Qi also felt that it was necessary for him to go to Yan Yun to "ask for an explanation".

Qi Yi didn't know very well, when Yan Yun wrote this blog post, did he want him, the client, to see it?

And what about him?

If he had understood Yan Yun's original intention of breaking up with him three years ago.

At that time, he was preparing to go to Stanford University for an exchange, what kind of choice would he make?

The word "if" has always been the palest word.

Three years have passed, has the person who wrote the "Epitaph" already started a new life?

Did the two of them miss it a long time ago?

Qi Yi didn't have Yan Yun's current contact information, and even if he did, he just wanted to take a look without leaving a trace.

He has suffered from gains and losses, and he has not yet thought about it.

He was afraid that if he didn't show up again, Yan Yun would start a new life.

He was even more afraid that his sudden appearance would disturb the new life that Yan Yun might have started.

Two weeks after reading "Epitaph", Qi also got a visa to Australia and printed the photo of the scenery outside Yan Yun's window with the third short blog post of Yan Yun Space.

This photo is the only clue that Qi Yi can use to find the current Yan Yun.

With clues in hand, Qi Yi came to Melbourne and came to Southbank (Melbourne South Bank) recorded by Yan Yun's camera.

…………………………

The time and space we live in are three-dimensional, and photographs are two-dimensional.

In real life, when a three-dimensional space is converted into a two-dimensional image, it will be distorted.

This kind of distortion is the only way for Qi Yi to solve the equation to find Yan Yun.

Seeing is believing, not the truth.

Photographed as evidence, there is no basis.

The world that people see is never real, it is true with their eyes, and it is the same with their cameras.

In the three-dimensional real world we live in, the sea and the sky are two parallel lines, so it is impossible for the sea to really reach out and embrace the sky.

But the endless sea level will always intersect with the sky at the end of people's vision.

The sea and the sky are the same, not reality, but visual error.

The list goes on.

Your eyes deceive your heart every day.

The two-dimensional picture world and the three-dimensional real world are actually two completely different worlds.

Solid geometry is the link between these two worlds.

The eye can see the sea and the sky intersecting, you can see that people in the distance are smaller than those who are near, and you can also see two straight railroad tracks intersecting at the end of the vision.

But these are all illusions, if the railroad tracks really intersect, the bullet train will overturn every day, and the high-speed rail will derail every day.

The visual error caused by distortion is bidirectional.

In recent years, three-dimensional paintings, which have become quite popular on the streets at home and abroad, are the reverse use of visual errors.

By changing the lines and projections, you can draw a three-dimensional picture that is visible to the naked eye in a two-dimensional plane.

Walking to the top of these three-dimensional paintings, people seem to have fallen into a canyon and are standing on a cliff.

But no matter how three-dimensional it feels, no matter how realistic it feels, it is always just a painting on a two-dimensional plane.

Standing on the three-dimensional painting, even if you can't help but be frightened, people clearly know that this is just an illusion.

It is even more understandable than the sea and the sky, and the intersection of railroad tracks.

The transition from two-dimensional painting to three-dimensional painting is also more mathematical than art.

If you learn three-dimensional geometry well, you will be able to master the projection rules of three-dimensional painting.

The most important thing in painting three-dimensional painting is the ability to imagine space.

Mathematically, there are two interpretations of parallel lines.

The first is a parallel line, which is two straight lines that do not intersect.

The other is that parallel lines are two straight lines that intersect at a point at infinity.

Due to the "error" of visual imaging, parallel lines such as the sea and the sky, which only intersect at infinity in real life, can easily find the intersection point by extension in a two-dimensional picture.

In other words, a point "infinite" in three-dimensional space is close to the distorted two-dimensional picture.

The first thing Qi Yi needs to do now is to find parallel lines in real life in two-dimensional photos.

Such parallel lines can be the many parallel lines formed by the lower edges of the windows on different floors of a tall building.

These real-life window sills that run parallel to each other upstairs and downstairs will have an intersection not far away if they are photographed and extended slightly.

After the extension lines intersect, the resulting intersection point can be described in iconography by the technical term "vanishing point".

"Vanishing point" has another more vivid name - "extinction point".

As long as you find two sets of "real-life parallel lines" in different categories in the picture, such as the window bottom extension of Building A and the balcony bottom extension of Building B, you can get two different "vanishing points".

Connect these two vanishing points together to get a straight line.

The straight line formed by the two "vanishing points" is the "horizon".

Of course, the horizon drawn in such a way does not refer to the ground, but to the height of the person taking the photo.

Although the building where Yan Yun lives does not appear in the photos she took, you can know the height of the floor where Yan Yun took pictures through the position of this horizon line.

In addition, Qi Yi came to Melbourne again and came to "Among the Photos".

Under such a premise, the possibility of Qi Yi finding a solution to Yan Yun's equation is greatly improved.

Qi also observed for 10 minutes on the footbridge of the Yarra River.

Make a note of the buildings around you.

Then, Qi Yi began to draw an extension line on the only clue photo in his hand, looking for a "vanishing point".

Because of the gains and losses, and because he was worried that the equation would not be solved, Qi Yi did not draw the "horizon" as soon as he got the photo, but chose to go to the "scene" and started to draw after he had more grasp of the solution.

In this way, the efficiency of problem solving will be greatly improved.

Draw a few extension lines and find two extinction points, which Qi Yi can do in less than a minute.

He wasn't in a hurry about it at all.

But after the drawing, in the plan, because there is a large possibility of solving the equation on the spot, it is determined that there must be no solution.

It's not that Qi Yi can't find the horizon, but that the "horizon" drawn by Qi Yi arrogantly appears in the sky of the photo.

All the scenery in the photo should not be used as a reference.

Where does the solution of an equation with no known numbers, no conditions for solving the problem, and only unknown numbers from beginning to end?

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Isn't today's chapter a bit math-solving?

I really want to put a schematic diagram about finding the vanishing point, but unfortunately it seems that there is no map in the text and comments of the starting point.

If you're curious about the "Obscuration Point" and "Horizon", you might want to find a photo of several buildings and give it a try.