.org/10.1117/12.274530.

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Matovic, J., A. Vujanic, and K. Reichenberger. "Variable Emissivity Surfaces for Micro and Nanosatellites." In CANEUS 2006: MNT for Aerospace Applications. ASMEDC, 2006. http://dx.doi.org/10.1115/caneus2006-11027.

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The contemporary satellites usually utilize louvers as variable emissivity surfaces (VES) for the thermal control subsystem. This means is only particularly scalable down and the next generation of small satellites definitely requires new techniques for thermal control. Further, the low mass, volume and cost of the micro and nanosatellite require additional features from the future VES. Besides high reliability, which is an unconditional requirement for a space application, the other criteria are as follows: low mass, deep modulation of emissivity, low heat leak in off-state, fast reaction time, passive action, as well as other lower level criteria. These requirements are complex and sometimes contradictory. The current approaches to find alternatives to the traditional mechanical louvers branch in several directions: electrophoretic, electrochromic, electrostatics actuated VES, MEMS shutters, etc. None of the current solutions is successful in meeting all of the posed criteria. We present a novel VES subsystem, particularly developed for use in micro and nanosatellites. The concept is simple, reliable and very efficient. The bionic structure, a flower-like design, is made from a thin and elastic foil. The artificial flower consists from a peduncle, fixed to the satellite radiator panel and 4–6 petals. The upper surface of the petal is made as the second-surface mirror and the lower surface is the gold plated or the first-surface mirror. The kinematic mechanism which opens and closes the artificial flower is the shape memory actuator located in the petal root. The SMA actuators are trained as the “two way actuators”. The “two way” memory effect has been recognized as difficult to control and suffering from amnesia. However, the new learning process of the shape memory actuators enables more than 350.000 cycles without SMA parameter degradation. The artificial flower works as follow: when the sun irradiates the flower and/or the radiator temperature exceeds the preset value, the SMA actuators bend and open the flower. In such a manner the flower exposes the highly reflective surface to the sun and shadows the satellite radiator until the sun sets again. The flower structure is without any friction-connected kinematic movements, thus the reliability of device should be high. The mass of the flower is less than 450 g/m2, the heat leak trough the open flower is >2% and the efficiency of the closed flower is <80%. The SMA actuator is passive and quite resistant to the radiation, oxygen and EDS.
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